The Recording
The Elegy (1960) was released
(1980) on the Oxford University Press record label (OUP203) by the Scottish Chamber Orchestra conducted by
Roderick Brydon. Other works on this LP include Crosse’s Symphony No. 1, op.13a
and Dreamsongs, op.43. The score was published by Oxford University Press in
1968.
Paul Griffiths, reviewing the LP for The
Times suggests that the Elegy has an ‘English serialism of appealing period
charm…’ which seems to me a little bit of an understatement of the work’s
ongoing appeal. It would be akin to suggesting that Elgar’s Sospiro had ‘period charm’ as opposed to
something of more universal value.
The ‘brooding atmosphere and occasional flourishes of the…Elegy…which have
remained important in his music’ is noted by A.W. in The Gramophone (March 1981)
The most extensive, if somewhat overblown, review of the Elegy was by Bayan
Northcott in the June 1981 edition of Tempo.
He begins by suggesting that the work’s ‘crepuscular counterpoint’ …remains a little impersonal compared with the serene luminosity that
imbues the slow movements of the Concerto da camera of only three years
later.’ He continues by suggesting that
the work can be ‘turned this way and that for its contrasting perspectives and
reflections.’ Faceting like a diamond, indeed. After some discussion of the
serial methods and rhythmic devices used by Crosse he concludes by writing:
‘Another complication is foreshadowed by the felicitously-placed woodwind
cadenza of birdsong-like figuration just before the end of the Elegy: Crosse's
Brittenesque affection for shiny vernacular ‘sonores trouvees’ - often enough
objective correlatives of the source-intervals of the work in progress, but
sometimes style-disorientating too.’ Quite what Northcott actually means here, I
am not sure, I think he is suggesting that Crosse is not tied into serialism to
such an extent that he is unable to write music he know his listeners will
enjoy and easily assimilate. For me, the ‘nocturnal’ cadenza of this work is
its most magical part.
Listening
to this piece fifty years after the Prom performance discloses a piece of music
that, in spite of its serial nature, is approachable, moving and has the nature
of a ‘genuine elegy.’
With many thanks to Gordon Crosse for
his support in writing this essay.
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