Stanford's First Symphony was written in 1876, just after the composer had completed his studies in Germany. It was one of 46 entries in a British symphony competition organized by the owners of the Alexandra Palace concert hall in London and received second prize. Stanford's compositional fingerprints were already fully formed in this work. The style is basically mid-European, but somehow the symphony could not have been written by a German or Austrian composer, and it has a slight but discernibly Irish accent. As one might expect from a future teacher of composition the form is clear-cut, but worked out confidently and boldly in a slightly unconventional manner. The second movement Scherzo, for example, uses Landler rhythm, and there are two contrasted trios.
At the age of 23 Stanford's use of the orchestra was already skilful and imaginative, and a positive, vigorous and attractively fresh quality is present throughout the work. It does not achieve real stature, however, since the melodic invention is somewhat routine and commonplace. Poor Stanford. He must always have known in the end that he could not rival Elgar, German or Sullivan in their ability to write a good tune. The symphony achieved one performance and was then forgotten until the present recording. How often in recent years have we had good reason to thank record companies for important rescue work such as this.
The Irish Rhapsody No 2 was written in 1902 to a commission from Willem Mengelberg. Darker and more obviously dramatic than the symphony, it depicts events surrounding the violent death of the legendary Irish hero Ossian's son, Oscar. Here Stanford consciously uses traditional Irish melodies to good effect.
Collectors who have invested in previous issues of Stanford's symphonies from Chandos will already know that Vernon Handley has a great flair for getting the best out of unusual late-romantic music such as this, particularly when it has a Celtic flavour. He secures excellent playing from the Ulster Orchestra, and the recording is beautifully clear and sonorous.'