Michael TIPPETT (1905-1998)
Triple Concerto for violin, viola, cello and orchestra (1979) [35:43]
Piano Concerto (1955) [36:35]
Ernst Kovacic (violin); Gerard Caussé (viola); Alexander Baillie (cello); Martino Tirimo (piano)
BBC Philharmonic Orchestra/Sir Michael Tippett
rec. Studio 7, BBC Broadcasting House, Manchester, 7 July 1990, 17 May 1991. DDD
NIMBUS NI 5301 [72:32]
This disc brings together two substantial concertos. Each is in three movements though the Triple Concerto’s three are separated by two brief interludes. The late and lyrical Triple Concerto was premiered by Sir Colin Davis and the LSO at the Proms on 22 August 1980. This speaks of Tippett the musical Taliesin, spinning a diaphanous bejewelled cloak of quietly jangling bells - very much Prospero’s island. The middle movement is restful. The last is a torrent of orchestral colour and grandeur. Gamelan textures - more familiar in Britten - can be heard throughout. Tippett the alchemist here leans in absorption over the alembic of his orchestra and draws out singing tones and long yearning lines. The trio ‘sing’ their parts beautifully and their nostalgic slow theme vividly reminds me of a hand cutting lazily through sun-glittering water (tr.1 9:33). The instruments are in carolling dialogue but their relationship often strikes me as being in conflict as if they must hurt each other to achieve exaltation. After so many masterful moments am I alone in wondering at the unsatisfactory way the concerto ends? There is competition in the shape of the Philips recording coupling Pauk/Imai/Kirshbaum with the Concerto for Orchestra and the identically harnessed Chandos (Hickox).
The Piano Concerto is much earlier (1955). It chimes into existence with a pearly gentleness; occasionally sounding like the John Ireland or Rubbra concertos. It does however rear up occasionally with overt heroism. It was intended for Julius Katchen who later withdrew. It was Louis Kentner who took his place at the premiere. This was given by the commissioning orchestra, the City of Birmingham Symphony. Beethoven’s Fourth Piano Concerto - a performance of it by Gieseking - formed the work’s inspirational ignition. It has not become popular. The concerto sports an occasional heroic approach. When in clamant dramatic mode Tippett seems startlingly Brahmsian. Occasionally I also thought of the leonine Medtner in his Third Piano Concerto. There is much glistening crystalline passage-work for the piano. Tirimo gives an impressive and emotional performance and is seemingly fully equal to the concerto’s challenges. For years this work was represented by the 1965 EMI LP (Ogdon/Philharmonia/Colin Davis) which is still worth experiencing.
The disc is complemented by an extensive note by Geraint Lewis.
A unique and generous coupling of two contrasted works. Of the two it’s the magical Triple Concerto I shall return to most often.

Rob Barnett
A unique and generous coupling of two contrasted works. Of the two it’s the magical Triple Concerto I shall return to most often.