Ravel, Berkeley and Pounds Orchestral Music on Chandos

The ethos of this remarkable CD is to create a lineage between Maurice Ravel and Adam Pounds, by way of Lennox Berkeley, and, in the background Nadia Boulanger. To be sure, Berkeley did not formally study with the French master, but they had “firm bonds between mentor and protégé.” Through this relationship he was introduced to the artistic circles in pre-war Paris, and he did take lessons from Nadia Boulanger. The liner notes explain that “Ravel admired the sensuous side of Berkeley’s music when he was shown it, but felt it lacked technical finesse.”

First up, is Ravel’s Le Tombeau de Couperin (The Tomb of Couperin) (1914-17), which was originally a piano suite. The composer insisted that it was “a tribute not so much to Couperin himself as to Eighteenth Century French music in general.” Certainly, each movement’s title nods to the 17^th/18^th century clavecinists but uses “modern French harmonies.”

Despite being written during the First World War, this is not a depressing or even elegiac piece. That said, each movement was dedicated to one of the composer’s friends who had been killed in the fighting.

Ravel orchestrated Le Tombeau in 1919, omitting the last two movements, the Fugue, and the Toccata. The orchestral suite was first performed under Rhené-Baton, conducting the Pasdeloup Orchestra on 28 February 1920. The neglected movements were orchestrated by Kenneth Hesketh in 2013, using the same orchestral forces as Ravel.

The Sinfonia of London give a wonderful performance here, with especial magic created by the woodwind department.

Lennox Berkeley’s Divertimento for orchestra in B Flat Major, op.18 (1943), was commissioned by the BBC and is dedicated to his teacher, the redoubtable Nadia Boulanger. The piece is in four movements: Prelude, Nocturne, Scherzo and Rondo. It was premiered at the Bedford Corn Exchange on 1 October 1943 by the BBC Symphony Orchestra conducted by Clarence Raybould. The Divertimento has been well summed up by the critic Alan Frank, (cited by Peter Dickinson, sleeve notes, SRCD.226) who considers that Berkeley found “a light way of expressing serious thought…illuminated by a Latin clarity.” Alec Robertson (The Year’s Work in Music, 1948-49) states that the “Divertimento…is, at least in the outer two movements, an excellent answer to the objection that the contemporary composer leaves out so many things that people enjoy and includes so many that they do not.”

There is always going to be a discussion as to whether this work is to be regarded as “light music” or something a little more serious. Certainly, the melancholy slow movement, and the astringent scherzo, go beyond what would have been standard on Friday Night is Music Night. It is given a powerful performance by the Sinfonia of London.

Between 1946 and 1968 Lennox Berkeley was Professor of Composition at the Royal Academy of Music. Adam Pounds had sent some early scores to him, including his prize-winning Oboe Quartet by way of “self-introduction.” Although retired from teaching, the elder man was prepared to offer Pounds “a little general advice” beginning in 1976. This arrangement lasted for three years. The booklet explains that “Berkeley constantly impressed…the importance of always composing with the needs of performers in mind, and above all with clarity and economy: ‘write only the notes you need!’ was his defining mantra.”

I am beholden to Mervyn Cooke’s liner notes for background details to Adam Pounds’ Symphony No.3. This grew out of his reaction to the succession of national lockdowns engendered by the Covid19 pandemic beginning early 2020. Actual composition was between February and May 2021, during the second major lockdown. Pounds has stated that he has captured the “sadness, humour, determination and defiance” which was the emotional response by the public at large.

The Symphony is conceived in four contrasting movements, reflecting the above-mentioned sentiments. The orchestra is small and devoid “of vast ranks of percussion, or multiple brass instruments.” Stylistically, the work is tonal, with little in the way of harsh dissonances and few modernistic melodic or rhythmic devices.

The opening movement presents three ideas that are occasionally Ravelian in mood and at times echoing the redoubtable “Cheltenham Symphony” – and none the worse for that. It creates a sense of “the dawning of a new, uneasy day.” There are “two interruptions by fast, powerfully dynamic music suggestive of what Pounds has termed ‘a driving force of determination.’” The second movement is a “waltz.” Cooke states that it is in the “well-established tradition of unsettling danses macabres to which composers as diverse as Saint-Saëns, Britten and Shostakovich memorably contributed.” I am not sure just how ghoulish I found it. It is certainly a tour de force of orchestral writing, which, dare I say, could easily become excerpted on Classic fM. The heart of the Symphony is the slow Elegy which is dedicated to all those who lost their lives during the pandemic. I am not a fan of Anton Bruckner, but I get Pounds’ point that it has the “strong influence” of that composer. It is quite beautiful and deeply moving. The finale, which projects “defiance,” opens with a march that nods to Shostakovich. Echoes of earlier movements emerge, bringing the symphony to a fulfilling and bold conclusion. Whatever the impact of Covid19 on this work, it is filled with optimism and never gives in to hopelessness. It is a splendid addition to the British symphonic repertoire.The performances are both authoritative and satisfying, complimented by an outstanding sound recording.  Mervyn Cooke’s programme notes are helpful at all times. They are printed in German and French as well as English. Resumes of the Sinfonia of London and John Wilson are included.

This remarkable new CD explores three fulfilling works by three composer that are interconnected by pedagogical history.

Track Listing:
Maurice Ravel (1875-1937)
Le Tombeau de Couperin (1914-17, 1919)
Lennox Berkeley (1903-89)
Divertimento in B flat major, op.18 (1943)
Adam Pounds (b.1954)
Symphony No.3 (2021)
Sinfonia of London/John Wilson
rec. 22-24 November 2022, Church of St Augustine, Kilburn, London.
Chandos CHSA 5324 SACD

Time: Chamber Music by Adam Pounds and Lennox Berkeley.

