Even though most of this material is heard here in premier recordings, it does tend to sound somehow vaguely familiar. The music is tuneful, tonal, harmonically expansive, lush, and positively cinematic – in a comfortably pleasant way. It’s got plenty of variety though, making it endlessly engaging and interesting. I thought this music often exhibits the melodic prowess of John Williams, combined with the lyrical warmth of Vaughan Williams and early Richard Rodney Bennett, adorned with the glamorous orchestration of Kenneth Fuchs. And that’s very high praise indeed! It’s a wonderful combination in orchestral music, which in this program, just keeps giving and giving, with never a sense of routine or sameness. Each piece is fascinatingly different, captivating the listener from beginning to end.
If the violin concerto isn’t quite as strikingly innovative as the one I recently reviewed by film score composer Kris Bowers, it’s definitely in the same league of excellence (and infinitely superior to either violin concerto by John Williams or the one by Danny Elfman). Both are lyrical, richly melodic and lushly scored, rather than virtuosic and flashy. Bowers tends to be more dynamic and rhythmically propulsive, with dramatic brass exclamations frequently interrupting its melodiousness; while Sutton is a bit more rhapsodic and sumptuous, with intimate interplay among soloist and instruments within the orchestra.
Korngold’s violin concerto is a strong influence on both composers, but even more so with Sutton, where nostalgic melodic lines and rich harmonies are punctuated with frequent, episodic outbursts of melodrama. In the first movement, Korngold is commingled with Vaughan Williams, but soon blossoms into the John Williams of E.T. in the rapturous climax leading up to the cadenza, and even more so in the sweeping violin melodies and wistful motifs in the flute which follow it. The second movement, then, is all Vaughan Williams – which really does sound like “The Lark Ascending”, but less despairing. Along the way, there are winsome interactions between the violin and various winds in the orchestra (notably piccolo and clarinet), which are positively lovely. The final movement is a bustling scherzando with an even stronger influence of Korngold, and even a surprise appearance from Max Bruch (!) in an interesting double-stopped passage near the end, before the piece comes to a triumphant conclusion.
The frequent hints of various composers makes for happy reminiscing, bringing a smile each time a different composer is evoked. The violin playing by Fenella Humphreys is accomplished and heartfelt, and the orchestral support is colorful, sophisticated and involving.
After this, I was pleased the remainder of the program gets even better. I found the purely orchestral works to be even more inspired, original and thought-provoking – with a more distinctively unique voice, uninhibited in its outpouring of creative expression.
“Short Story” is traditionally British-sounding, with its depiction of the airy countryside reminiscent of Bennett’s “Summer Music” – complete with tunes galore, again often featuring the piccolo. And we know we are hearing something special.
And that impression continues in “A Fistful of Fives” – cleverly titled, as the meter is in 5/4 and there are 5 thematic sections. The subtitle “with huge fire and energy” doesn’t necessarily fit; I hear it as dancing most delightfully, with animated, articulate passages alternating with lyrical wisps of melody throughout. The first section is delicate and gossamer, with incisive, articulated interjections from every section of the orchestra. The second subject takes over, played by a wind quintet, followed by yet another glorious melody on the strings. Muted trumpets soon announce an energetic, galloping rhythmic section, and another dance ensues. It’s effervescent and festive, and a bit of the “fire and energy” emerges with the trombone rips near the end, bringing it to a thrilling conclusion.
It must be noted here the expert leadership of conductor Michael Seal, who manages to make the persistent 5/4 meter totally danceable – lifted aloft, easy and effortless, never clunky or cumbersome. This work is a true masterpiece which should be included in every major orchestra’s repertoire. It’s simply wonderful.
Jumping ahead to the concluding “Five Theatre Miniatures”, we have a marvelous suite of themes taken from previous stage works, repurposed here in orchestral arrangements which would make a splendid (if rather short) ballet. The opening excerpt from Sutton’s music for Murder on the Orient Express is energetic and brilliantly scored, with percussion aplenty and more trombone raspberries. This is music right out of a stirring album of “Epic Film Scores” and certainly gets the heart pumping. Next is an Intermezzo, where we are treated to another glorious John Williams-esque melody, full of poignancy and heartwarming tenderness.
A short, lively gigue is a welcome interlude, followed by “Polperro Beach”, with its restless, undulating pulses evoking waves, above which another glorious melody rises in the strings. True to its marking, tranquillo, this is serene and peaceful, but builds to a fine climax. The suite closes with another energetic gallop, recalling a familiar John Williams theme from Star Wars The Phantom Menace, bringing the concert to a dramatic and exciting conclusion.
Going back to the suite I skipped over, we hear Sutton’s more familiar music for the British theater production, War Horse (not to be confused with the John Williams score for the 2011 Spielberg movie of the same title.) This is a truncated version (6 selections lasting under 15 minutes) of his earlier 2016 concert work, “War Horse, the Story in Concert”. It is enjoyable and programmatic in a cinematic way which would actually make splendid movie music. It’s the perfect length in this condensed suite.
While at first I was disappointed Chandos chose to release this as a standard stereo CD rather than the full multi-channel SACD treatment it deserves, I needn’t have worried. The recorded sound is resplendent and the presentation is luxurious. And the BBC Philharmonic once again demonstrates it is one of the very best, with playing which is elegant, dynamic, engaging and full of life. Conductor Michael Seal is very much at home in this repertoire, making the most of these scores. In fact, he often reminds me of John Wilson in that regard – who, incidentally, has made a few recordings for Chandos with this same orchestra (Coates, Copland).
It’s rare I can find nothing to grumble about in a new recording, but this is one of those pleasant exceptions. It is, without hesitation, one of my favorite CDs of the year – glorious music, glorious orchestral playing and glorious recorded sound. Orchestral recordings don’t get much better than this for sheer enjoyment and pleasure. I loved every minute of it.
Postscript: I learned after listening to this disc and writing this review that Adrian Sutton was recently diagnosed with incurable cancer and was actually undergoing chemo treatments during the composition of his violin concerto. I can’t even imagine the strength and determination it took to continue with it, especially as the end result is such a remarkably accomplished and uplifting achievement. What an extraordinary talent.
