Graeme Koehne admits the influence of several
film composers, such as Raymond Scott, Henry Mancini and John
Barry, on his own music-making. Though this may be true to a certain
extent, this should not imply that Koehne
considers himself as a “musical illustrator”. However this nevertheless
gives a fairly indication of what Koehne is aiming at. His music is often tuneful, colourful,
expertly scored and directly expressive, without any attempt at
plumbing any great depth. This is music to entertain and to be
enjoyed for all it’s worth. True, it may sometimes sound eclectic,
but in much the same way as that of Leonard Bernstein; another
name that comes to mind when listening to these pieces, and one
that he does not mention as another possible model. The music,
too, is often set in movement and sustained by powerful rhythmic
ostinati, that might
sound as a bit too single-minded, at least for some tastes.
Unchained Melody,
Powerhouse
and Elevator
Music form a trilogy sorts, in an overtly popular idiom
of great appeal. The title of Unchained Melody is taken “from an
old, and at the time relatively obscure, 1950s pop song”, actually
composed by none other than Alex North. This boisterous song-and-dance
movement sometimes brought to mind another composer whom I much
admire:. the late Elmer Bernstein. Powerhouse
is a brilliant Scherzo in much the same vein. Elevator Music, a sort of
urban Toccata that often made me think of Leonard Bernstein (that
of, say, West
Side Story) and other American composers such as John
Adams or Michael Daugherty. This work is – so the composer tells
us – based on a twelve-tone row, “which introduces a possibility
[I] wish Schoenberg had thought of – one day playing tennis with
Gershwin, perhaps”. In fact, the three parts of the trilogy almost
sound as variations on the same basic material.
In the oboe concerto Inflight Entertainment,
Koehne “has taken the oboe away from
[its] traditional scenery into some landscapes in which the instrument
might seem strange and alien”. The first movement opens with a
recitative, at first pastoral in mood, but quickly getting more
animated, and leading into the main movement, which might have
been titled “A Shepherd in Sydney”, or something of the kind.
The second movement is mostly song-like in character, almost an
operatic aria and one displaying Koehne’s
seemingly inexhaustible melodic fund to the full. The piece is
rounded-off by a lively, dance-like Rondo. A very attractive piece
displaying impeccable oboe playing by Diana Doherty.
Allow me to quote the composer again: “In the oboe concerto, I am aiming
to bring the kind of imaginative excitement I got from music I
hear in the cinema ...” These words also perfectly sum up what
is to be heard in the other pieces recorded here. No earth-shaking
masterpieces; but four beautifully crafted, attractive and unpretentious
works by a composer who obviously knows how to handle orchestral
forces to great effect. Very fine performances and recording all
round. A quite enjoyable release.
Hubert Culot
Koehne: music that is often tuneful, colourful, expertly scored and directly
expressive, without any attempt at plumbing any great depth ...
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