This new CD featuring music by Adam Pounds and Lennox Berkeley gets off to an interesting start with the former’s lyrical Clarinet Quintet. This was composed in 2014, specifically for the Stapleford Granary Arts Centre in Cambridgeshire. It is an often-lively piece that explores many interesting rhythms and melodic ideas. This is an accessible piece, that sometimes seems to have hints of Vaughan Williams. The only problem is that at under eight minutes it is far too short. There is some great material here that could have been developed into a multi-movement work. As it is, the progress of the music is an arch form, opening with restraint but suddenly the rapid ‘second subject’ takes over for an extended ‘scherzo’. Quieter music brings this quintet to a thoughtful and enigmatic conclusion. It is sympathetically played by the Goldfield Ensemble. The excellent clarinet soloist is Kate Romano, I think. This is not mentioned on the liner notes.

I enjoyed Pounds’s Sonatina for flute and piano. It was written in 2008 for his wife Dinah Pounds, the present soloist. The three contrasting movements provide variety and interest in this short work. The slightly acerbic slow movement is particularly interesting. The bouncy finale is full of good things and brings the piece to an exciting conclusion. There is a touch of neo-classical about this music, which befits a pupil of Lennox Berkeley.

I have long liked Berkeley’s Five Pieces for piano written in 1936. Pounds has arranged them for flute and guitar, citing the elder composer’s interest in both these instruments. They do work in this transcription, nevertheless I much prefer them in their piano incarnation.

Berkeley’s Sonatina for flute and piano is a little masterpiece. It is a splendid example of Gallic charm balanced with nostalgia and sadness. It is a difficult work to perform, but both Dinah Pounds and Anna Lightbown give an excellent and satisfying account. I think the programme notes should refer to ‘Gallic style’, rather than ‘Gaelic’! (MacBerkeley perhaps)

I reviewed Adam Pounds’s String Quartet for MusicWeb International in August 2013.  I am not sure if this CD uses the same recording or a new one. ‘Both’ are by the Bingham Quartet. (My copy of the original CD is in lockdown at the moment!). It is a powerful work, much of which is composed in an unashamedly ‘English’ mood. The early part of this single movement quartet nods towards modal pastoralism, but this conceit does not last long. In fact, the ethos of the work is to present a dialogue between ‘peace’ and ‘turmoil’ so there is plenty here that is vibrant and sometimes even downright aggressive. These two diverse moods are epitomised by contrapuntal and harmonic writing, respectively. Despite the ‘troubling’ moments in this work, there is a genuine sense of optimism, especially in the concluding bars. It is the most essential and important work on this disc and presents one of the best ‘modern’ British string quartets that I have heard.

The final work seems a bit of concoction. It was written (or gestated) over a long period (1991-2011). The liner notes explain that Time indulges in self-quotations from Pounds’s catalogue, including the Symphony No.1, the Violin Sonata and a vocal piece called ‘Blake’s Drum’. The piece has four movements or sections, beginning with an instrumental ‘Prologue’ written only for flute and piano. Time continues with settings of poems by Blake, Shakespeare, and Shelley. These are sung by an unnamed tenor accompanied by a chamber ensemble (flute, piano and percussion). The notion behind this work is the fleeting nature of time. There was an old Irish saying that stated ‘When God made time, he made plenty of it.’ I disagree, as I suspect Adam Pounds and his choice of poets do as well.

The ‘Prologue’ should have been prefaced by a spoken recitation of Shakespeare’s Sonnet no.7 ‘Lo! in the orient when the gracious light/Lifts up his burning head, each under eye’. For some reason (certainly not duration restraints) it is omitted here.

This work is my least favourite on this CD. It seems remarkably grim and dark hued. On the other hand, there are lots of interesting ideas, especially in the accompaniment that could be worked into something more exciting. The soloist does sound as if he is in a cupboard! Nevertheless, the ensemble plays clear and bright.

The presentation of this CD presents several issues. Firstly, the ‘arty’ sleeve makes reading the programme notes quite difficult. They are printed in a tiny font. The track listing is equally difficult to read. I have noted the lack of recording dates for all the works except the Clarinet Quintet. And, who was the tenor and the clarinettist? The programme notes present just about enough information to enjoy, but not to fully understand, this repertoire.

I have no issues with the performance or recording of these six works but see the note about the ‘cupboard’ above.

This is an excellent programme of chamber music. The major highlights are Pounds’s Clarinet Quintet and his String Quartet No.2 as well as Lennox Berkeley’s Flute Sonata.

Adam Pounds’ new CD can be ordered by contacting the composer through his Webpage. Downloads will be available through Spotify, Apple and other distributors including CdBaby.

Track Listing:

Adam POUNDS (b.1954) Clarinet Quintet (2014), Sonatina for flute and piano (2008)

Lennox BERKELEY (1903-89) Three Pieces for flute and guitar (?) arr. POUNDS from Five Short Pieces for piano (1936); Sonatina for flute and piano (1939)

Adam POUNDS String Quartet No.2 (2003) [14:58]; Time for voice and chamber ensemble (1991-2011)

Dinah Pounds (flute), Adam Pounds (guitar), Goldfield Ensemble (clarinet quintet), Anna Lightbown (piano), Bingham String Quartet (quartet), Michaelhouse Chamber Ensemble (Time)

Rec. Not given except Quintet, Stapleford Granary Arts Centre, 19 September 2014

CAMREC007

With thanks to MusicWeb International where this review was first published.

