Bryan KELLY (b. 1934)
Orchestral Music Volume II
Fantasy Overture: San Francisco (1975) [11:46]
Calypso’s Isle (1999) [3:56]
Concerto da camera (1972) [12:52]
Four Realms Suite (1972) [12:12]
Capricorn (2000) [11:09]
A Christmas Dance (Sir Roger de Coverley) (2010) [2:29]
Concerto for Two Trumpets (1982) [10:31]
Comedy Film for orchestra (1963) [12:22]
Rec. 1968-2018
HERITAGE RECORDS HTGCD180 [77:17]
The first piece of Bryan Kelly’s music I ever heard was his Exultate, included in the Oxford Book of Modern Organ Music, Volume 1 (1965). This would be around 1974. It was played at the end of the service in a Glasgow church. Since then, I have come across a few odds and ends by this composer, including anthems, carols and liturgical music – and, on a much larger scale, his Symphony No.1. This CD introduces the listener to a wonderful selection of Kelly’s orchestral music.
The Fantasy Overture: San Francisco was commissioned by the Royal Philharmonic Orchestra, and premiered at the Fairfield Hall, Croydon sometime in 1975. Clearly, Bryan Kelly had recently visited that West Coast city. Philip Lane’s liner notes xplain that “the composer was amused to find along Fisherman’s Wharf, groups of musicians playing for money. These included a folksinger with guitar, two trumpeters, a solo violin and a jazz band…” Somehow, Kelly has managed to work these diverse elements into his score. There are quiet moments, where some reflection on the scenery and the history of the city are perhaps being contemplated. The overall mood is a good balance between pizzazz and contemplation. The only issue with this Overture is that it is a mood picture, with musical diversions that may be a touch too eclectic and episodic for some tastes. But in the round, this is an interesting and effective portrait of The Golden City.
Next, a visit to the mythological Calypso’s Isle. This piece is a short interlude from Kelly’s Look Stranger, on this island, for soloists, chorus and orchestra (1999), with a wide-ranging selection of texts by W. H. Auden, Derek Walcott, George Mackay Brown, William Shakespeare, John Masefield and Andrew Marvell. Calypso was a nymph or a goddess who lived on the island of Ogygia, which may be the modern Gozo. In the story, she attempted to detain Odysseus from his voyage. Calypso managed this for seven years before Hermes ordered her to release him. Kelly has created a superb evocation of this mysterious island. The music is normally restrained, but just occasionally restless. The masterly scoring reveals not only an “Isle…full of noises” and a “thousand twangling instruments” but “sweet airs, that give delight, and hurt not” (Shakespeare’s The Tempest).
The Concerto de Camera was a wedding gift for Kelly’s friends, the oboist Deidre Lind and the conductor Marcus Dods. The liner notes say that it was completed in 1972. The opening, a Moderato giocoso, is presented in a crafty sonata form. It is lively and rhythmically diverse. The thoughtful Aria balances a heartfelt melody with a chipper central section. It is the highlight of this concerto. The finale is a straightforward, good old-fashioned scherzo, with a lively minuet, and a darker but equally fast trio. It closes with a cadenza, challenging for the soloist. This is a great concerto, which all oboitsts should have in their repertoire. It is so much more than just light music: a work that is interesting and arresting from the first note to the last.
The Four Realms Suite never lapses into parody or quotation. It was composed in 1972, and won a BBC competition for light orchestral music. The concept of the Suite is to highlight various national traits. It is not explained just what these are. The titles of the movements may help. First up, is an English Jig, lively and a touch nautical. Then follows a Welsh Choral March, which balances slow music for brass with some capricious adventures for the woodwind. The Scottish Air is my favourite moment. This is a wistful exploration of a lovely tune, with just a touch of Celtic magic. It does not descend into tartanry at any point. It makes me think of sitting beside Loch Lomond, reflecting on past-what-might-have-beens. The finale is an Irish Reel; little more need be said. It brings this well-constructed and beautifully scored work to scintillating finish.
It is hardly surprising that Capricorn has to do with the stars. It is a set of five variations on a theme. It does not take an astrological aficionado to divine that the work’s purpose is to display some of the characteristics associated with the eponymous star-sign – sensitivity, confidence and intelligence. After the original theme, played on the clarinet, successive variations feature a lively tune exploring changing time signatures, a pensive slow movement, two energetic numbers which may or may not be a march and a dance respectively. The piece ends with sadness and soul-searching. One characteristic of the Capricorn is its craftsmanship. Every bar reveals Kelly’s coincidence with the star sign’s attributes.
A Christmas Dance (Sir Roger de Coverley) is taken from a larger composition, Scrooge for narrator and orchestra. The dance is heard during the party at Scrooge’s relations after he has become a changed man. It is just a little too short to gain a life of its own.
The Concerto for Two Trumpets was originally written for soloists and organ, and later orchestrated for strings. This piece, difficult to perform, showcases the trumpeters’ technique. The three movements are varied, with the thoughtful Andante providing the elegiac heart of the concerto. The final Allegro is a romp that brings this exciting work to a dramatic and finely executed conclusion.
The concluding work on this CD is Comedy Film (1963). The liner notes explain that this was one of several “orchestral suites, overtures and short pieces” written specifically for the wireless, when light music was often heard on the BBC. It is an imaginary film score which allows the audience to bring their own plot to the party. After the vibrant and sweeping Credits and Titles, the music progresses to Night Music. Is the story going to be a romance? Perhaps. On the other hand, the Comic Interlude suggests something a little bit more Carry On. The Theme Song could be from any genre, maybe even a whodunnit. There is a touch of ‘pop’ here. The final scene is full of pure energy, vim and verve.
This is a splendid CD. It is full of interesting music that provides the listener with pleasure and delight rather than major challenges. Several soloists, orchestras and conductors contribute to the success of this release. The recording is bright and clear, and the playing second to none. The liner notes give all the necessary particulars about the music.
There is no doubt that Bryan Kelly is a master of the orchestra. Hopefully more music from his pen will soon find its way onto CD. YouTube features the composer’s Symphony No. 1 (1983) but the sound is not particularly good; from what one hears, the work deserves a full professional recording. Maybe record producers will have a listen…
John France
Performers
Rachael Clegg (oboe), John Bradbury (clarinet), Michael Allen and Tim Hawes (trumpets), Royal Ballet Sinfonia/Ronald Corp (Fantasy Overture, Calypso’s Isle), Gavin Sutherland (Concerto for two trumpets); Manchester Sinfonia/Bryan Kelly (Concerto da camera), Philip Spratley (Capricorn); RTE Concert Orchestra/Gavin Sutherland (Four Realms, A Christmas Dance); Raphaele Orchestra/Erwin Rondell (Comedy Film)
Recording details
Angel Studios, London, 14 November 2018 (Fantasy Overture, Calypso’s Isle); 24 March 2016 (Concerto for Two Trumpets); St Thomas’s Church, Stockport, 18 January 2018 (Concerto da camera, Capricorn); RTE Radio Centre, Dublin, 1 September 2015 (Four Realms Suite); 20 October 2014, (A Christmas Dance); Munich, 18 September 1968 (Comedy Film)
