The disc opens with La Primavera - Nine Figures in an Orange Garden (2022). This suite for solo flute is an evocation of Sandro Botticelli’s legendary painting La Primavera. Cowie notes that this “massive work” radiates light and movements. It is on display at the Uffizi Gallery in Firenze. The gallery website explains that “although the complex meaning of the composition remains a mystery, the painting is a celebration of love, peace, and prosperity.”
La Primavera has seven sections preceded by a Prelude: The Orange Garden, which sets the scene. The musical journey follows the painting right to left. Here, Zephyrus is embracing a nymph named Chloris before abducting and marrying her, then transforming her into Flora, the spring goddess. The central figure in the painting is Venus, the goddess of love and beauty. Over her Cupid is firing his arrow of love. Then there are the Three Graces: Aglaia, Euphrosyne, and Thalia. Lastly, in the final movement, Mercury prepares to take wing. The liner notes suggest that Zephyrus "blows" the listener into the music and Mercury "flies" them out at the end.
The soloist creates “the limpid
and hugely flexible sonorities” of the characters, with the flautist’s breath
symbolising the wind god Zephyrus. Cowie’s composition embraces complexity,
contrasting sharply with Vivaldi’s pastoral, dance-like eponymous Spring,
from the Four Seasons, by exploring the shifting terrain of human mood
and memory.
“Extended techniques” and occasional vocalisation is required, which to my ear spoils the overall impact. However, Cowie told me that he felt it necessary to take music from the flute to human throat and that he took tiny fragments from Dante to do it! Still, it remains an impressive piece, played by Laura Chislett. Whether heard with the cast in mind or simply as an ‘experience,’ it is an attractive, impressionistic work. One thought lingers: is the entire suite ultimately just a shimmer of light across the painting that inspired the composer?
Harlequin Dances for solo
harp, depicts the protagonist’s “suicide lazzi” where he rehearses “dancing
himself to death” after being rejected in love. The work is highly
percussive, using pedal buzzes, slides, and soundboard knocks. The form presents
complementary sections of “restless” passages and bell-like harmonics. Although
ostensibly an entertainment, it is a black comedy. Harlequin tries out numerous
methods of self-destruction – tickling himself to death, hanging himself from a
small bush, drowning himself in a jug of ale (how many of us have nearly done
that?) and “dancing himself to death.” It is this final “method” that is the
focus this piece. Ignore the programme if you wish but be aware of the "transcendental
beauty" found within human despair and loneliness.
It may not come as a surprise to find that Australian Water Music for flute and harp (2025?) was inspired by Handel’s semi eponymous suite dating from 1717, which was commissioned in response to King George I’s wish for a concert on the Thames. Beyond that, however, there is little comparison.
The suite was written
specifically for the "superb brilliance" of harpist Alice Giles and
flautist Laura Chislett and was designed to exploit the "tremendous
velocities" and expressive richness of both instruments. Sadly, there is a
movement missing: due to recording and rehearsal time constraints, a section
evoking the Great Barrier Reef was omitted. The three remaining ones focus on
specific Australian locations: Kiama Blowhole in New South Wales, Black
Swans at Dangar Lagoon, again in New South Wales and finally Humpback
Whales – Hervey Bay in Queensland. The three movements of Australian
Water Music reflect the behaviour of water in contrasting states: fountains,
“limpid placid pools,” and coastlines.
The liner notes suggest allusions
to the “liquid” qualities of water, evoking the sound-worlds of Debussy and
Ravel. A listener might be reminded of Debussy’s Syrinx for solo flute, or
Ravel’s Introduction and Allegro for flute, clarinet, harp, and string
quartet.
While both instruments carry
their own invention, the duet also makes use of a ritornello form, where
thematic materials are reworked in a lively dialogue. The performers employ
“extended techniques,” including knockings on wood, scraping strings, overblowing,
and exploring the extreme upper registers in the harp. The overall impact is
characterised by colour, imagination, and a “wondrous iridescence.” This
exquisitely played piece makes a splendid addition to the relatively rare
combination of flute and harp.
Cowie explains that Darkness into Light (2025) was inspired by a series of paintings by his wife Heather titled Into the Deeps. This sequence depicted the colour shift from the "deepest, darkest blues" of the ocean abyss to "shimmering aquamarines" at the surface. To add to the uncertainty, it is explained that the performers had got into the “groove” by swimming (individually) in the waters of the Great Barrier Reef. In the subsequent improvisation they share their (presumably varied) experiences of transitioning from shallow, luminescent waters to the "impenetrable" blackness of the reef edge. Add to this, there is an implied “metaphorical journey” representing the progress of the mind and spirit from darkness into “divine Light” and it gives a clue as to what the piece should be like.
Cowie notes that there was
initial “bemused doubt” from the performers about improvising this track,
especially without using a pre-written score. It begs the question, was there
any “given” material, or did they all just do their own thing: could they
recreate the experience? Or would they want to? There is a danger that the
divine light becomes a one-time accident.
My opinion is that there are some
lovely sounds, especially from the flute. Lots of extended techniques on the
piano and the harp are deployed, but mostly it functions as an atmospheric
backdrop rather than a careful exploration of Cowie’s usually complex metaphors.
It leaves me pondering where his vision ends and where the performers’
intuition begins. For me, the “shimmering aquamarines' are beautiful, but I
still find myself yearning for the solid ground of a definitive score."
This is a beautifully presented recording. The sound quality is ideal for this intimate exploration of flute, harp, and piano music. Even if the repertoire is not your “bag” there is no doubt that the performance is brilliant. I have already mentioned the disc documentation. Dates of each work would have been useful.
Despite my reservations regarding the improvisational elements and occasional vocalisations, this is an absorbing release. The Métier label has provided another stunning disc of Edward Cowie’s unique, nature-inspired sound-world. Supported by virtuoso performances and lavish documentation, this disc is a must-buy for enthusiasts of contemporary chamber music.
Track Listing:Edward Cowie (b.1943)
La Primavera – Nine Figures in an Orange Garden, for solo flute (2022)
Harlequin Dances, for solo harp (1979/2019)
Australian Water Music for flute and harp (2025?)
Darkness into Light: Improvisation for flute, harp, and piano (2025)
Laura Chislett (flute), Alice Giles (harp), Edward Cowie (piano)
rec. 8-9 June 2025, The Wesley Centre, Canberra, Australia
Métier MEX77143
With thanks to MusicWeb International where this review was first published.
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