English Symphony Orchestra
Kenneth Woods conductor
NIMBUS NI6447
Given its foreshadowing of Job as an elemental attempt to confront the mysteries of human fate, it may be surprising that more composers have not turned to the myth of Gilgamesh. I am only familiar with Martinu’s great choral work, and Norgard’s opera, though I am aware of others.
Robert Saxton has composed a five-movement orchestral piece in which the Prologue’s swirling strings and winds create a sense of expectation and implicit drama. The Journey to the Forest of Cedar opens with (appropriately) a walking bass, and takes the form of a passacaglia-like trek to confront the monster Humbaba.
In From Dawn to Dusk ominous drums soon give way to hectic bubbling lines as the hero races the sun. Announcing The Death of Enkidu a solo trombone invokes some ancient hieratic cry, before lamenting strings and wailing trumpets initiate the longest and most searching movement. Finally, Apotheosis pulls material from before together before a quietly enigmatic close, albeit without the chilly finality of the Martinu.
It would be perfectly satisfying to listen to Gilgamesh as an abstract piece, but while it is barely illustrative, referencing the myth undoubtedly helps. Saxton’s music is restrained but vividly colourful, and if it is conservative (though not retrograde) that is perhaps not inappropriate. Any slight reservations might be to do with the lack of much internal contrast, or of any really heightened moments of drama – but then perhaps my sameness is your consistency?
There is no lack of drama in the final track, which is instantly urgent and impassioned. The Resurrection of The Soldiers for strings was inspired by one of Stanley Spencer’s many resurrection scenes. It is a dense, teeming piece which after tumultuous opening proceeds via a grave (no pun intended) sense of awe to a slightly muted dawn, as Spencer’s muddied Tommies clamber back into the world. You may be reminded of Tippett’s string writing at its most ecstatic and luminous; indeed, I could wish that this were only the first movement of a longer piece, which might well be a very major work.
Your chances of hearing this fine but mostly undemonstrative music in concert must be slim (you will probably never even hear it on the new Eezee-Listening Radio 3). So it is good that in this reference recording the ESO delivers a completely secure performance – indeed the strings cope with some fantastically demanding writing with apparent ease. Sound is excellent and notes interesting. Solidly recommended.
Review by Kevin Mandry