John METCALF (b. 1947)
Paths of Song
Septet [13:13]
Llwybrau Cân (Paths of Song) [19:17]; Castell Dolbadarn [7:14];
Mapping Wales [17:05]
Eleanor Turner (harp); Nicola Thomas (cello); David Campbell (clarinet); Philippa
Davies (flute); The Solstice Quartet; The Sacconi Quartet
rec. 24-25 February 2009, Rhos y Gilwen, South Wales. DDD
SIGNUM SIGCD203 [56:51]
Paths of Song is an hour's worth of gentle, melodic string, wind and
harp music in the almost pastoral tradition of Vaughan Williams and Butterworth.
That said, it lacks the former’s bitterness and stridency and is lighter on
melancholy than the latter. There are even traces of Kevin Volans in the way
Metcalf hovers around a note or chord … the G tonalities towards the end of
Llwybrau Cân (Paths of Song) [tr.6], for example.
Metcalf's work is in no way derivative, though. Nor could it be described
as being too firmly rooted in past styles. Although not overtly contemporary,
its structure and purpose are clearly defined and deftly executed.
Llwybrau Cân is the longest work, and the one from which
the CD takes its title. It's inspired by the composer's attachment to the
many forms of travel - both personal, conceptual, and physical, actual; hence
its tempo: crotchet=116. Interestingly, this single movement piece truly evolves,
in that it has a much more definite sense of direction and outcome by the
end than appeared likely at the beginning.
The next piece was inspired by Turner's painting of Dolbadarn Castle in Wales.
It concentrates, quite successfully, less on the impressionistic and atmospheric
aspects of the subject matter, as Turner had done; more on the way the structure
of the building and scene could be 'mapped' onto chords and variations thereof
in the music. It works well.
Mapping Wales is also based on variations. Eleanor Turner's harp complements
the Solstice Quartet's loving yet not sentimental style. Tender, indeed. The
fact that Metcalf later arranged an expanded version of the piece for small
string orchestra attests to its richness.
The CD begins with Metcalf's Septet for harp, flute, clarinet and strings.
Again chordal writing underlines the piece, which is an elegy in honour of
parents generally Metcalf was asked to write a piece in memory of the parents
of the commissioner, Antony Grew, David and Ann. 'DG' and 'AG' are 'encrypted'
in the septet. But this is incidental: the work stands by its melodic invention
and gentle tonalities.
The playing of the soloists is clean and convincing; Philippa Davies' flute
is particularly penetrating. The two string quartets also work within the
idiom of this sensitive but not sentimental music. The recordings direct our
attention to the music by benefiting from a close and homely acoustic. The
booklet contains useful information, musical and biographical. All in all
a good introduction to John Metcalf, whose work is not otherwise well represented
in the current catalogue. Signum is to be congratulated for putting this right
with a pleasing release of music that has immediate appeal but which also
repays repeated listening.
Mark Sealey
A collection of quietly and unassumingly substantial chamber works by Welsh
composer John Metcalf not otherwise available; well interpreted by soloists
and string quartets.
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