This new CD of orchestral and
choral music by Adam Pounds opens with a splendid symphony. This work was
completed in 1985 and was given its premiere on 29th November 1985 at the Walthamstow
Assembly Hall. The Nelson Orchestra was conducted by the composer.
The overall impression of this
approachable work is one of contrast between anger and sheer beauty. The entire
first movement is predicated on the opening ‘dramatic’ three note motive that
will come to permeate the entire work. Here, progress is presented as a
contrast between an edgy ‘first subject’ and a mood of introversion. Rather
than imagining this movement in standard ‘sonata form’ I hear it as a series of
panels – reflecting the two contrasting tempers. Much of the scoring is powerful
and even aggressive, but this is offset by much lighter orchestration that is
often ‘ethereal’ in effect. The ‘adagio’
is designed to represent ‘a cold winter wasteland.’ Certainly, anyone familiar
with the Cambridgeshire Fens and/or the poetry of John Clare, will find much of
interest in the ‘icy’ instrumentation. The third movement is truly imaginative.
This perfectly balanced scherzo with a catchy trio was meant to be
‘aggressive’: I imagine it more as ‘playful’ with a mischievous edge. There are
some nods to Malcolm Arnold and William Walton. The ‘scherzo’ segues straight
into the finale, which is ‘toccata-like’ in its explosion of sound. Material
from the opening movement and the adagio is reprised.
This is a thoroughly entertaining
symphony, that could be labelled as ‘Cheltenham.’ For me that is not a pejorative
term’ – many of my favourite Symphonies are defined as belonging to this genre.
As an aside, fifty years ago (1969), Adam Pounds’ teacher Lennox Berkeley’s Third
Symphony was premiered at the Cheltenham Festival. Pounds’ essay is
characterised by interest, excellent orchestration and ‘traditional’ form. It is well-played on this recording by the Academy
of Great St Mary’s conducted by the composer.
The London Festival Overture was
commissioned by the London Borough of Waltham Forest with funding from the
Greater London Arts. It was completed during 1987 and received its first
performance in June of that year at the Walthamstow Assembly Hall. Pounds
conducted the Nelson Orchestra. The whole mood of this work is one of sheer
exuberance. The liner notes explain that five themes are presented in this
Overture: they are played individually, combined and recombined. The work is characterised by a massive
battery of percussion including tom-toms and roto-toms. There is also a call
for a saxophone. A powerful, but beautiful, string theme tries to establish
itself but never seems to quite get there until the final bars. It is always displaced by the energy of the
brass and percussion. Pounds has suggested that the mood of the work presents
an ‘urban environment…that would fuse several styles together.’ There is a
reminiscence of Malcolm Arnold’s Symphony No.4 in these pages. The reader will
recall that work was written in the
aftermath of the 1960s Notting Hill riots.
I am not too sure how much street
‘cred’ the overture would have had in North London. It is more West Side Story, 1961, than Hackney Hip
Hop, 1987. The recording was made at the premiere performance and includes a
few seconds of applause.
I guess that the listener may
expect a work entitled the ‘Martyrdom of Latimer’ to be an oratorio, a cantata
or even an opera. In fact, it is an orchestral piece: a tone poem. It was
commissioned by the Ely Sinfonia to celebrate their tenth anniversary in 2009. Pounds writes that ‘it explores the final days
of the cleric Hugh Latimer’s life, his death at the stake and his martyrdom.’
For the record, Hugh Latimer (c.1487-1555) was one of the Oxford Martyrs who
were burnt at the stake in Oxford on 16 October 1555 under the auspices of the
Catholic Queen Mary. Nicholas Ridley was martyred on the same day and Thomas
Cranmer the following year on 21 March 1556.
The music progresses from the
quiet opening, by way of a ‘bell like statement’ in the orchestra leading to a
huge climax. This is followed by a desolate ‘adagio’ featuring an oboe solo.
The tensions build up to the moment of martyrdom, complete with swirling
flames. I understand that the composer was asked to especially ‘explore the
concept of resurrection in the piece.’ To this end he has provided a powerful
brass coda, which manages to create a sense of optimism, if not triumph.
