Composer, percussionist and conductor, Richard Mills
is heard here in his threefold capacities in a selection of his colourful
and expertly wrought pieces. All these works were composed between 1983
and 1989; and the earliest of them is the superb concerto for percussion
and orchestra Soundscapes completed in 1983. It is laid-out
in four clearly characterised movements displaying the numerous possibilities
of the percussion instruments at the soloist’s disposal. The solo part
is, no doubt, very virtuosic, demanding and taxing the soloist’s skills
to the full, but never extravagantly so. The first movement Signals/Dialogues
alternating lively solo passages and orchestral responses is followed
by a spirited Dance. A beautifully atmospheric Nocturne
with some vibraphone solos is capped by an animated perpetuum mobile
with a central march-like crescendo which fades away and leads thus
to a restatement of the opening music rushing the work to its exalted,
dancing conclusion. A brilliant, superbly written work and one of the
finest and most satisfying works for percussion and orchestra that I
have ever heard.
Fantastic Pantomimes, an ABC commission
for the Melbourne Symphony Orchestra, is some sort of short concerto
for orchestra featuring a concertante group of flute, oboe, clarinet,
trumpet and horn. This is an avowedly extrovert, brilliant work of orchestral
display, and a superb as well as attractive showpiece.
Aeolian Caprices of 1988 is another
short, lively, rumbustious overture in which Mills’ orchestral mastery
gained from his inside knowledge of the orchestra pays high dividends
again. The title refers to the fact that the piece is based on a harmonic
system derived from the tones of the Aeolian mode, and ‘caprices’ of
course reflects the playful character of the music.
Seaside Dances after Couplets by e. e. cummings,
to give the piece its full title, is scored for string orchestra. Maggie
and Milly and Molly and May/went down to the beach (to play one day).
This wonderful piece is in six short movements, of which the outer ones
are vivid seascapes framing movements reflecting episodes suggested
by the poem. The resourceful string writing is beautifully assured and
often calls Britten or Grace Williams to mind; and Seaside Dances
is yet another example of superb string writing worthy of its celebrated
predecessors by Bridge, Britten, Howells or Vaughan Williams. It should
be heard more often for this wonderfully engaging work obviously deserves
wider exposure. As far as I am concerned, this is the finest work in
this release.
Mills’ music, while clearly of the 20th
Century mainstream type, is remarkably crafted, colourful, full of fancy
and imagination and very attractive. His models may be Britten, Walton
and Arnold; but there is much joyful exuberance here that is one of
Mills’ most endearing musical qualities. Excellent performances and
recording. Mills’ music was new to me; but I really enjoyed every minute
of this attractive release.
Hubert Culot
Queensland Symphony Orchestra;
Richard Mills, Werner Andreas Alberta