John RUTTER (b.1945)
Suite Antique, for flute, harpsichord and strings (1979) [20:11]
Philip GLASS (b.1937)
Concerto, for harpsichord and chamber orchestra (2002) [24:08]
Jean FRANÇAIX (1912-1997)
Concerto, for harpsichord and ensemble (1959) [19:37]
Christopher D Lewis (harpsichord); John McMurtery (flute)
West Side Chamber Orchestra/Kevin Mallon
rec. American Academy of Arts and Letters, New York, 10-12 September
2012.
NAXOS 8.573146 [64:02]
This "amazingly rich and varied programme", according to Naxos,
"build[s] on the magnificent harpsichord concerto legacy of J. S. Bach" - a
contentious assertion indeed. Rutter, Glass and Françaix are not
names wisely bracketed with Bach; even if Rutter's 'Suite Antique', for
example, does look back half-heartedly to a distant past, it does so with
schmaltz that would have given Bach a bilious attack. The mere title of its
fourth movement, 'Jazz Waltz', crushes any sense that this is a composer
with any real connection to Bach.
US-based Welsh soloist Christopher D Lewis makes his debut here for
Naxos, and he plays with confidence and an appropriate sense of fun. In
truth, however, there is little in his programme to tax even an average
soloist. Conductor Kevin Mallon, as if emphasising Lewis's lightsome
approach, looks uncommonly cheery in the booklet photo. The joke is one
anyone who heeds the title 'Harpsichord Concertos' without considering the
three composer names given greater prominence.
As the title indicates, Rutter's Suite Antique is not a concerto at
all, and indeed it is the flute that is much more conspicuous. Annotator
Graham Wade's notes on Rutter's Suite are indicative: "an animated flute
solo that could well have been written for a modern musical. [...] The jazzy
Waltz which follows brings forward a catchy and energetic melody more
reminiscent of Brubeck than Bach. [...] Rondeau concludes the work, and
includes, at last, some moments of solo harpsichord". It is a pleasant
enough work, to be sure, sounding rather like the theme music for a 1970s TV
programme for children. Typical Rutter - but not a harpsichord concerto and
a million miles from the 'Brandenburg' no.5 of Bach it is supposedly based
on.
Glass's work is at least concerto-like in the usual sense. As
always, he comes up with attractive melodies and catchy rhythms which he
then subjects to rigorous centripetal ostinato treatment. As "one of the
most eminent and influential composers of the late twentieth century" he has
many admirers, and they will find much to enjoy here. Even allowing for
quasi-minimalist tendencies, this is an atmospheric work that is much more
interesting than Rutter's and, in the middle movement especially, does
clearly pay tribute to the Baroque era.
How Glass's post-modernism and Rutter's flute-led suite link with
Jean Françaix becomes immediately clear in the opening 'Toccata' of
the latter's Harpsichord Concerto, which features both in a very
21st-century soundscape. Some may be tempted to consider Françaix the
'proper' composer of the three on this disc, but this work shows that he
could also write music every bit as trite as Rutter. Graham Wade refers to
the "wit and elegance" of the Concerto, and he is right, in a way - but
Françaix is smug rather than spontaneous, ingratiating rather than
inspired.
Available to those who download or stream the product is a
three-minute bonus track for solo harpsichord called 'So Tango'. This is
mysteriously not on the physical CD, but it ought to be, as it would at
least leave listeners - momentarily, at any rate - in a positive mood, less
likely to dwell on the banalities inflicted on them by Rutter and
Françaix. Wade's notes are well written but, as mentioned elsewhere,
gratingly effusive. Audio quality is very good, with astute balance between
the sweet-toned harpsichord and chamber orchestra.
Byzantion
Contact at artmusicreviews.co.uk
The Glass comes up with attractive melodies and catchy rhythms but the Françaix shows that he can be every bit as trite as Rutter.
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