Hallé Orchestra
Mark Elder conductor
Hallé CDHLL7569
The Symphony begins with rippling, airy, woodwind and harp, before earthier movements stir deep down in the strings…we seem not a million miles from Mathias, or Tippett’s Ritual Dances. Tempi increase and brass fanfares erupt as protean cells of music mutate and develop, ushering in a sunrise full of assertion. The central movement opens with a prayerful hush which again give way to chattering winds and erupting brass, and eventually whooping horns and percussion.
Andrew Burn’s very detailed notes describe the final movement completing a journey begun in the first, and indeed it begins similarly and, to my mind, covers almost identical territory. However, for all the use of elements of sonata form and explosive energy, I had little sense of a journey: despite the frantic activity there is a feeling of running on the spot. Tightly organised and meticulously worked out, this symphony is intended to be celebratory and optimistic – but I almost feel the three movements could be switched around without too much detriment. (The composer may disagree.)
The Concerto For Orchestra again opens with the familiar…rippling woodwinds, and throughout, the sound world is identical to that of the Symphony – bursting with the same tricks of orchestration and rhythm. Bar by bar the music is lively and engaging but for all the moments of hushed repose rarely seems to touch any real depth; little seems to be at stake, and by the end I didn’t feel left with anything substantial. Well, perhaps being harmonically ravishing and exquisitely crafted entertainment is enough?
A brief Fanfare lets Elder and his orchestra shine – performances throughout could not be better. But later I did return to the Ritual Dances…where I found a vein of the unexpected and of real human/cosmic drama, rather than a glittering artefact. However, ‘comparisons are odorous’, and admirers of Watkins’ Fabergé-like refinement and finesse will surely find much to treasure here.
Review by Kevin Mandry