Adam Pounds: Symphony No.2 (2019) Premiere Performance

The first performance of a new symphony is always an extremely important event in a composer’s career. On 28 September 2019 Adam Pound’s Symphony No.2 was premiered at a remarkable concert in Great St Mary’s Church, Cambridge. The programme began with Johannes Brahms’s Hungarian Dances nos. 1 and 3, followed by Franz Schubert’s Symphony No.8 in B minor (Unfinished). After the interval Chloe Hanslip was the soloist in Wolfgang Amadeus Mozart’s Violin Concerto No. 3 in G major, K216. The concert concluded with Pounds new Symphony. The Academy of Great St. Mary’s was conducted by the composer.  For the record, Adam Pounds’ Symphony No.1 was premiered some 34 years previously on 29th November 1985 at the Walthamstow Assembly Hall.

The Symphony No.2 was completed in July 2019. It is written in four relatively short movements and scored for a standard orchestra with the addition of a saxophone and piano.

The work opens with a vibrant ‘allegro’ which the programme notes state deals with the hustle and bustle of urban life. Pounds presents this metropolitan ‘environment’ by writing highly rhymical music that is brassy and strident. Yet, this is ‘edgy’ rather than threatening. The tension barely eases for a second, although there is a slight repose about a third of the way through the movement. Rather unusually, this movement closes quietly, but uneasily, clearly in preparation for the sultry ‘Nocturne.’

This second movement is both the emotional heart of this Symphony as well as its musical highlight. As the title implies, this music meditates on ‘night-time’ in the city. Pounds has introduced a moody and sometimes groovy saxophone, heard alongside music that nods back to Ralph Vaughan Williams’s ‘London’ Symphony. The composer writes that this ‘nocturne’ is not ‘a calm depiction of night’ in a Chopin-esque sense, but a picture of a city in the wee small hours. I think that it reflects the mixed emotions of an individual ‘on the streets’ not necessarily homeless, but with nowhere to go. It is not scary. Nothing bad happens, it is just a picture of temporary desolation and loneliness. The ‘sleazy’ sounds of the saxophone are designed to highlight this feeling of emptiness. Adam Pounds has told me that he “really saw the saxophone solo as our ‘lone character’, the addition of the trumpet (harmon mute) and the piano, are probably a nod back to when I frequented a local jazz club and when I was working (still a student) for Crescendo jazz magazine based in Wardour street.”

After a short pause the third movement ‘scherzo’ begins. This is like the opening ‘allegro’ insofar as it is full of drive and impetus. Again, I hear distinct echoes of RVW.  Pounds makes good uses of an ‘antiphonal’ exchange between the brass and woodwind. The central ‘trio’ of this scherzo is a ‘brutal war march’ rather than a traditionally more relaxed theme. After the march, the music returns to calmer waters. A short woodwind cadenza brings this movement to a close.

The finale opens with a regal fanfare. This is ceremonial music with an edge. Soon the strings are scurrying around, echoing the opening material. Brass comes to the fore here. The original fanfare returns, which the Pounds explains includes a conspectus of themes derived from the entire Symphony. The work comes to a dynamic but not overwhelming close.

Adam Pounds states that the inspiration for his Symphony No.2 came as a result of moving to the centre of Cambridge after living in the countryside. He claims that this new urban environment and the ‘faster pace of life’ was ‘stimulating’ and resulted in ‘more compositional focus.’ I can see where he is coming from, but for me the music does not conjure up Cambridge. The ‘Nocturne’ is more Hudson River, New York than the banks of the Cam and much of the rest of the work would seem to evoke the pomp, circumstance and pizzazz of London rather than an ancient University town. 

The basic stylistic parameter of this work is that it is written in an approachable musical vernacular with several lyrical passages balancing more aggressive and dissonant music.  If the listener is hunting musical comparisons, composers as diverse as William Walton, Arnold Cooke, Malcolm Arnold are alluded to in these pages. It is not an insult to the composer to suggest that there is much of the ‘Cheltenham’ school of symphonic writing about this work: it is technically well-written and approachable by all but the most musically conservative listeners. The orchestration is splendid, with effective use of the brass and the woodwind sections. The saxophone is an inspired touch. My only complaint is that the Symphony is a little too short. There is much excellent musical material in this work: I feel that some of it could have been developed at greater length. 

The final rehearsal of Adam Pounds’s Symphony No.2 was recorded and has been uploaded to the composer’s YouTube Channel.  I understand that it is the composer’s hope that a definitive performance of the work will be released on CD in the future.

First Movement: Allegro

Second Movement: Nocturne – Largo moderato

Third Movement: Allegro

Fourth Movement: Largo moderato, Allegro moderato, A tempo primo, Allegro moderato

Adam: Pounds: Symphony (1985) and other works on new CD

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. 

Adam Pounds: London Cantata

Despite this music being performed by a Cambridgeshire-based choir and orchestra, all these pieces have London as their focal point, although occasionally this is a little tenuous as will be seen.  The programme is an interesting balance of old favourites and modern works which explore several genres: an orchestral overture, accompanied and unaccompanied choral anthems and motets and the premiere recording of a large-scale cantata.

The opening track delivers Adam Pounds’ Festival Overture, which was commissioned in 1987 by the London Borough of Waltham Forest with funding from the Greater London Arts to celebrate the Waltham Forest Arts Festival. Details of Pounds can be found on his excellent webpage.

Adam Pounds told me that he wanted to write a work that would echo the ‘urban environment and that would fuse several styles together.’ This is reflected in the use of West Indian mores such as the roto-toms, which have been used to great effect in the past by groups as diverse as Pink Floyd and Van Halen. It is hard to typify a style to this eclectic music, save to suggest that the listener may think: “Malcolm Arnold!”. There is also a touch of ‘Cheltenham’ about this work, which, in my opinion is a good thing. It is a vibrant, happy overture that is effective on a first hearing, but grows in stature the more often it is heard.

