BBC Concert Orchestra
John Andrews conductor
Idunnu Münch mezzo-soprano
Ruby Hughes soprano
Miwa Rosso cello
RESONUS RES10358
Errollyn Wallen seems to be a force of nature. Composer of 20 operas and much, much more, her journey has taken her from her native Belize via New York and Cambridge to (currently) Orkney. Her music reflects this diversity of influences and enthusiasms, and this album from the estimable Resonus label reflects such eclecticism.
You might think Dances for Orchestra suggests straightforward light music, and initially we might indeed be dancing in (say) Brazil with Milhaud; but the music soon takes a more complex and introspective turn, and this is the pattern throughout the suite. Liberally studded with musical quotations the piece finally (for me) somewhat falls between two stools – others will have no such problem. What is never in doubt is the composer’s staggering ear for orchestral colour and invention.
This Frame is Part of the Painting is a response to the vivid and colourful paintings of Howard Hodgkin; as a fellow admirer I was predisposed to be sympathetic, and again Wallen’s orchestration is glorious; though your enjoyment may depend on your response to the very rich mezzo of the soloist, which personally I found rather heavy going.
The brief Fondant is a rare musical homage to…cake! It is vivid, exuberant and riotously colourful. The World’s Weather is a 12-minute orchestral work that traces the growth and final blossoming of an idea to an exuberant finale, and, as the most organically contained and evolved work here, it is a really engrossing and satisfying piece.
By Gis and by Saint Charity is a brief scena setting words from Ophelia’s descent into madness. Alternately tender and outraged, and finally affecting, it is beautifully sung by Ruby Hughes – and (literally) shouted by the orchestra!
A Postcard for solo cello comes and goes in a minute; whereas at nearly 17 minutes the orchestral Mighty River is a propulsive depiction of both a river rushing to the sea and the enslaved human spirit striving for freedom. Frankly pictorial and built on hymn tunes and spirituals (especially Amazing Grace) it rather takes its time, so that the music does sometimes seem to be running on the spot – but is probably the most immediately approachable work on the disc.
Liberal use of musical quotation is a feature of several of these works, and perhaps reflects the composer’s collaborative nature: it’s a device I personally find resistible, but those not so constrained will find much to enjoy here from a Master not just of the King’s Music but of a world of ravishing sounds. Performances and recordings are excellent, as are the booklet notes.
Review by Kevin Mandry