Phoenix
Paul PATTERSON (b. 1947)
Phoenix Concerto (2009) [24:19]
Ralph VAUGHAN WILLIAMS (1872-1958)
Oboe Concerto (1944) [19:30]
Herbert HOWELLS (1892-1983)
Oboe Sonata for oboe, string orchestra and harp (orch. Benjamin Wallfisch)
(1942) [23:37]
Emily Pailthorpe (oboe)
English Chamber Orchestra/Benjamin Wallfisch
rec. Henry Wood Hall, London, 7, 9 March, 16-17 May 2010
CHAMPS HILL CHRCD025 [67:26]
Emily Pailthorpe’s warmly sinuous yet well defined oboe sound has already
made its mark with two discs: Though
lovers be lost and Opera
divas. In this third disc her golden yield and glow can be heard in
two rarities and one classic.
You can learn more about Paul Patterson at his website.
You may also like to look at MWI’s reviews of his The
Hells Angels and the Cello
Concerto. His Phoenix Concerto - the longest of the three here - opens
in sylvan enchantment but soon picks up vertiginous speed. It emulates elfin
creature chased and perhaps not wanting to be caught - its flight is by no
means terrified. The central Tranquillo deploys a peaceful cello line
while Pailthorpe’s oboe explores some sultry labyrinth where the sun
beats down on rocks high above. There are times when this sounds akin to another
treasure of the repertoire: Malcolm Arnold’s oboe concerto. The rushing
and alert finale twists and turns in attractive intricacy.
We’ll ignore the otiose hyphen in Vaughan Williams’ name; Champs
Hill’s exemplary track record shows they know better. Fortunately it’s
the music that matters and this is a very fine performance. The soft turning
of this music has never been heard projected with such gentle warmth - at
least not on record. The Minuet and Musette dances in poetry. The fairy
flight, swooning ecstasy (1:10) and delicate dancing zephyrs of the third
movement are lovingly handled and poised.
There’s far too little Howells so we can be thankful for Benjamin Wallfisch’s
unerringly orchestrated Concerto fashioned from the Oboe Sonata. It’s
all very pastoral, verdant, lush and dreamy. The suggestion of heat haze off
yellowing sun-drenched fields is most sensitively done. The finale is a lovely
warm processional flecked with a little pulse of urgency. It is engagingly
Waltonian at times and when this happens there’s a rhythmic crackle
to the proceedings. Finally there’s a typically unhurried and breath-defying
faded decrescendo into that haze. Wow!
The notes are by none other than Malcolm MacDonald and are spot-on.
Rob Barnett
Pailthorpe’s warmly sinuous yet well defined oboe sound … its
golden yield and glow can be heard in two rarities and one classic.
For other reviews of the Vaughan Williams concerto, see here.