A succession of choral works follows: including Henry Purcell’s Funeral Sentences: ‘Man that is born of women’, ‘In the midst of life’ and ‘Thou Knowest Lord, the secrets of our hearts’. The texts are taken from the Book of Common Prayer. Purcell wrote this music for the funeral of Queen Mary which took place in Westminster Abbey on 5 March 1694. Interestingly, ‘Thou Knowest Lord’ was later performed at Purcell’s own funeral in the same year.  These Sentences are hauntingly beautiful and, whatever the listener’s personal beliefs (or none) provide considerable food for thought.

Little need be said about Handel’s ‘And the glory of the Lord’ extracted from Messiah. This oratorio was composed in 1741 at the composer’s Brook Street address in London.  I wonder what GFH would have made of the wonderful music written and played by his next-door neighbour in time, the great Jimi Hendrix (1942-70)?

Charles Hubert Hastings Parry’s ‘My Soul there is a country’, is a setting of an optimistic text by Welsh poet Henry Vaughan. It is selected from Parry’s late Songs of Farewell: it is one of a relatively few ‘perfect’ pieces of choral music.  Charles Villiers Stanford’s ‘Beati quorum via (Blessed are those that are undefiled) is equally beautiful. It is the third of his Three Motets, op.38 dating from 1905, although they were written earlier. Like many of Stanford’s anthems and part-songs, these motets are perfectly fashioned. ‘Beati quorum via’ is thoughtful and meditative in its mood.  I understand that the London connection with Parry n’ Stanford is quite simply that they lived and worked in the Capital for several years, at the Royal College of Music. Remember that Parry was a Bournemouth/Gloucestershire man and Stanford was born in Dublin.

Elgar’s ‘Ave Verum Corpus’ is always welcome in any choral recital. It was composed in 1886 and revised several years later.

A ‘new’ anthem, ‘If ye love me’ by Adam Pounds concludes the anthems and motets section of this CD. I am not sure when it was composed, but it is based on a text from St John’s Gospel (John 14:15–17). It is probably best known in a setting by Thomas Tallis.  Pounds’ version has the depth of Tallis coupled to a more piquant harmonic vocabulary. It is a timeless piece.

I rely on the composer’s programme notes for details of the expansive 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. Other works performed at this concert included Beethoven’s Symphony No.7, Pounds’ Festival Overture and a double horn concerto by Antonio Rosetti.

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. After the celebratory Dunbar setting, Pounds changes the mood of the work. He 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.’

There follows a restrained setting of William Wordsworth’s famous poem ‘Composed Upon Westminster Bridge.’ This is performed by the baritone soloist and 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 (2018) 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 in its own right. The orchestration is charming.

Anyone who has explored London Docklands will have been struck by the atmosphere of Shadwell. Despite three 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 of dead.  The poem is well sung by the baritone soloist.

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. 

It is no criticism of the present performers to suggest that both of Adam Pounds’ major works require a full professional studio recording. The London Cantata is a remarkable piece that seems eternal in its aesthetic style. Pounds has not been afraid to utilise Walton/Dyson-esque choral idioms matched to something a little more modernist in scope. 

NB. I reviewed this music on a pre-production CD which is not currently available to the public. However, I have listened to ‘streaming’ extracts of this release and I am satisfied that this reflects my comments below.

Track Listing:

Adam POUNDS (b.1954) Festival Overture (1987)

Henry PURCELL (1659-1695) Funeral Sentences: Man that is born of a woman; In the midst of life; Thou Knowest Lord (1694)

George Frideric HANDEL (1685-1759) ‘And the glory of the Lord’ from Messiah (1741)

Charles Hubert Hastings PARRY (1848-1918) My Soul, There is a country (1916-18)

Charles Villiers STANFORD (1852-1924) Beati quorum via (pub. 1905)

Edward ELGAR (1857-1934) Ave Verum (1887)

Adam POUNDS If ye love me (?)

Adam POUNDS London Cantata (premiere live recording) (2016-17)

Stapleford Choral Society, The Academy of Great St Mary’s/Adam Pounds

Rec. Great St Mary’s, Cambridge, 23 September 2017 (Cantata); St Andrew’s Church, Stapleford and Ss Peter and Paul, Chingford.

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Adam Pounds: String Quartet No.2 (20030 and some other works

This CD opens with Samuel Barber’s fine String Quartet, Op.11 dating from 1935-36. This work is ‘famous’ for being the source of the pot-boiler ‘Adagio’ for Strings. Certainly this middle movement is one of the most profound examples of the art of the string quartet in any generation. The outer movements were always going to be in the shadow of this concentration of feeling; the very short ‘molto allegro’ which concludes the work is impressive in so far as it presents a foil to the ‘adagio.’ The quartet is cyclic with references to the opening ‘molto allegro e appassionato.’ This opening movement begins with a strong statement which is balanced by a further two themes: one almost hymn-like and the other reflective and full of longing. The work was written whilst Samuel Barber was living in Austria with his partner Gian Carlo Menotti.

Dmitri Shostakovich’s String Quartet No. 3, Op. 73 was composed in 1946 shortly after his Ninth Symphony which had been proscribed by the Soviet authorities. The quartet was premiered in Moscow the same year by the Beethoven Quartet.  This is a major work lasting for more than half and hour. It is unusual in that it has five movements.  These movements were given rather trite titles to convince the Soviet censors that this work was not ‘elitist or abstract’. For example the first was labelled ‘Blithe ignorance of the future cataclysm’ and the last, ‘The eternal question: Why? And for what?’ It was a sorry reflection on the artistic mores of that particular political regime that such a conceit was required.  However, the listener is entirely free – and strongly advised – to dump this ‘programme’: the composer did before the quartet was published. It is best to listen to this work as any other ‘absolute’ music.

