Marcus Blunt is an English
composer, born in Birmingham in 1947. After piano lessons from his father, he
began his first tentative steps at composition. He writes that his interest in
music did not ‘take off’ until he was fourteen years old. He went up to
University College of Wales at Aberystwyth, graduating in 1970. His
biographical notes suggest that regularly moved to a new house, with residences
in Warwickshire, Manchester, York and London. His career was not limited to
music: he had several occupations including warehouse packer, photographic processor
and a department manager at a music publisher. In 1976 he settled in Derby and
taught pupils to play woodwind instruments. In 1990 Blunt, and his wife Maureen,
headed just north of the Scottish border where they now live. In 1997 the
Dumfries Music Club appointed him as their Honorary Composer-in-Residence.
Marcus Blunt’s musical style is
hard to pin down which is great, as it means that he is not derivative. His music is immediately approachable, but
never simplistic or naïve. Composers that may have provided some influence may include
Michael Tippett and Olivier Messiaen. The general mood of his music is
romantic, tinged with a contemporary flavour, but never overtly modernistic.
I liked Marcus Blunt’s
well-thought out and pleasing Piano Concerto. This was composed between 1992
and 1995. Surprisingly, Blunt found some difficulty in gaining this Concerto a
premiere. It was not until 2005, when Murray McLachlan took an interest in the
composer’s piano music, that the possibility of a performance began to become a
reality. In 2006, McLachlan issued a recording of Blunt’s piano works on Dunelm
Records DRD 0269. This was reviewed by Jonathan
Woolf on MusicWeb International. It was reissued on the Divine Art Label in
2014. I have not heard this CD. But, based on the reviews, it is hardly
surprising that McLachlan finally turned his attention to the Piano Concerto.
To my mind, this three-movement
work is more of a chamber concerto. It is typically restrained, often
reflective and only relatively occasionally does it erupt into something more
dramatic, such as the conclusion of the opening ‘molto moderato’. Yet this is
all to the good. I found the entire concerto deeply moving and completely
satisfying. The balance of soloist and orchestra is first-rate, with some
beautifully executed piano technique and stimulating orchestration. I hope that
it can become established as a concert-hall favourite, but his seems highly
unlikely when concert promoters have Rach. 2 and Tchaik. 1 to select for the
umpteenth time…
I moved on to the tone-poem, Aspects of Saturn for string orchestra.
The work is prefaced by two passages: one from Keats’ Hyperion and the other from Virgil’s Eclogues. Both quotations explore the contradiction of the god
Saturn’s nature. He is the deity of agriculture, the founder of civilisation
and world order: his nature exemplifies self-discipline and limitation, but
also manifests ‘perseverance, ambition and inspiration.’ It seems a lot of
attributes to work up into a musical composition lasting just under seven
minutes. Yet this is a beautiful work that seems to grow organically from the
opening material. Perfectly formed and quite simply gorgeous.
The captivating Bassoon Concerto
began life as a four-movement Sonata for bassoon and piano, entitled Lorenzo the Much-Travelled Clown composed
in 1989. It was premiered by the present soloist in 2001 and was latterly included
on her album A Much-Travell’d Clown
in 2017. At some undisclosed time, Blunt reworked the piano part for string
orchestra. He also took the opportunity of including an extra movement, based
on his 1984 Scotch Song for solo
bassoon, now given a string accompaniment.
There is always a danger with any
work composed for the bassoon, that it deteriorates into a study for a clown or
a drunk. Blunt has avoided this temptation by writing much deeply-felt music
that explores the ruminative and introverted aspect of the instrument’s
character. This is especially apparent in the ‘Elegy’. Naturally, the vibrant
and humorous aspect of the solo instrument is not ignored. The finale, which
reprises earlier themes, is both jaunty and cheeky. Altogether, this an
important and thoroughly enjoyable work for bassoon and orchestra which ought
to be in the repertoire of all bassoonists.
I am always interested by a new
(at least to me) symphony. I happily admit to it being one of my two favourite
‘forms’ - the other being the piano concerto.
Blunt’s Symphony No.2 has its
origins in a substantial work composed for the same forces as Schubert’s Octet
(1824). This was a five-movement work, The
Throstle-Nest in Spring which was first performed at the Wigton
(Cumberland) Festival in 1991. Blunt explains that he came to regard this score
as being appropriate for orchestral treatment. It subsequently ‘metamorphosed’
into a four-movement Symphony scored for ‘a modest sized orchestra’ with no
trombones, tuba or percussion, except timpani.
This is not a long work, lasting
for just over 16 minutes. However, there is considerable diversity of mood,
with a ‘bright and cheerful’ opening movement, followed by a ‘nocturnal’
andante. The ‘scherzo’ is more profound than is often the case with this form,
especially in the trio section, which is ‘deeply tranquil’ in mood. The finale
is a summing up of what has preceded: this is one of Blunt’s common structural
traits. The work ends enthusiastically.
The liner notes written by the
composer offer a good insight into these works. ‘Final’ dates of works would
have been helpful. Notes on Marcus Blunt and the performers are included. The
quality of the recording is ideal.
This is a fascinating
retrospective of Marcus Blunt’s orchestral music. The four works are well-chosen
to provide an excellent introduction to his musical idiom. I look forward to
hearing more from this composer, possibly including the Sinfonietta and the
tone-poem (?) Once in a Western Island. Finally,
I wonder what happened to Symphony No.1?
Track Listing:
Marcus BLUNT (b.1947)
Piano Concerto (1992/95)
Aspects of Saturn for string orchestra (?)
Concertino for Bassoon and string orchestra (?)
Symphony No.2 (?)
Murray McLachlan (piano), Lesley Wilson (bassoon) Manchester
Camerata/Stephen Threlfall
METIER msv
28570
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