This release has already received a review
on these pages, but, as with so many things, hearing is believing.
One of the joys of reviewing CDs is being able to discover
new names, and with the Campion label we have ample opportunity
to find out how much quality British music there is beyond
the mainstream names. Philip Grange was yet another new name
to me, which goes to show how much I’ve been keeping up with
the UK scene since sadly allowing my SPNM membership to lapse.
The overall title ‘Zeitgeist’ refers in part
to a common thread through the works on this disc, all of
which have some inspirational source or commentary on political
issues or world events. The Kingdom of Bones deals
with some of the painful issues raised by the spectre of nuclear
holocaust: something which was more at the forefront of everyone’s
consciousness in 1983 than it is now. The text for the piece
is in Russian, but the music has deep roots in the British
palette of resonance – bells, for instance, play an important
role, and the orchestration calls to mind some of the scores
of Maxwell Davies, Goehr, Tippett and Britten, the textual
clarity of latter also being a familial quality of the vocal
settings. The melodic shapes have that duality of expression
and abstraction which to my ears is also a feature of what
once would have been categorised as avant-garde, but which
now really need pose few difficulties. Grange avoids strict
serialism and absolute atonality, but fans of Roberto Gerhard
and Humphrey Searle will find plenty to get their teeth into
in this piece, which is one of refined sensitivity and dramatic
import, but also one of deadly seriousness.
Lowry Dreamscape as a title would seem
to go together with ‘for brass band’ as well as bread and
cheese. The work of L.S. Lowry of course goes far further
than ‘matchstick’ anything, and the grim atmosphere of much
of Grange’s music expresses the isolation felt by the artist,
as well as the “apocalypse of grime” which is so potently
explored in many of his paintings. Lowry Dreamscape is
a fairly compact work, but has plenty of emotional drama and
heft, the subtle touches of percussion extending the sound
of virtuoso band taking the piece on with uncompromising style
and panache.
Diptych consist of two pieces which
can be performed separately or together in the order recorded
on this disc. Both pieces share the common theme of Daedalus,
the first, Sky-Maze with Song Shards effectively expresses
flight in the swooping upper ranges of the harp and oboe.
The second, Daedalus’s Lament swaps the oboe for a
more dolorous cor anglais, and the piece is partially inspired
by the emotions and thoughts of the father on the loss of
his son, and on to the less likely concept of ‘how he might
feel if he knew that his invention had led to the events of
9/11.’ The piece is subtitled In memoriam 11.9.01,
and as a composer’s legitimate and necessary response to such
tragedy this piece is a heartfelt and psychologically well
observed outpouring of tender reflection, dark lamentation,
impotent anger and jagged pain.
Interestingly titled: Concerto for Solo
Clarinet Radical and Symphonic Wind Band - Shēng Shēng
Bł Shí, my first question was, why ‘Radical’? Fortunately,
Philip Grange’s clear and useful booklet notes explain that
the title refers both to the radicals used in the Chinese
language, which may or may not be apparent, and more easily
understood ‘the relationship between the soloist and the band.’
In the first half of the piece the clarinet is ‘radical’ in
its leadership, initiating everything which happens in the
accompaniment. As the music reaches a high point and a kind
of collapse, the soloist takes up a ‘radical’ contrary position,
at one point competing with and trying to block the band,
and standing as a symbol of that lone student who stood against
the tanks during the Tiananmen Square protests in Beijing
in 1989. This is music which is full of succulent texture
and a wealth of invention and colour, indicated in the Chinese
part of the title: Shēng Shēng Bł Shí
or ‘Ever growing, never stopping’, a quotation from the I-Ching.
Other than some arguably exotic percussion effects, the score
has however no direct elements of Chinese musical influence
or ‘chinoiserie’, and the powerful style we have here is very
much the composer’s own heady mix of intriguingly accessible
and sometimes violently dramatic complexity.
This is a release filled with excellent musicians,
superb recordings and performances of some fascinating music.
The first two works are BBC sourced recordings, the second
produced by the indefatigable promoter of top English music
Stephen Plews: all are of superlative quality. This is not
an ‘easy’ listen and will take you beyond the middle of numerous
roads. If you are open to something which communicates on
levels both visceral and intellectual then this will offer
great rewards and some striking stimulation to receptive ears.
Dominy Clements
see also review
by Chris Thomas