This quartet is an approachable work that, like much of Shostakovich’s music, represents a balance between his struggle against tyranny and his deep, personal emotional experiences. This approachability does not mean that the work is in any way easy to assimilate. There is a remarkable amount of interest in this quartet. As well as passages of beauty there are intimations of sheer naked aggression.  As a piece of music, I find it difficult to come to terms with the cynicism and the sarcasm that are ever-present features of this Quartet. However, that is to reflect on the inherent strength of the work: not to be a criticism.

British music enthusiasts will be impressed by the String Quartet No. 2 by Adam Pounds.  This fifteen minute work is composed in a single movement.  The quartet was written in 2003, a quarter of a century after his first example.  The opening of the work tends to fall into the so-called ‘pastoral’ school of music – but this is most likely because the composer has written a ‘modal’ tune that works well as a contrapuntal theme rather than any attempt at creating a particular ‘landscape’. This mood is not maintained for long. There are plenty of diverse moments that move this work away from any simplistic ‘rustic’ style. Some of this development is aggressive before returning to the more reflective opening themes. There is a continual tension between the disturbed and the reflective. The final mood is one of repose and resignation.  For me it is the most enjoyable work on this CD.

I enjoyed the performance of these three works and felt that the Bingham Quartet is completely committed and competent. Nevertheless, there a downside to this production: the liner notes and CD case. The text is in a small font, in a yellowy colour, printed on a brown photographic background. It is, quite frankly illegible. I felt a little more information could have been given about the Pounds’ work as this is most likely to be a new piece to most listeners.  There are some photos of the performance and recording sessions which are presented in ‘nostalgic’ sepia. They are not clear and are largely unhelpful.

On the ‘up’ side, this is a well-balanced recital with a convincing programme. I would not wish to suggest that Pounds’ Quartet is in any way beholden to Shostakovich or Barber, but there is a clear continuity of mood between the three works.

I feel that this CD is a good investment for any string quartet enthusiast. Listeners who appreciate a fresh, traditionally sounding music that is always interesting and challenging will especially require this CD for Adam Pound’s String Quartet.

Track Listing:

Samuel BARBER (1910-1981) String Quartet, Op.11 (1935-36)

Adam POUNDS (b.1954) String Quartet, No. 2 (2003) 

Dmitri SHOSTAKOVITCH (1906-1975) String Quartet No.3 (1946)

The Bingham String Quartet, Stephen Bingham (violin) Anna Bradley (violin) Brenda Stewart (viola) James Halsey (cello) 
Cambridge Recordings CAMREC001

With thanks to MusicWeb International where this review was first published.

Adam Pounds: Notes and News

I recently reviewed Adam Pounds new CD ‘Resurrection’ on these pages. The composer has told me that it has been has been well received and that he is now planning a new recording of smaller – scale works which is planned for release next year.

He has given me notice of two important concerts in June that will feature his music. On the 11th (7.30pm), he will be conducting the Academy of Great St. Mary’s at the University Church, Cambridge in a performance of the Enigma Variations by Elgar and the programme will also include the first performance of his Norfolk Seascape. This is a rhapsody for solo flute and orchestra which the composer wrote for his wife, Dinah, who will be the soloist. Pounds told me that ‘like most of my music, the piece is programmatic and the opening represents the coast at Thornham in its tranquillity and timeless beauty. This is one of our favourite places.’

Thornham, for the curious, is a few miles east of Hunstanton on the North Norfolk Coast. There will be a second performance of the work on the 25th June at the Emmanuel United Reformed Church, Trumpington Street, Cambridge (7.30pm) when he will be conducting a concert that will include two choral pieces by Vaughan Williams – the Serenade To Music and Toward The Unknown Region.

Finally, hot off the press: Adam Pound has just finished composing a piece for voice, flute, viola, piano and percussion. The composition is called Time and sets words by Blake, Shakespeare and Shelley. This will be performed on July 14th (7.30pm) in Michaelhouse, Trinity Street, Cambridge. The evening will also feature other music and poetry readings on the subject of ‘time’.

Adam Pounds is not only a composer, but also a busy conductor. He is currently planning for the new season of music performed by Academy of Great St. Mary’s when he will be conducting some great music including the magnificent Concerto for Orchestra by Bartok.

Resurrection: Music by Adam Pounds, Finzi, Howells and Berkeley

One of the great treasures on this CD is Herbert Howells’ setting of the Sussex Mummers Carol ‘O Mortal Man.’ This song was first collected by Lucy Broadwood in 1908. The liner notes suggest that Howells realisation of this only surfaced in the last few years so has not come under close critical gaze. A realisation of this work was prepared by Christopher Palmer; however the present recording is a new edition prepared by Sam Hayes. He has made a number of revisions to Palmer’s score, including reworking the ending and proposing a text for one of the verses that Howells had scored but not added words. I am not quite sure why only three verses (2, 3 & 6) were given out of the seven which were originally collected and published in English Traditional Songs and Carols. Finally, Howells’ original sketches are undated, however stylistic considerations suggest it may be contemporaneous with the Four Anthems from 1941. It is a worthy addition to the corpus of Herbert Howells’ music and deserves to be heard more often.

There is a perfect balance between the orchestral parts and the choral writing that claims the listener’s attention.

There are plenty of alternatives to Finzi’s Lo, The Full, Final Sacrifice, Howells’ 'Like as the Hart Desireth the Waterbrooks' and Lennox Berkeley’s 'The Lord is my Shepherd' and these are discussed in detail elsewhere. However, the Academy of Great St Mary gives a good account of all three under the baton of Sam Hayes.

