When I first
received this CD I dreaded that is might be another example of music inspired
(if that is the word) by the Italian composer Ludovico Einaudi. In spite of his
popularity, he is a composer that leaves me utterly cold. To parody
Stravinsky’s comment on Vivaldi, he appears to have written the same piano
piece at least three score times. The New-Age blend or fusion of minimalism and
pop is something that I cannot come to terms with. However, I was wrong.
David Jennings is a composer who is beholden to no-one (in spite of a number of
trajectories in his musical language). It is serious, well-structured music
that I can do business with. And, more to the point, many of these pieces are
not only impressive, but are interesting, satisfying and often moving. No
listener (or composer) could wish for more.
This
present CD represents David Jennings complete ‘musical offering’ for piano – so
far. The earliest work is the impressive Piano Sonata, Op.1 which was written
back in the 1980s. The most recent pieces are virtually ‘hot off the press’
having been composed in 2009/10.
The
composer’s website gives a brief biography, however three things can be said
that will help the potential listener approach this music. Firstly, David
Jennings is a Yorkshireman, having been born in Sheffield in 1972. Nevertheless,
he has crossed the Pennines on a number of occasions including study at
Manchester University with John Casken and his membership of the Lakeland Composer’s
group.
Secondly,
Jennings has had a wide range of musical and non-musical influences. He has a
great interest in art, especially the 19th century English water-colourists
– which he feels are ‘an inspiring marriage of technique and expression’. It is
a quality that he exhibits in his music. The composer is stimulated by the
North Country landscape, particularly Yorkshire (naturally) and Northumberland.
From a musical perspective, I mentioned ‘trajectories.’ These include Fred.
Delius, Kenneth Leighton, Gershwin and Frank Bridge. In the Sonata I felt that
the ghost of Sorabji was haunting some of the music.
The
first piece I listened to came as a wee bit if a revelation. I noted above that
I feared music by an Einaudi groupie. Nothing could be further from this with
the Prelude & Fugue, Op.6. The Prelude uses twelve-tone procedures
‘throughout’. This section of the work was composed in 1992 ‘as a response to
newer musical influences encountered at university.’ The Fugue had to wait a
number of years before being written, with the complete work being issued in
2010. The Prelude is written in a
lyrical form of serialism that also hints at jazz. Whereas the Fugue is a
tightly knit piece that is austere and musically sarcastic. To my ear the fugue
subject metaphorically ‘sticks out its tongue.’
Next,
I decided to listen to the Three Sonatinas, Op.2. These miniatures were composed in the late
nineteen-eighties, when the composer was still in his teens, although they have
been subject to a little ‘mature’ revision. David Jennings suggests that they
belong to the tradition of Robert Schumann’s Kinderszenen. However, like the German master they are a considered
balance of innocence and subtlety. Nowhere is there any suggestion that they
are children’s pieces. These are urbane, nostalgic pieces that never become
mawkish. Technically, they appear to be demanding and are always musically
satisfying. Finally, David Jennings has
wisely chosen to cast this set as ‘sonatinas’ rather than ‘character pieces’:
they deserve to be listened to as a ‘cycle’ and in the order presented on this
dis. For the record, my favourite ‘piece’ is the beautifully written Nocturne
from Sonatina No.2.
The
longest work on this CD is the Piano Sonata, Op.1 which was composed around
1988 when the composer was ‘nobbut a lad’! However, it is a magnificently
impressive work for an Opus 1, in spite of a little tinkering in 1995. This is a big work in all senses of the word
– lasting over twenty minutes, the music fills out a grand canvas with its
musical invention. I was reminded of
Sorabji in this work. Not so much in the sound of the piece but in the
ethos. The Sonata exhibits a certain
waywardness in the working out of themes – they seem to me to be derived by a
sort of continuous development rather than straightforward eight bar themes.
Much of musical background is complex: impressionistic colouring is used. There
is considerable ornamentation featured in these pages. The music sounds
difficult to play. The harmonies, although largely post-romantic in their
effect are wilful. And finally there is a mystical quality to much of this
music that could be derived from a sense of landscape. Some of these attributes
often feature in Sorabji’s massive musical canvasses.