‘Martyrdom of Latimer’ is an
impressive and moving work. The whole tenor of the music is a powerful
mediation on the death of the Bishop and the renewed ‘life’ of the Martyr in
heaven. It can act as a metaphor for ‘martyrdom’ in general. I have noted
before that it is possible to listen to this superb tone-poem as a legitimate
piece of abstract music.
The final number on this CD is
the hugely impressive London Cantata.
The work was specifically composed for the ‘combined forces of the Academy of
Great St. Mary’s and the Stapleford Choral Society. It is scored for a normal
sized orchestra, baritone solo and standard four-part chorus and was composed
during 2016-2017. It received its premiere at Great St. Mary’s Church,
Cambridge on 23 September 2017. The present recording supersedes that made in
2017 and reviewed in these pages.
The uplifting opening section of
the London Cantata has overtones of
William Walton and George Dyson. Both these composers set the Scottish poet
William Dunbar’s most enduring poem, ‘In Honour of the City of London’. This is
a powerful and dynamic paean. The mood now changes. Pounds writes: ‘George
Eliot’s ‘In a London Drawing Room’…really explains the idea behind the work in
that we scratch the polished veneer of the great city and we find a vast array
of lifestyle, history, opulence and poverty.’ ‘The Docker’s Song’ is a fierce
setting of words by an unknown poet. The words ‘dirt and grime’ are given a brutal,
mechanical treatment. There follows a
restrained setting of William Wordsworth’s famous poem ‘Composed Upon
Westminster Bridge.’ This is performed by the baritone Matt Wilkinson and the chorus.
In the middle of the Cantata,
Pounds has provided an orchestral interlude. Perhaps unsurprisingly, the main
theme is based on the world-famous Westminster Chimes (now (2019) temporarily
silenced during ongoing structural repairs to the Elizabeth Tower). Yet there
is a strong Cambridge connection: the chimes that we (and Vierne, Coates et al)
know and love were composed in 1793 for Great St Mary’s Church. It is a small
world. This is a lovely little interlude that could easily gain traction as a
miniature.
Anyone who has explored London
Docklands will have been struck by the atmosphere of Shadwell. Despite nearly
four decades of gentrification along the Thames, there is still a feeling of
‘slippery’ time. There has been considerable debate about the background and
inspiration of Wilfred Owen’s poem ‘Shadwell Stair.’ This is not the forum to
discuss this, however, Pounds’ music expresses the ghostliness of Owen as he
explores this part of London whether alive or dead. Then a vibrant setting of Amy Levy’s poem ‘A
March Day in London’ follows. Initially reflecting a ‘mad march day’ there are
some quieter moments when the choir reflects on ‘the gas-lamps gleam’ and ‘the
ruby lights of the hansoms flicker’
The London Cantata concludes with a reprise of the ‘William Dunbar’
music, bringing the entire works to a satisfying and impressive conclusion.
My main problem with this CD is
the liner notes. For some reason, they have been printed on a colour photo: it
makes it almost impossible to read. The full texts of The London Cantata are included. The soloist, baritone Matt Wilkinson,
is not acknowledged in the liner notes.
The quality of the recording is
variable: it does sometimes lack clarity and definition, especially in the London Cantata. There are issues with
intonation with both orchestra and choir. Sometimes the latter sounds a little strained.
For this listener, it is not a problem. I would much rather have these works in
an amateur performance than not at all. Clearly all the participants hugely
enjoyed this project.
I would like to think that at
least the Symphony and the London Cantata
could receive a full professional recording soon. This is no disparagement of
the present performance.
I understand that Adam Pounds has
begun work on his Symphony No.2. I look forward to hearing this work with
interest.
Track Listing:
Adam POUNDS (b.
1954)
Symphony [No.1] (1985)
The Martyrdom of Latimer (2009)
London Festival Overture (1987)
London Cantata (2016-17)
Matt Wilkinson (baritone, London
Cantata) Academy of Great St Mary’s, Stapleford Choral Society/Adam Pounds;
Nelson Orchestra/Adam Pounds (Festival Overture)
Rec. Great St. Mary’s, Cambridge,
Spring 2018 (London Cantata); September 2018 (Symphony); 2010 (Martyrdom); Walthamstow
Assembly Hall (Overture) 29 November 1985.
CAMRECS006
Note: This CD is currently available as a download at CDBaby.
It is soon to be available at the Cambridge Recordings
Website.
With thanks to MusicWeb International where this review was first published.
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