The most interesting part of this new CD is the two orchestral works by the English composer Adam Pounds. Both are première recordings, although this is not mentioned on the track listing. I am indebted to the liner notes for information about these pieces. Life Cycle first saw light of day in 1992 as a ‘dance’ movement. Pounds had originally conceived it as a short piece for chamber septet. In this incarnation, it was successfully performed complete with dancers at the Chelmsford Cathedral Festival. The composer decided to revise it and transcribed it for full orchestra. Apparently, this version included a part for synthesiser (thankfully ditched in the present edition). In 2010 he further revised Life Cycle and rewrote the opening bars. It is hardly surprising that the idea behind this work is a ‘life journey’ - birth, the joy of life, stress and finally death. Adam Pounds uses different musical media to portray these stages of being. For example the ‘joie de vivre’ is largely minimalistic: the ‘death’ scene is a ‘mirror image’ of the birth music. Although the liner notes suggest that this is one of the composer’s most ‘experimental and abstract works’, there is little here to trouble all but the most conservative of musical tastes. That is not to say the music lacks challenge or interest. Every bar is well conceived and the whole ‘tone poem’ is a worthy addition to the orchestral repertoire.

The other major new work is The Martyrdom of Latimer. It was commissioned by the Ely Sinfonia to celebrate their tenth anniversary in 2009. It was duly performed in Ely Cathedral. Adam Pounds gave me a brief overview of this work which is worthwhile quoting here: - ‘‘The Martyrdom of Latimer’ explores the final days of Latimer’s life and his death at the stake. I have employed modal themes and liturgical ideas combined with strong rhythmic statements. The orchestra, which is fairly large, also employs four trumpet parts. Two of the players are to be sited in the gallery. The piece was started on March 23rd and took shape very quickly, being completed on the 15th May. I was asked to explore the concept of resurrection in the piece. To this end, I have designed a coda which employs material used earlier in the work that embodies Latimer’s character – some of it is based on the music of the Tudor composer Robert White. When this music returns it is extended and uses strong ‘open’ intervals. This is intended to reinforce the concept that in death, Latimer became more powerful and therefore ‘alive’.’

This is an impressive and ultimately moving work that justifies its title. This is a major symphonic poem that covers a wide range of emotional activity – from the profundity of Latimer’s death to the renewed life of the martyr. However if the listener does not want to provide the historical apparatus of the death of Thomas Latimer, it is perfectly possible to listen to this as a successful piece of abstract music. The musical language is much more conservative and traditional than Life Cycle, yet it is ultimately more satisfying and deeply moving. Certainly, in both these works Adam Pounds proves himself to be an underrated master of the orchestra. He justifies the confidence that any pupil of Sir Lennox Berkeley would engender. It is no major criticism to suggest that both of these works demand a full professional recording.

The presentation of this CD is attractive. The cover features an attractive bronze sculpture on the front and a stained glass window depicting the great Thomas Latimer on the rear. The liner notes are impressive and give all the necessary information. A little more on the Pounds pieces may be of interest. It is good that a list of all the performers is given, as I guess that many in this amateur choir and orchestra will be very proud of their achievement and will wish to have their involvement recorded for posterity. The sound recording process claims to be a method designed to allow the ‘music to be heard as it should and would be in a live performance, without the clinical sterility of a lot of modern studio recordings.’ Interestingly there is an apology for any extraneous noise such as birdsong, wind and venue noise e.g. creaking timbers etc. However the producers believe that this adds to the ‘atmosphere of the recording.’

In spite of some problems with balance and instrumental and choral intonation which probably reflect the technical capabilities of the players, this is a well played disk that largely does justice to the music performed. I confess that it would not be my first choice for the Howells (Like as the Hart), the Berkeley and the Finzi, however, it is the only place that Adam Pound’s two excellent works are to be heard. For these alone it is worth the price of purchase. And lastly, this may be the only currently available recording of Herbert Howells 'O Mortal Man.'

Herbert Howells (1892-1983) O Mortal Man (c.1941) Like as the Hart Desireth Waterbrooks (1941) Adam Pounds (1954- ) Life Cycle (1992) [12:53] Martyrdom of Latimer Lennox Berkeley (1903-1989) The Lord is my Shepherd (1975) Gerald Finzi (1901-1956) Lo, the Full Final Sacrifice (1946) Academy of Great St. Mary’s Sam Hayes, (conductor) Adam Pounds (conductor, Life Cycle and Martyrdom)

CAMBRIDGE RECORDINGS CAMREC004

Resurrection can be bought from the Cambridge Recordings website

Adam Pounds: New Recordings and News Update.

In October of last year I reported that Adam Pounds’s new orchestral work The Martyrdom of Latimer was well received at its premiere which was given at Ely Cathedral. Dr. R J Westwell wrote that ‘This profound work explored the excitement and darkness of death and spiritual revival. After the opening appealing melody was taken up in turn by the different sections of the orchestra, the toll of impending doom heralded the contrasting development of dramatic conflict, building up to an exciting climax with trumpets off-stage broadening the experience until the work's final thunderous drum call brought this fine composition to a memorable close.’
The composer has recently informed me that this work has been recorded and will be released in the coming months.
Also presented on this CD will be the important early orchestral work, Life Cycle. Pounds has written on his web site that this piece ‘was composed for dance and shares the same idea of programme although in this case it is far more abstract dwelling on life’s journey with the fullness of life being represented by a strong minimalist section.’ Both works will be welcome additions to the repertoire of modern British music, and will be approachable, yet challenging pieces for listeners. Other works on this new CD will be ‘Lo, The Full Final Sacrifice’ by Finzi with the choir, the two ‘Chanson’ by Elgar, ‘The Lord is My Shepherd’ by Berkeley plus one other short work possibly by Elgar.
I am looking forward to reviewing this disc!

There is yet another CD is in the pipeline and will be devoted to a selection of works for flute and piano. This will include Pounds’s Sonatina and Shakespeare Sonnet as well as a recording of Lennox Berkeley’s Flute Sonata.

