I began my exploration of this
new disc of music by Philip Wood with the short ‘Lonsdale Dance’ written for
unaccompanied descant recorder. The work carries a subtitle ‘Champêtre’ which implies
that a pastoral mood was intended. The ‘Lonsdale’ in question is located in Westmorland
and was once described by John Ruskin as having ‘moorland hill, and sweet river
and English forest foliage…at their best.’
The Dance, which is conceived in two contrasting sections was written to
explore the resources of the recorder and display John Turner’s virtuosity: it
succeeds on both counts. Lonsdale Dance’ is dedicated to Lady Caroline, the
then Dowager Countess of Lonsdale.
I moved on to what is probably
the most significant piece on this CD, the Concertino for recorder and string
quartet. This work was composed some 15
years ago for the present players and was first performed at a Royal Northern
College of Music concert in that year. The Concertino is in two movements (I
could have wished for a third) and presents some involved passage work for
soloist and quartet. The opening movement is dark and lugubrious (muted
strings) with reflective playing on the treble recorder. However, the second
movement livens things up considerably with a change of instrument to descant
recorder with spiky, aggressive music from all the players. There are some
interesting tonal effects from the soloist. Altogether an enjoyable and
approachable work that deserves a place in the concerted recorder repertoire.
I then chose to explore the ‘Five
Spring Songs’ which are settings of a wide range of poets including W.E.
Henley, Christina Rossetti, Henry Vaughan, George Peele and ‘Anon.’ These were written
in 2011 as a birthday gift for Wood’s composer and friend Nicolas
Marshall. The songs were designed to
reflect ‘nature, birdsong and youth’ rather than ‘age and advancing years.’ I
enjoyed the interesting combination of recorder, cello and harpsichord
supporting the stunning soprano voice of Lesley-Jane Rogers. These songs have
no sense of ‘antique parody’, in fact, this particular ensemble has the effect
of making them timeless. The choice of poems is imaginative: I especially relished
Peele’s ‘When as the Eye,’ with its ‘strawberries swimming in the cream…’ made
famous in Benjamin Britten’s Spring
Symphony.
The Partita for recorder and
cello is a ‘pick and mix of character pieces’ composed once again for John
Turner. The key elements of this suite are the evocations of dawn (Aubade) and nightfall
(Nocturne). The one is ‘full of noises, strange sounds’ as the birds perform their reveille
and the other is dark and introverted. The birds in this movement have
something of the night about them. Other pieces include a short, doleful
chaconne, a dynamic capriccio and a rumbustious ‘moto perpetuo.’ The Partita
was premiered in 2003 as a part of the Salford Mayfest.
The Two Motets are written for
solo soprano with no accompaniment. They are settings of the well-loved
liturgical texts ‘Ave verum corpus’ and ‘Ave Maria’. There is a simplicity here
that is both moving and inspirational. They are beautifully sung by Lesley-Ann
Rogers.
The CD opens with what is the
most ‘substantial’ of the three songs cycles presented here. ‘Sonnets, Airs and
Dances’ has six movements and is given the form of a masque or renaissance
cantata. The singer is accompanied by the recorder and harpsichord. The verses chosen are diverse and include
John Donne’s frankly depressing ‘O my blacke Soule’ which is presented in
declamatory style with no accompaniment. This is followed by a quirky little
forlane for instrumentalists alone. The
mood is lightened with the anonymous ‘Come away, sweet Love’ for all the
soloists and ‘Now is my Chloris fresh as May.’
Once again, the mood changes with a charming ‘Sarabande’ for recorder
and harpsichord. The ‘cantata’ closes
with John Keats’ mediation on sleep, ‘O soft embalmer of the still
midnight.’ This is an important work
that defies stylistic categorisation: it is ageless in its impact.
The Aria, Recitative and Rondo
for countertenor and cello was expressly written for the fine counter tenor
James Bowman. Wood writes that they are ‘in essence three love songs and
explore youthful love, sensual love and the more bawdy aspects of lust,
respectively.’ It includes poems by Arnault Daniel, a 13th century
troubadour, a ‘Riddle’ by Adrian Mitchell and a bit of macaronic Latin by John
O’ Keefe. This significant work is ideally suited to Bowman’s fabulous voice.
A word about the composer. Philip
Wood was born near Leeds in 1972 and studied Music and Drama in Northampton and
later at Leeds University. In 2003, he was awarded a PhD in composition. Over
the years he has received many commissions for a wide variety of works including
orchestral, choral, chamber and instrumental. Influences include ‘a passion for British
music’ with ‘mainstream’ figures such as Ralph Vaughan Williams, Gustav Holst,
William Walton and Malcolm Arnold. He also owes a debt to ‘lesser known names’
including William Alwyn, Bernard Stevens, Edmund Rubbra, Alan Rawsthorne and
Arnold Cooke. A dominant influence on his word setting is Benjamin Britten.
The liner notes written by the composer
are necessary reading and include details of each work. Texts have been
included of all the vocal numbers. Brief notices are given of the musicians and
Wood himself.
The sound quality of this Divine
Art disc is clear and vibrant. The playing by all the performers is, as would
be expected, absolutely splendid.
Special commendation goes to John Turner’s superb recorder playing and
Lesley-Jane Rogers’s delightful soprano voice.
Philip Wood indicates that this
album is a ‘cross section of songs and chamber music written over an eleven
year period.’ Most of these pieces have been written as a ‘special gift’ or a
‘gesture of thanks or goodwill.’ Perhaps the dominant figure in all this is ‘John
Turner, [who] as well as his enthusiasm, encouragement and passion for
music-making…has made this recording possible.’
It is a sentiment with which all listeners will readily concur.
Track Listing:
Sonnets, Airs &
Dances: Songs and Chamber Music
Philip WOOD (b.1972)
Sonnets, Airs and Dances (2005)
Five Spring Songs (2011)
Two Motets (2004)
Partita for recorder and cello (2000)
Aria, Recitative and Rondo for countertenor and cello
(c.2003)
A Lonsdale Dance (2007)
Concertino for recorder and string quartet (2000)
Lesley-Jane Rogers (soprano), John Turner (recorder), Harvey
Davies (harpsichord), Heather Bills (cello), James Bowman (counter-tenor), Jonathan
Price (cello), Manchester Camerata Ensemble: Richard Howarth (violin), Julia
Hanson (violin),Tom Dunn (viola), Jonathan Price (cello)
DIVINE ART dda
25131
With thanks to MusicWeb International where this review was first published.
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