Alongside many other
enterprising ventures, Hyperion have
put us in their debt with their impressive
Simpson series. As far as symphonies
are concerned the present release completes
the cycle. Moreover, the Variations
on a theme by Nielsen, one of
Simpson’s most enjoyable and approachable
works, have – at long last – found their
way onto disc. (My fingers are still
hurting for having been kept crossed
for so many years!). I have long loved
this marvellous work, and I cannot understand
why it is not heard more often and why
it has remained unrecorded for so many
years. Now, here it is in a superb performance,
carefully prepared, magnificently played
and entirely convincing. Simpson’s long-lasting
affection for and understanding of Nielsen’s
music are well known, and his book (Carl
Nielsen, Symphonist) remains indispensable
reading for anyone interested in the
Danish composer’s work. Nielsen’s shadow
has loomed large over Simpson’s symphonic
output, more in spirit than in letter.
However the Variations
are the only work of his that pays a
direct though entirely personal tribute
to Nielsen. The theme chosen by Simpson
comes from some incidental music written
in 1925 for Bergstedt’s play Ebbe
Skammelsen, thus more or less contemporary
with the enigmatic Sixth Symphony. Simpson
alone could have lighted on that theme,
for who else may have known that score?
The theme is scored for wind instruments;
and its jollity conceals some unexpected
things, for each instrument or group
of instruments goes on its own way,
each in its own tonality, something
that surely appealed to Simpson. The
Variations, though they
are played without a break, fall into
two large sections of fairly equal length,
viz. theme and nine variations and a
long Finale. Moreover, the first part
itself falls into four different sections:
theme and variations I-III forming the
introduction, variations IV-VI forming
a Scherzo-like build-up to the climactic
seventh variation, variation VIII being
a quicksilver, humorous Scherzo leading
into the ninth variation (the longest
one) functioning as the slow movement.
The whole set is then capped by the
imposing Finale. This superb work is
as intricately worked-out as anything
else in Simpson’s symphonic output,
but the colourful scoring as well as
the energy and humour displayed throughout
make it one of Simpson’s most endearing
achievements.
The Symphony
No.11 was written for Matthew
Taylor after Simpson had heard him conduct
a performance of his Seventh Symphony
with a (mostly) student orchestra. So,
no wonder that Taylor took over from
Vernon Handley here, the more so that
Taylor actually conducted the work’s
first performance. When compared to
the monumental Ninth and Tenth Symphonies,
the Eleventh Symphony is shorter and
more economically scored, and – on the
whole – rather more austere and restrained
than any of its predecessors, although
it too has its grand moments. It is
in two movements of equal length, i.e.
a long predominantly slow movement and
an equally long and weighty Finale.
The lighter, chamber-like textures emphasise
the strictly contrapuntal writing of
much of the music. This is particularly
striking in the somewhat understated
first movement. The Finale opens like
a light-footed Scherzo à la
Mendelssohn, but soon gathers considerable
momentum, briefly relieved by more static
episodes, finally reaching a towering
climax punctuated by defiant, menacing
timpani strokes, before dissolving into
the ambiguous coda, "until the
whole things ends with a flick of the
wrist, as if dismissed" (thus Robert
Simpson as quoted in Taylor’s notes).
Simpson’s Eleventh Symphony, however,
should not be regarded as a musical
testament of some sort, but rather as
a pointer towards new directions he
might have followed. This is how I understand
its somewhat inconclusive ending.
This release, appropriately
dedicated to the late Ted Perry, is
up to Hyperion’s best. Performances
and production are simply magnificent,
so that this splendid disc is warmly
and unreservedly recommended. My record
of the month, for sure. Maybe Hyperion
will now manage to record Simpson’s
concertos?
Hubert Culot
City of London Sinfonia/Matthew Taylor