Christopher GUNNING (b. 1944)
Symphony No 5 (2009) [51:40]
String Quartet No 1 (1999, rev. 2006) [24:16]
Royal Philharmonic Orchestra/Christopher Gunning
Juno Quartet
rec. January 2008, Cream Studios, London (quartet); May 2011, Air Lyndhurst Studios, London (symphony)
SIGNUM CLASSICS SIGCD676 [75:76]
Anyone who has seen David Suchet as Hercule Poirot knows Christopher Gunning, whose music for “Poirot” is merely the most prominent of his many scores for films and television. In addition, Gunning is a frequent reviewer for MusicWeb International’s Seen and Heard, but in the last twenty years or so he has also become known for his concert music: twelve symphonies and eight concertos, as well as other orchestral and chamber music, most of it available on CD. This particular CD was reviewed by John Quinn at its original release on the Discovery Label in 2013.
The String Quartet was one of Gunning’s first concert works. Its four movements are all based on the three-note motif C-D-G and they all involve an element of doubling or repetition in their form-passacaglia, fugue, ostinato, etc. The basic sound in the first two movements is somewhat reminiscent of Bartók, while the third and fourth movements favor the Russian school. Gunning’s structural ability is evident throughout, but it is in the last two movements that the music really shines emotionally, especially the last movement with its heart-felt development of the basic motif.
Many of Gunning’s symphonies are one-movement works, but the Symphony No 5 is large-scale, and in four movements. It is dedicated to the composer’s sister Rachel, who, as the composer tells us, was enduring her final illness while the work was under way. He also states that “…the music moves through several phases which could be said to correspond to one’s journey from birth to death.” The whole symphony is based on wood-wind murmurings heard at the outset, plus scurrying strings and a horn call. The central slow section is very expressive and beautifully orchestrated; listeners may be reminded in different ways of the symphonies of Malcolm Arnold and George Lloyd, especially the latter. The return of the main motif is very subtly done, and the movement ends quietly.
The second movement starts off like the first but quickly becomes more serene and gradually the listener feels as if they had entered the world of childhood, with a little help from Ravel. This is very affecting music, which continues up to a triumphant final statement and a quiet coda. The third movement is full of “vitality”, as Gunning mentions in his notes, which is accentuated by his skillful use of percussion. The last movement starts as a conflict between lyrical and abstract elements, but the abstract ones eventually win out as bells herald a gradual slowing of tempo, with an adroit use of solo instruments. There is a final dramatic statement and then it all drifts away.
Gunning gives high marks to the Royal Philharmonic for their performance, but he deserves the same for his conducting: he has a very firm control of the orchestra’s sound, brings out all of the symphony’s orchestral colors, and does especially well with the solo instrumentalists. The performance by the Juno Quartet is also fine. All told, this disc should win new friends for the concert music of Christopher Gunning.
William Kreindler
