As noted in the previous post, Richard
Rodney Bennett’s Calendar for chamber
orchestra was released on Four British
Composers, ALP 2093/ASD640, during 1965. The performers on this album
included members of the Melos Ensemble conducted by John Carewe. Artists
featuring in the other works on the album were Geoffrey Shaw (baritone),
Pauline Stevens (contralto), Rosemary Philips (contralto) and Mary Thomas
(soprano). The John Alldis Choir was
conducted by Alldis.
Edmund Tracey writing in the Manchester Guardian (17 October 1965) believed
that all the works on this LP reflected ‘…four of the most recent British
composers to have made an individual stir on the musical scene and this record
will give some idea of their capacities.’
The Musical Times (September 1965) reviewer, fellow composer David
Blake, wished ‘…that Bennett's Calendar
gave me as much pleasure…’ as Malcolm Williamson’s Symphony for Voices. The
greatest compliment that he could pay was ‘…that it provides effective
contrast.’ He hoped that it was simply a ‘block’ on his (Blake’s) part.
A detailed appraisal of the album
was provided by Frank Granville Barker in Music
and Musicians (October 1965). Unfortunately,
he said comparatively little about Calendar:
‘Bennett is the sophisticate of the quartet, fluently skilled in several styles
that are kept quite separate from one another according to their different
purposes.’ He reflects that the present work ‘makes dramatic use of melody and
harmony in [a] changing instrumental perspective.’ From a technical point of
view Barker thinks that Calendar was
recorded ‘in sharper focus’ than the other works on the LP.’
Anthony Payne (Tempo, Spring 1966) was impressed by the
‘…the sheer craftsmanship of Bennett's Calendar
for chamber ensemble is a joy to follow.’ Giving an overall rating of the album
he observes that ‘the performances by members of the Melos Ensemble under John
Carewe…are impeccable, and the recording clear.’ Payne, so it should be noted,
had produced the introductory notes for the album.
The most
comprehensive analysis was given in The
Gramophone (September 1965). J.N. (Jeremy Noble) wrote:
‘[When I turned]
…to Richard Rodney Bennett's Calendar…
one cannot help being struck by his far more fluent command of his medium. Where Davies often seems to be composing
against his instruments, or at least in spite of them, Bennett's almost seem to
do his composing for him, so natural is the result. For him, too, continuity
seems to pose no problems; the two outer movements of Calendar are quite complex in shape, yet I found no difficulty in
following the general outlines of the argument without a score. The danger with
so fluent an imagination and so accomplished a command of the sheer craft of
composing is obviously facility, and I don't think that Bennett has always
avoided it. In this he is very similar to Britten, who has also been ready on
occasion (especially in instrumental works) to let ingenuity do the work of
imagination. But the mere fact that the comparison can be made is some
indication of Bennett's position among the younger generation of English
composers.'
A decade later, J.H. reviewed the
re-issue (ARGO ZRG 758) of this disc (The
Gramophone, May 1975). He was generally pleased that the four works on this
album had appeared again. He insisted that they were originally ‘well-chosen to
illustrate the musical characteristics of these four composers.’ He felt that ‘only Richard Rodney Bennett…fares
less well than the others: Calendar
(for chamber ensemble) is attractive and well-made, but just a little faceless
compared with most of his vocal music.’ Not a fair assessment, when one
examines the wide range of Rodney Bennett’s music which includes many splendid
and musically diverse genres: orchestral, chamber, stage, instrumental and vocal music.
A backward
glance was given by Elliot Schwartz to Calendar in his review (The Musical Quarterly October 1977) of
this re-issue:
Calendar is, one would guess, not a
major work. It is more likely to be regarded, even by its highly prolific and
eclectic composer, as a casual, incidental piece of occasional music. It is
successful, in part, precisely because it is so unpretentious: a charming,
atonal ‘divertimento’ - or, given the ease and stylishness of it all, and the
fact that Bennett had just recently studied in Paris with Boulez, a ‘divertissement.’
For a composer aged twenty-four (in 1960), it is a particularly impressive
feat.’
Finally, Paul Griffith writing in
the Musical Times (September 1975)
suggested that Richard Rodney Bennett’s Calendar
is exactly ‘the sort of music that George Gershwin might have written if he had
come into contact with [Anton] Webern.’
It is an extremely apposite and perceptive summary of this work.
Three works on this LP are
available on CD. Richard Rodney Bennett’s Calendar
and Peter Maxwell Davies Leopardi Fragments have been released on Icon: Music among Friends: Melos
Ensemble, Warner
Classics (5099991851451). This
is a remastering of the original LP. Malcolm Williamson ‘Symphony for
Voices’ has been given a new recording on Naxos 8.557783 (2006). I am not aware
if the version on this present LP has been re-issued. I think not. Finally, Alexander
Goehr’s Two Choruses, op.14 does not appear to have been re-issued.