The composer’s new carol, ‘Behold, The Great Creator Makes’ was performed very successfully in December and this will be recorded in due course.

And finally, Members of the Lennox Berkeley Society will be able to enjoy an article by Adam Pounds in the next Society Journal about his three years of study with the composer. It will make interesting reading, as Berkeley was highly regarded as a teacher as well as a composer. His pupils included David Bedford, Richard Rodney Bennett, William Mathias, Nicholas Maw and John Tavener.

Adam Pounds: The Martyr of Latimer and other news

A few months ago I mentioned in these pages that Adam Pounds was just putting the finishing touches to a new work – The Martyrdom of Latimer.
The work had its first performance on Saturday 3rd October 2009. Unfortunately I was not able to be present. However I do know that the work was extremely well received by an audience in excess of 800. It gained a standing ovation. Please read the review of this performance on Pounds’s website.
Dr. R J Westwell PhD, MA TESOL, MA Ed, B Mus, BA Hons wrote that:- "This profound work explored the excitement and darkness of death and spiritual revival. After the opening appealing melody was taken up in turn by the different sections of the orchestra, the toll of impending doom heralded the contrasting development of dramatic conflict, building up to an exciting climax with trumpets off-stage broadening the experience until the work's final thunderous drum call brought this fine composition to a memorable close."
I only hope that he is successful in having the work broadcast, although I do understand that the work was recorded and a future CD release will be undertaken in February with the Academy of Great St. Mary’s (the new name for the Orchestra of Great St. Mary’s, Cambridge). The venue is Great St. Marys (The University Church) Cambridge, Sunday 13th December, 7.30pm

Two last snippets of news: Pounds plans to compose a new carol, presumably for this Christmas and he will be conducting his ‘Northern Picture’ on December 13th – venue to be announced.

Adam Pounds: His New Website

I have discussed Adam Pounds and his music on this ‘blog’ a few times. I have given a couple of updates of his latest compositions and have written essays on his Cradle Song, his Festival Overture and his fine Northern Pictures. Pounds is a composer who impresses me with his style of music which is at one and same time traditional and forward looking.
I am delighted to see that he has a fine new Web Site designed by Thomas Daly: it both professional and user friendly. There is always a danger that composers and other artists settle for second best when it comes to promoting their artistic achievements. Pounds's site is straightforward, does not have adverts, it is not spoilt by pyrotechnics or flashing lights! And perhaps most importantly it allows the interested music lover to hear a number of extracts from his works: the quality of these samples are excellent. The entire site is really a model for any composer.

Unfortunately relatively few of Pounds’s works are available on CD - see the discography section of his website for details. But listening to a number of the samples suggests to me that the time is certainly right for the Symphony and the Violin concerto to be recorded. I feel that if the Symphony in particular were widely known it would take its rightful place in the symphonic repertoire of Great Britain.
Adam Pounds was a pupil of Sir Lennox Berkeley and his music certainly seems to be a credit to both his teacher and his own hard work.

Please visit the ADAM POUNDS WEBSITE

Adam Pounds: The Martyrdom of Latimer

Adam Pounds, the Cambridge composer has informed me that he has "just completed the score to ‘The Martyrdom of Latimer’ for orchestra. It was been commissioned by the Ely Sinfonia and will be performed in Ely Cathedral on Saturday October 3rd together with Beethoven’s Fifth Symphony and Mozart’s Requiem. The orchestra will be conducted by Steve Bingham.

I am looking forward to writing more about this work, and hope that is will be subsequently recorded. In the meantime the composer ahs given me this short precis of the piece.

"‘The Martyrdom of Latimer’ explores the final days of Latimer’s life and his death at the stake. I have employed modal themes and liturgical ideas combined with strong rhythmic statements. The orchestra, which is fairly large, also employs four trumpet parts. Two of the players are to be sited in the gallery. The piece was started on March 23rd and took shape very quickly, being completed on the 15th May. I was asked to explore the concept of resurrection in the piece. To this end, I have designed a coda which employs material earlier in the work that embodies Latimer’s character – some of it is based on the music of the Tudor composer Robert White. When this music returns it is extended and uses strong ‘open’ intervals. This is intended to reinforce the concept that in death, Latimer became more powerful and therefore ‘alive’."

It sounds an exiting project!

Adam Pounds: A Northern Picture

A Northern Picture is quite definitely programme music, although I guess, 'at a pinch’ it can be listened to by someone who is indifferent to the history and landscape of the Lake District. The main focus of this work is the stone circle at Castlerigg. Adam Pounds told me that this ancient monument “has always been an important place for me - its majestic setting and what it represents – meetings, mysticism and festival”. Castlerigg was a meeting place for celebrations and dancing as well as worship and Pounds has said that “the music is a collage of dance, mysticism and combat”. Interestingly most of this composer’s music is programmatic – he told me that “I rarely compose ‘pure’ music. My music is either a direct response to places, literature or events or the mind – to this end, I suppose I could be described as a New Romantic!”

