LYELL CRESSWELL
A Modern Ecstasy for sop, bar and orchestra (1986) 43.57
Cello Concerto (1984) 26.57
Nigel Leeson-Williams (bar)
Patricia Boylan (sop)
Roman Jablonski (cello)
CSR Symphony Orchestra/Richard Bernas
rec Bratislava, 8-13 April 1991
CONTINUUM CCD 1033
[71.04]
Amazon
UK
If you must have a reference point then in these works, especially in A
Modern Ecstasy, Britten is the dominant. In fact the War Requiem may
be taken as a fellow traveller for this work. The hammer-head storm clouds
rumble and darken the Cresswell in much the same way. This music speaks of
lyricism in
fragmenta
tion and tunes under dissection. All the elements of
song are present but sabre-cut and melted into something rich and strange.
You may have to face a degree of repugnance generated by tough music but
it is self-evidently music of the heart rather than of the calculator. The
words are by Patrick Maguire and the subject could hardly be more serious:
war and the lunacy and sadness of conflict. The last time I was confronted
by anything of this gristle and poignancy was when I heard Benjamin Lees'
Symphony No. 4 Memorial Candles (Naxos). The music can be as saw-toothed
(The War) as it is tender (Prayer to Amar). For the most part
it is abrupt and dances as if with the experience of the charnel and the
battle-field. The baritone is sturdy of tone; the soprano not as steady as
we might hope but nevertheless focusing considerable passion into the words.
Only in the long Battle movement did I wonder if the musicians' grip
on this powerful music had slackened.
I detect a Hassidic contour to the concerto. It sings less in abandon and
more in pity and in sorrow. The heart of Bloch's Schelomo beats through this
work but in modernised dress. Jablonski will be well enough known in some
quarters for his performances of the Lutoslawski and (if I recall correctly)
the Penderecki. The accent and the paraphernalia are of the less extreme
1970s avant-garde but even so it is tougher deal than the vocal work. I was
haunted for some time after hearing it wondering why it seemed so familiar.
Finally it came to me. This music has the passion and probingly lugubrious
scowl of the symphonies of Allan Pettersson. The conviction of Jablonski
and all involved is patent. A modern classic to my mind the superior of the
Britten Cello Symphony; closer in mien to Bridge's Oration. It did not at
all surprise e to hear that Alexander Baillie had premiered the work both
he and Cresswell were fortunate indeed.
Two works of unimpeachable power and undeniably genuine feeling. Do not look
for frivolity or relief from angst. This music stares into the Void and does
not blink.
Rob Barnett
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