All of the works on this disc were written (or in the
case of the Seiber arranged) specifically for Jennifer Paull, a specialist
in the oboe d’amore and its repertoire. It is very much to her credit
that she has been successful in bringing what is unfamiliar yet rewarding
and entertaining music to disc, particularly given the subsequent release
of a second volume featuring the oboe d’amore and piano in equally interesting
material by Wilfred Josephs, John McCabe and Harold Schiffman amongst
others.
The greatest interest in this first volume is to be
found in the two works by Leonard Salzedo, the first of which, Bailables,
is scored for the full quartet of oboes whilst the second, Sonata
a Tré, features two of the family together with harpsichord.
Numerous characteristic Salzedo traits are evident in both works, namely
lively Spanish dance rhythms often incorporating ear catching syncopations
and cross rhythms, Moorish influenced modally conceived melodies in
the slow movements (further evidence of the composer’s Sephardic Jewish
heritage) and a tendency towards exciting closing movements, often in
moto perpetuo. The dance is most significant in Bailables which
quite literally means music suitable for dancing, perhaps no coincidence
as the dance played a vital part in Salzedo’s career both as musical
director of London City Ballet, Scottish Theatre Ballet and the Ballet
Rambert and in the composition of seventeen ballets, not to mention
his marriage to a dancer. Indeed Jennifer Paull first became acquainted
with Salzedo as an oboeist in the Mercury Ensemble during his tenure
at the Ballet Rambert. It is the Sonata a Tré however
that is the more musically substantial of the two works, notable for
its haunting opening and third movements and a slightly more astringent
yet quirky Vivace to close. Salzedo’s arrangement of Matyas Seiber’s
Leichte Tänze, a collection of nine brief dances including
tangos, foxtrots, a waltz and a ragtime number is effective in making
the most of what are fun numbers, if not Seiber at his best.
Edwin Carr’s Waiheke Island, inspired not as
may be thought at first by a visit to Hawaii but an island off the east
of Auckland harbour in northern New Zealand, is a set of four appealing
pieces which although not directly programmatic attempt to capture something
of the atmosphere of the natural beauty of the island. The melodies
themselves may not be the most memorable but the pieces are beautifully
written and it is difficult not to enjoy their innocent charm.
Jennifer Paull has commented that the disc was recorded
in far less than ideal circumstances. A chapel high up in the Swiss
Alps lacking adequate heating must have made life very difficult for
the players during the recording. Woodwind instruments do not respond
well to extremes of temperature and this no doubt accounts for the fleeting
moments of rhythmic instability and imprecise ensemble evident on a
number of occasions throughout the disc. Overall however this does not
seriously detract from what is an entertaining and interesting collection
of pieces scored for a group of instruments that show themselves capable
of sometimes surprising versatility and textural variety.
Christopher Thomas.
The Amoris Consort