Edward GREGSON (b.1945)
Instrumental Music
Three Matisse Impressions for flute and piano (1993) [10:07]
Serenata Notturna for violin and piano (1998) [8:37]
Cameos for trumpet and piano (1987) [13:14]
Oboe Sonata (1965) [11:31]
Alarum for tuba (1993) [8:06]
Love Goddess for viola and piano (2020) [7:34]
Divertimento for trombone and piano (1968) [7:02]
Tributes for clarinet and piano (selection) (2010) [10:08]
Amy Yule (flute); Jennifer Galloway (oboe); Sergio Castelló López (clarinet); Gareth Small (trumpet); Katy Jones (trombone); Ewan Easton (tuba); Yuri Torchinsky (violin); Tim Pooley (viola); Paul Janes (piano)
rec. 24-25 September 2020, Victoria Wood Hall, Hallé St Peters, Manchester.
NAXOS 8.574224 [76:50]
Many listeners will immediately associate Edward Gregson with the world of brass band music, a medium for which he has written extensively. However, he has also composed many orchestral, chamber, instrumental and choral work - and then there is music for film and television. Biographical information about the Gregson is available at his admirable website.
In 2020, Naxos released a CD dedicated to Gregson’s piano music reviewed here. The present disc complements this by featuring eight works for several instrumental groupings. It is a CD to take slowly and enjoy. It opens with Edward Gregson’s response to Henri Matisse’s paintings: Pastoral, Luxe, Calme et Volupté, and La Danse. For me, he has struck a great stylistic balance between the Impressionism of Debussy, a gentle Expressionism and Stravinskian primitivism. The shimmering Luxe, Calme et Volupté is a little masterpiece of the composer’s craft. The cleverly devised scales reflect the seductive charm of Matisse’s painting. Three Matisse Impressions for flute and piano was originally written in 1993 for recorder and piano but four years later, Gregson arranged it for recorder, strings, harp and percussion.
I am not sure about Serenata Notturna for violin and piano (1998). This has nothing to do with the fact that Gregson has used a tone-row or series as part of the superstructure of this piece. I guess that it is simply that I feel that too much is happening in a short space of time: turmoil, foreboding, a Danse Macabre and all ending with a primitive Lullaby. All very interesting, but just too diverse and it just doesn’t work for me.
The interesting thing about the Cameos for trumpet and piano (1987) is that they get harder as they progress. I cannot play the trumpet, but I feel that there are many technical challenges to encourage the tyro in their progress on the instrument. Listening to these pieces, it becomes clear why Edward Gregson is one of the leading composers for brass bands, yet, there nothing patronising here; each Cameo is a worthy musical statement. I agree with the liner notes that these interesting numbers should be played as a suite rather than as individual items.
The Oboe Sonata (1965) is an early composition; if Gregson had used opus numbers, it would be his Op.1. It is extremely accomplished. Three contrasting movements provide interest and variety: the opening Allegro giocoso provides a lively opening with two very dissimilar themes; the Andante Doloroso filters a bluesy nightclub mood through English pastoralism; the finale has a Latin Beat, with obvious nods to Leonard Bernstein’s America. This is one of the finest Oboe Sonatas that I have heard; it amazes me that it is not in the mainstream repertoire of all oboists. After all these years, this is the premiere recording. Let’s hope it reaches a wide audience of instrumentalists.
Alarum (1993) means “A Call to Arms”, yet, I do not feel that Gregson’s “take” in this title is in anyway warlike, so I guess that the military mood is derived from the antics of the solo tuba. The liner notes suggest “tribal like intensity” and “dominant personalities.” I think it is much less aggressive. There are two lots of musical material competing here: vibrant fanfares and bottom of the register groans. There is some lyrical music in the middle eight, before the piece closes with an errant dance, full of spicy rhythms. A Call to Arms? More like a debate between two grumpy old men with some interjections from a lovelorn youth. It is a great study for solo tuba and would be better entitled Étude.
Love Goddess (2020) was originally written for viola and strings but is reworked here for viola and piano. It is a lugubrious composition which seems to present the woes of love rather than its joys. It was inspired by Cheshire artist Dorothy Bradford’s (1918-2008) painting Goddess. The notes state that the reclining lady in the painting is “beguiling, peaceful and preoccupied.” The viola soloist is slated as singing a “love song without words.” There are nods towards Tristan and Purcell’s “When I am laid earth” from Dido and Aeneas, so, I really think that it is a tragic interlude based on classical mythology, celebrating one of these forsaken women: Ariadne, Medea or Dido. As such, it is a masterpiece.
I always think that the nomenclature Divertimento is a little patronising for many works that bear that title. I accept that Gregson’s music here may not be storming the gates of heaven, but it is much more than simply “diverting.” The listener will be captivated by the instrumental colouring the soloist Katy Jones draw from the trombone. This is especially obvious in the lyrical and pensive middle movement. The finale may be a mere Scherzino but there are some deeper moments in these pages. Originally devised as teaching pieces, there is nothing pedantic in these three divertimentos.
The last item on this CD is Three Tributes (from a series of five) for clarinet and piano. They are parodies or pastiches all. As Paul Hindmarsh states “each of them doffs a respectful cap to composers Gregson admires or has been influenced by.” These include Francis Poulenc, Gerald Finzi, Igor Stravinsky, Olivier Messiaen and Béla Bartók. All these gentlemen wrote great music for the clarinet. I wish that all five Tributes had been included; I would have been happy if those had been substituted for the Serenata Notturna. They are clever, thoughtful and authentic by turn. The tribute to Stravinsky is dark-hued and rhythmically incisive. The most beautiful is that recalling Finzi and it could easily become a Classic FM favourite if they would dare give it a chance. I enjoyed Gregson’s Tribute to Bartók with its energetic Hungarian rhythms and wayward melody; it makes a great finish to this new CD.
A strong group of soloists drawn from the Hallé and BBC Philharmonic orchestras bring erudition, vitality and interpretive understanding to all this music. I found every piece and movement splendidly played and interpreted. Naxos’s sound recording is excellent. The liner notes by Paul Hindmarsh are extensive and provide all the information required for enjoyment of this eclectic and wide-ranging music.
It is a cliché, but I do hope that there are several more CDs of Edward Gregson’s music “in the can”, be they instrumental, symphonic or chamber.
John France
