London Symphony Orchestra
Jack Sheen conductor
LSO LIVE 5135
This is the fourth CD resulting from the LSO’s Discovery programme showcasing new composers, guided by Colin Matthews (whose own mastery of orchestration was doubtless most useful). Most of the figures represented here are already considerably advanced in achievement, and this well-planned CD connects a very disparate group, leading us from dance to dance, poem to poem.
The composers have generally exercised restraint in employing the huge resource, using the orchestra as a paintbox to illuminate rather than swamp, but these works are all very short indeed: all bar two are well under five minutes each. All deserve a mention, although there is little space here to do more. The LSO are superb throughout, and the recording, as anticipated from this label, is exceptionally clear and well-balanced.
Latimer: gestural, syncopated fanfares, sparkling, skittish, rapid time shifts, that gets hilariously ‘stuck’ in a pattern (like one of Maxwell Davies’ arrested foxtrots), ending with a party whistle and a shivering reverberation.
Hoyle: high pianos trills, bell-like sounds from stopped horns; a moment of chaos before string solos fade us out.
Stevenson: much glissandi, from trombones and strings as the picture shimmers in front of us; prominent piano, a touch of jazz reflecting the composer’s background
Chan: a magical ppp start like drops of water, then a crescendo into skittering strings.
Kidane: a powerfully rhythmic and driving essay, with a very abrupt ending.
Bryce: inspired by the surrealism of Rimbaud, this juxtaposes often unrelated images that jostle for prominence.
Järventausta: a most appealing Ivesian piece, with a chorale in the background and other disassociated motifs to the fore. Microtones are used judiciously; tolling bells lead to an uncertain close.
Dan Stern: a jazz-inspired essay with riffs for soloists and orchestra; each phrase threatens to develop but magically metamorphoses into something unexpected.
Jack Sheen: the conductor’s own, and the longest by some way: mostly subdued murmurings, like a mobile turning slowly to reveal new facets. No programme notes provided, but this tonally based work features attractive patterns for marimba, and some explosive, rather Holstian, climaxes.
Mason: delicate structures apparently derived from a fairy poem by Sara Teasdale, although we are left to research this independently: might it not have been included?
Bates: more microtones and retuning, this work is the product of an opiate-induced numbness after a serious accident.
Graves: a neat reference to the ‘Dawn’ interlude from Peter Grimes, followed by snatches of dances.
Kinoshi: a longer dance, ebullient and joyous, breaking off suddenly.
This is an exciting CD, recommended to those open to the cutting edge of contemporary serious music.
Review by Andrew Plant