Carl VINE (b.1954)
Piano Concerto (1997)
Symphony 4.2 (1993 rev 1998)
Choral Symphony (1996)
Michael Kieran Harvey (piano)
Sydney Philharmonia Motet Choir
Sydney SO/Edo de Waart
ABC CLASSICS 456 698-2 [71.32]
I was alerted to Vine's existence by a favourable review in Fanfare. The
disc so warmly welcomed there was a coupling of Vine's Microsymphony
(1986), with his symphonies 2 and 3 (1988 and 1990). The works were played
by the Sydney Symphony conducted by the late Stuart Challender. That disc
is still well worth tracking down and my guess is that after hearing the
present disc this is exactly what you will want to do. It is on ABC 8.77000
5. Much of his chamber music (there are three string quartets) is available
on a pair of Tall Poppies CDs. These also include Michael Kieran Harvey playing
the two piano sonatas.
Vine was born in Perth. He more than flirted with electronics and was a founding
member of 'Felderman' which premiered more than seventy Australian works
with a sprinkling of new music from further afield. Like many another avant-garde
practitioner Vine has felt the magnetic pull of the symphony essaying the
Microsymphony in the late 1980s in response to a Sydney Youth Orchestra
commission. He is specially associated with a sequence of ballets: Poppy
(1978), Legend (1988), Tempest (1991) and Mythologia
(2000).
The Piano Concerto is one of three works written for Harvey, the other
two being Vine's two piano sonatas. The Concerto is gloriously approachable
without selling out to kitsch. Think in terms of Nyman's Piano Concerto but
with much more variety - more like a delta into which flows voices ranging
from Ravel's G major to Rachmaninov No. 4 (yes, I could imagine Michelangeli
playing this work), from early Shchedrin to Arthur Bliss (but without the
congestion which afflicts the Bliss Piano Concerto). Textures are clear as
glass; the tunes are stunning and the notes flow and skitter in diamantine
shoals. Shostakovich's second piano concerto is, presumably, another influence.
The brass chorale which rings out over the closing pages like a benison brings
to an end an absolutely stonking performance.
Symphony 4.2 is a less obvious work. By the way the reference to 4.2
does not make a link with Don Gillis's Symphony No 5½. It reflects (as
it might with a new software release) that the Symphony was revised and that
this is version 4.2 i.e. the first revision. The original version must be
4.1. The impression left by the work is an episodic one proceeding by way
of parataxis. The episodes vary from the dark subways of William Schuman's
string anthems to generously lyrical songs as in the marine depths also heard
in the concerto. The lyrical returns at the end with a sweetly singing solo
violin wresting beauty from foreboding. The Choral Symphony is even
better blending processional (as, for example, in the Paul Paray Mass) with
some extremely impressive apocalyptic storms. Dynamic bongo rushes and Orffian
choruses. Emphatically punched out massed strings and a half-Gallic spirituality
touching on Fauré and Rutter leave the enduring impression of a paregoric
for tragedy.
A stimulating disc which, once heard, is liable to have you rooting through
the lists to find the Challender Vine CD.
Rob Barnett
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