The
opening Ballade is ‘deceptively
serene’ but soon becomes somewhat more aggressive in its tone. The
jazz-coloured Scherzo is as dry as bone – but infinitely varied and intricate
as it explores a variety of time signatures.
The third movement, a romance’ is deeply felt. This is introspective
music that explores considerable depths. Jennings well-describes this as
consolatory music and he is correct. There is a little relief in the ‘trio’ section;
however the dominant mood is restored towards the conclusion. Finally, the ‘Finale’
is cast as a rondo. This is a noisy, splashy piece, which explores a number of
moods including jazz. There are a couple of episodes that present a mood of
calm, but the prevailing exuberance wins the day.
I
loved this Sonata. It is surely one of the best examples to have come from the
pen of a British composer for many years.
The
Miniature Suite, Op.18 is a wonderful piece of Bach parody. The composer’s aim
has been to recreate ‘aspects of Baroque style in an updated form.’ The opening
‘Prelude’ is a little ‘toccata’, which nods to a well-known J.S.B. war-horse.
Amusingly, the liner notes suggest that the composer was inspired to write the
‘Air’ after watching a ‘remarkably lazy cat going in and out of slumber.’ The
third movement is a little ‘Invention’ that has some un-Bachian twists and
turns. This is followed by a gorgeous ‘Romance’ which was inspired by a walk
along the equally lovely Lancaster Canal: it is the most substantial movement.
The Suite concludes with a well-contrived fugue, which brings this ‘modern’
piece to a rollicking conclusion. Jennings does seem to be rather good at
writing fugues – which is a breath of fresh air in this post, post modernist
age in which we live.
The
final work is the important and impressive Harvest
Moon Suite, Op.19. This six movement work was inspired by six nineteenth
century watercolours. However, it is not a North
Country Pictures at an Exhibition: Mussorgsky’s music was largely dramatic,
whereas Jennings has opted for a romantic, lyrical and often reflective mood.
It is here that I am reminded of York Bowen, although the composer assures me
that he had only heard a handful of pieces by this composer before he set to
work on the score. I believe that it is the subtle balance between bitter and
sweet and romantic that suggests this similarity. The musical pictures include
Aira Force, The Haunted Abbey and Harlech Castle. It is a very lovely work.
This
is a beautifully produced CD in every manner. The sound quality is outstanding,
with every nuance of the music being clear. The programme is considerable in
both scale and concept: the ‘complete piano work lasting over 78 minutes. The
interpretation of these pieces by James Willshire is everything that could be
wished for. I loved the painting by
Edward Richardson of ‘A Castle in Yorkshire’ – although it is not too close to
the composer’s native heath. In fact, it is Barden Tower in Wharfedale. This
was a place beloved by Frederick Delius and has latterly become one of Jennings
haunts too. The liner notes by David
Jennings are well judged and helpful.
This
is a CD of piano music that is inspiring and challenging. I have noted one or
two musical signposts in the course of this review. However, I do want to point
out that David Jennings has discovered his own voice. It is, as Jomar de Vrind
has noted, a successful balance between not being ‘ridiculously reactionary and
horrendously modern’. One can but hope that there are much more inspired piano
works to emerge over the coming years. In addition, I would love to hear some
of works in other genres, such as the Lincoln Imp for Orchestra, the Oboe
Sonata and the String Quartet.
Finally have a look at David Jennings' excellent Web Site .
Track Listing:
Track Listing:
David
JENNINGS (b.1972)
Piano
Sonata, Op.1 (1988/95)
Sonatina
No.1 Op.2 No.1 (1980’s)
Sonatina
No.2 Op.2 No.2 (1980’s)
Sonatina
No.3 Op.2 No.3 (1980’s)
Prelude
and Fugue Op.6 (1992/99)
Three
Lyrical Pieces, Op.17 (2010) Miniature Suite, Op.18 (2010)
‘Harvest
Moon’ Suite, Op.19 (2009-10)
James
Willshire (piano)
DIVINE ART dda25110
With thanks to MusicWeb International
where this review first appeared.
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