Although he may be best
known for some highly successful film scores such as that
for the IMAX film Antarctica (Tall Poppies TP012
- see review), Nigel Westlake has also composed a
good deal of chamber and orchestral music. This release is
in
fact the sequel to Tall Poppies’ earlier disc devoted to
his chamber music (TP047 that I have not heard so far), and
includes some fairly recent pieces, the earliest dating from
1997.
The Piano Sonata was commissioned
by Michael Kieran Harvey who gave the first performance at
the 1998 Sydney Festival. It is a compact single movement
piece falling into three contrasted sections (fast-slow-very
fast). The outer sections are brilliantly toccata-like in
character with much rhythmic and percussive writing, calling
for considerable strength and agility, whereas the central
section is a beautiful, lyrical outpouring.
The Hinchinbrook
Riffs is a short work for guitar and digital
delay, on which I commented when reviewing Tim Kain’s
earlier recording (on TP 169 - see review). It is an
attractive, fairly simple piece of music, in
which digital delay is used to create subtle displacements
of rhythm.
The Piano Trio, completed
in 2003, is a substantial piece in three movements. The first
opens in tranquillity: muted strings over flowing piano gestures.
The music, however, gains some momentum alternating rhythmically
alert and calmer sections before reverting briefly to the
opening mood, thus preparing for the contemplative mood of
the central movement. This is a beautiful reverie for violin
and cello supported by a simple piano accompaniment building-up
to a tenser climax before receding into tranquillity. The
Trio ends with a lively, virtuosic and dance-like finale,
with jazzy inflections. The music, however, tiptoes away
lightly.
The title of Kalabash for
percussion ensemble alludes to the African balofon, the forerunner
of the modern marimba, made of wooden bars suspended above
a collection of different-sized kalabash gourds. The music
neither quotes nor borrows from African music. This is foot-stamping,
hand-clapping and finger-snapping music of great fun; a real
showcase for percussion.
The String Quartet No.2
is the most recent work here, composed in 2005. Again, it
is a substantial work this time in four movements. The first
opens with fragmented, almost disparate elements that at
first clash against in a kaleidoscopic way, before the music
eventually coalesces while gaining some considerable impetus
to move towards its strongly assertive close. A short capricious
interlude follows, bridging into the tranquil mood of the
warmly melodic third movement. The music again reaches an
intense climax before dying away peacefully. The fourth movement
opens with a quasi-improvised introduction leading straight
into the concluding fast section, again full of vitality
and capricious, intricate rhythms.
All these pieces receive
immaculate and committed readings by musicians who clearly
believe in the music and relish every ounce of it. Very fine
recorded sound too.
This generously filled
disc will appeal to those who already know some of Westlake’s
music, and who want to know more about it. On the other hand,
his music is, I think, likely to convince “unbelievers” that
contemporary music can also be attractive, beautiful and
accessible. A lovely disc that I thoroughly enjoyed from
first to last.
Hubert Culot
see also review by Jonathan Woolf
AVAILABILITY
Buywell
Macquarie
Trio Australiaa; Craig Ogden (guitar)b;
Goldner String Quartetc; Synergy Percussiond;
Michael Kieran Harvey (piano)e 