The work has an enigmatic opening. Pounds told me that this was inspired by a study of echoes that he had experimented with whilst sitting on a hillside in the Lake District. It is not the half-expected or predictable ‘misty morning’ atmospherics, but more a gradual call to worship. This bidding motive is played by woodwind and brass. However, a mysterious theme begins to emerge from the low ‘cellos and basses, before a dissonant string theme briefly asserts itself. Perhaps it is here that the mists are clearing and the early morning sun is appearing over the assembled worshipers? The music builds up to a great crashing brass chord and some powerful music, before the enigmatic theme reappears.
But suddenly the mood changes. A frenetic dance breaks out that may reminds the listener of Stravinsky. Percussion underlines the music’s progress. This is dynamic music, full of repressed energy: but at this stage it is not too violent. Pounds suggests that this section represents tribal dances. Perhaps these are memories of primitive ceremonies that hover between he sublime and the barbaric. Various harmonic and melodic figures are overlaid on the powerful rhythmic undertow. Some of this section will remind the listener of Holst’s Mars or perhaps John Anthill’s Corroboree.
After a short passage of muted brass, the numinous theme is given on the strings and then descends to a dissonant woodwind passage. A melody for French horn is heard:–it is supposedly an old Celtic tune: the soloist is supported by a light orchestral accompaniment. But suddenly the tune is taken up by the orchestra and this leads to a full definitive statement. The work now begins to close but it is no return to a ‘misty landscape’. Echoes of the turbulent music are heard and are finally presented in triumph. The work ends loudly and positively, with the listener being conscious of the bare, spartan and primitive nature of much of this music.
Perhaps the abiding impression of this work is the dichotomy between Castlerigg ‘now and then’. The music seems to allow the listener to move between the two eras in their mind’s eye: it is slippery time.

When I spoke to Pounds about this work I told him that I felt he may have been influenced by Igor Stravinsky. He suggested that the passage I was alluding to, the short wind section followed by tremolando strings and muted trombones is built on the suggested harmonies of the Scriabin ‘mystic scale’. Yet the bigger picture may well remind listeners of The Rite of Spring – but without the naked violence and eroticism.
Furthermore, at the time of composing A Northern Picture Pounds had been conducting Bruckner’s Third Symphony and perhaps this had some influence on the strong brass section heard a little way in from the start. It is certainly impressive and suggests the majesty of the landscape.

A Northern Picture was composed in 1993. It was written for the Nelson Orchestra and received its first performance in December of that year. Although I have been unable to find any reviews of this work in the musical press, I understand that the reaction to this work was favourable. I guess that this work probably deserves a full professional performance, however apart from a few problems of intonation in the strings it is well done by this ensemble.

Lastly, the composer told me that he was “generally pleased with the Northern Picture” but he had no doubt that he “will re-visit it in the future or it may even manifest itself in a new work as the subject matter itself is timeless”.
The work is presently available on Cambridge Recordings CAMREC002

Adam Pounds: Notes and News

I recently posted about Adam Pounds’s attractive Christmas carol ‘Cradle Song’ and his excellent Festival Overture. I was delighted to hear that in last few weeks he has been very busy. The Carol was performed again on the 16th December in Ely Cathedral. During the Christmas period a new work, ‘To an Evening Star’ was performed at the University Church at the ‘Carols by Candlelight’ service with over 1,000 in the congregation. Who says that no-one attends Church nowadays! And there was another performance of the ‘Festival Overture’ at the same venue.

Recently Pounds has been commissioned to write a new orchestral piece by the Ely Sinfonia. This is to celebrate their 10th anniversary. It will be performed in the Cathedral in October together with Beethoven's Fifth and the Mozart Requiem. The Composer told me that he was “really pleased to have been asked and [that] they have asked me to consider the acoustics of the cathedral in perhaps employing some off-stage performers as well.” It will be an event to look forward to, if his other orchestral works are anything to go by.

The composer is also hoping to produce a CD of his chamber music and naturally I am looking forward to receiving a review copy!

Adam Pounds: Festival Overture (1987)

The Festival Overture is one of those works that appeals on a first hearing and does not require a great effort of analysis or study. However, this is not to imply for one moment that the work is in any way vacuous or lacking in depth or musical craftsmanship. It is a fine example of an approachable, enjoyable piece of music written for a particular occasion. It deserves our attention.

The work opens with a snatch of the rhythmical figure that dominates the piece. Soon the brass takes over becomes a vital part of the musical development. However, the heart of the work is a short ‘Cheltenham’ style tune on the strings that attempts to establish itself but does not quite succeed until the end of the work. The work concludes with a fairly traditional coda. The only weak part of this work is the mini ‘cadenza’ for drums in the middle of the piece. I am not convinced that this percussive outburst does not detract from the musical coherence of the overture as a whole. The composer told me that the “original idea was that the players would be placed left, right and centre stage in order to create an exciting ambient effect…” Yet I feel that the balance of the work is somewhat skewed by this passage.

Stylistically it is difficult to place this piece. Perhaps I was reminded of the sentiment behind Malcolm Arnold’s Fourth Symphony, but perhaps this is simply due to the ‘West Indian’ nods – such as the roto-toms, which have been used to great effect in the past by groups as diverse as Pink Floyd and Van Halen. Obviously Pounds’s study with Sir Lennox Berkeley has not gone unnoticed.

The music as a whole is typified by drive and verve. The composer told me that he wanted to write a piece that would reflect the ‘urban environment and that would fuse several styles together.’ This is reflected in the instrumentation which includes an alto saxophone and an impressive percussion section. Although there is a jazz feel to some of this music, it is not an ‘American’ piece. Pounds uses various dance rhythms that lend excitement and panache to this work. But I feel that the key to the work is the ‘Cheltenham’ phrase that is constantly trying to break through the more exotic rhythms.

The Overture was commissioned by the Waltham Forest Arts Council for the 1987 Arts Festival in that borough. There was additional support from the then Greater London Arts fund.

Finally, the composer told me that the work was to have been recorded by the BBC for broadcast on Radio 3. The session had been arranged with the BBC concert orchestra and the late Vernon Handley was booked to conduct. Pounds added that the plan came to nothing “due to bad weather in December 1991 (I think that was the year) 'Todd' found that he was snowed in, in Wales and couldn’t get to London. The recording session was postponed but then the set –up at the BBC was changed. The listening panel was disbanded and Nicholas Kenyon became controller of Radio 3. Despite assurances from them that the work would be broadcast, it never has and I was eventually sent back he orchestral material.”

The work is presently available on Cambridge Recordings CAMREC002