Overtly romantic, Tintagel has a subtly atmospheric charm aptly fulfilling the intentions expressed in a foreward to the musical score. "Though detailing no definite programme this work is intended to evoke a tone-picture of the castle-crowned cliff of Tintagel and more particularly the wide distances of the Atlantic as seen from the cliffs of Cornwall on a sunny but not windless summer day. In the middle section of the piece it may be imagined that with the increasing tumult of the sea arise memories of the historical and legendary association of the place, especially those connected with King Arthur, King Mark and Tristan and Iseult.
While browsing the internet I came across writer Paul Serotsky’s evocative description of the music. "An iridescent shimmer of undulating strings, trilling woodwind and a welling brass phrase quickly generate a majestic climax: jubilant horns launch the gloriously nautical first main subject. The second subject is a long, string-sung melody sailing over a swaying accompaniment. The weather clouds over, the wind rises, storms pulse through the orchestra, light flecking against darkness. There comes a "magic moment" for those who know their Tristan und Isolde and its associations with local legend. Over rocking woodwind, brass intone their welling phrase, urgency increasing as the first subject is injected. Through huge Atlantic rollers the second subject emerges, resplendent in a resounding climax replete with blazing horns. The first subject erupts in an equally glorious, trumpet-capped tumult. Eventually, ecstasy abates; from glinting mist brass chords press upwards, urging the music to a final billowing of sails".
Incidentally, I wrote to Mr Serotsky asking permisson to quote his lines. This was willingly given and he went on to say that the day previous to my email praising his description of “Tintagel”, he had received another concerning exactly the same literary passage. It said baldly and with no punctuation or capitalisation, “why do you write such rubbish about tintagel”.