Perhaps a little more
bitty in programme than SRCD327
, this disc nevertheless provides
much entertainment, not least in the
Fantasia on Welsh Nursery Tunes
of 1940. Unsurprisingly, this work brought
Williams’ name to the attention of a
larger audience. Whether or not this
work is consciously modelled on Wood’s
Fantasia on British Sea Songs
(as Malcolm Boyd suggests in his notes),
the fact remains that the combination
of wit and a generally suave outlook
is most appealing. It is certainly a
cheeky way to begin a disc of shorter
pieces (the longest is the Sea Sketches,
of around twenty minutes).
Anthony Camden is a
well-loved oboist, well known from his
days as Principal with the LSO (which
orchestra here accompanies). The very
opening of Carillons is unexpected,
the soloist sounding a bit like a Welsh
snake-charmer. But the influence of
Richard Strauss’s essay in this field
soon becomes apparent (the structural
placement of the cadenza is similar;
note also the seemingly endless melodies
of the solo part). The piece was commissioned
by the BBC, who asked for a ‘light-weight,
entertaining work’. It is all of this,
yet it is also a composition of considerable
sophistication. All movements are short
(both inner movements are under two
minutes each). The finale in particular
is delightful – playfully spiky and
rhythmically alive. Perhaps this work
is best viewed as the Strauss Oboe Concerto’s
gentler half-sister.
‘Penillion’ means ‘Stanzas’.
The inspiration comes from the ancient
Welsh practice of improvised vocal counter-melodies
to a traditional melody (played originally
on the harp). So in the present instance
a melody first heard on trumpet (superbly
played by Ray Allan) is repeated with
various orchestrations and accompaniments.
The third movement, Andante con tristezza,
is a moving elegy. Apparently Williams
makes no recourse to true folk melodies
during the course of this piece, yet
their essence can be heard throughout.
Howard Snell is the
superb, sure-footed soloist in the inventive
Trumpet Concerto of 1963. The work was
written at the request of Bram Gay,
then principal trumpeter of the Hallé
Orchestra. Snell captures the spirit
of the work perfectly, playing with
supreme confidence. The first movement
is generally ruminative while the slow
movement an impressive slow processional,
a passacaglia based on a twelve-note
theme. The virtuoso side of the solo
instrument is reserved for the finale.
The Sea Sketches
reflect the pull of the sea on Williams.
Each of the five movements paints a
scene: High Wind; Sailing Song; Channel
Sirens; Breakers; Calm Sea in Summer.
This strikes me as one of Williams’
more minor works, however. It is pretty
and approachable, but the gestures of
‘High Wind’ seem obvious and over-worked.
‘Breakers’ is the best movement, a Presto
of involving unpredictability. The mysterious
‘Channel Sirens’ is also impressive.
If this disc does not
quite have the pulling power of SRCD327,
it remains fully worthy of investigation.
The clarity of the recording is simply
marvellous, yet there is enough ambient
warmth to reflect the humanity of Williams’
music.
Colin Clarke
see also
GRACE
WILLIAMS Welsh Composer by Pamela
Blevins
GRACE
WILLIAMS by David C. F. Wright
The
Lyrita catalogue
bAnthony Camden (oboe); dHoward
Snell (trumpets); abdLondon Symphony
Orchestra, cRoyal Philharmonic Orchestra/Sir
Charles Groves; eEnglish Chamber Orchestra/David
Atherton. 
