Howard BLAKE (b. 1938)
The Barber of Neville
Concerto for flute and string orchestra, Op. 493a (1996) [17:57]
Concerto for clarinet and chamber orchestra, Op. 329a (1984/2010) [21:31]
Concerto for bassoon and string orchestra, Op. 607 (1971/2009) [12:35]
Serenade for Wind Octet, Op. 419 (1990)
Jaime Martin (flute); Andrew Marriner (clarinet); Gustavo Núñez (bassoon)
Academy of St. Martin in the Fields/Sir Neville Marriner
rec. September, 2012, St. John’s Smith Square, London. DDD
PENTATONE CLASSICS PTC 5186 506 SACD [68:24]
This disc is a delight from start to finish. The three wind concertos by Howard Blake all make for highly enjoyable listening while the Serenade for Wind Octet is equally attractive and no mere ‘filler’.
The Concerto for bassoon and string orchestra is the only one of the works that I’ve previously heard. There’s a story behind this work. Some years ago Dr Len Mullenger proposed that MusicWeb International would commission the work for the young bassoonist, Karen Geoghegan, then at the start of her career, to perform and record. Unfortunately, due to circumstances outside the control of either Len or Howard Blake it wasn’t possible to bring that project to fruition but Blake wrote the concerto anyway and here it’s played by Gustavo Núñez, the principal bassoonist of the Royal Concertgebouw Orchestra. The concerto, which plays for some 12 minutes, is cast in three short movements and it exploits the various facets of the bassoon very effectively. The music is thoroughly attractive. The first movement is fluent and makes full use of the instrument’s compass. In the pensive little slow movement the bassoon’s singing qualities are brought out while the finale is perky and sprightly. Núñez is an excellent soloist.
The Clarinet Concerto was written for Thea King who gave its first performance and recorded it. Sadly, however, she never returned to the work for reasons that are explained in the booklet. Blake made some revisions to the first movement and it’s that revised version that’s presented for the first time on disc in this recording. If you have Thea King’s Hyperion disc containing this concerto and works by Lutoslawski and Mátyás Seiber that will be her recording of the original version of the Blake concerto (CDA66215). The Clarinet Concerto strikes a slightly more serious tone than the other works on this disc. The first movement has a somewhat mysterious air to it. I particularly like the second movement, which follows without a break. Here the music is mellow and songful; it’s gently expressive and is expressively played There are ample opportunities for display in the lively finale. This concerto also benefits from the advocacy of an expert soloist in the person of Andrew Marriner.
The Flute Concerto is simply captivating. The first movement is dominated by a lovely, airy melody which is sung by the flute right at the outset. As the movement unfolds and the string orchestra gets involved with the melody the flute decorations are most attractive. The second movement sparkles, living up fully to the fact that the term con Spirito is included in the tempo indication; there’s also a more relaxed central section, which is very pleasing. The slow movement consists of a beguiling theme which is then subject to variation, followed by a cadenza. The finale is, for the most part, vivacious and high spirited. Just before the close there’s a welcome reminiscence of the melody with which the concerto began. This concerto is zestful and delightfully fresh. Jaime Martin does it full justice.
The wind Serenade is cast in three movements. The first is urbane and civilised and one notices at once how expertly the music has been laid out for the eight instruments. All parts contribute to the discussion and all the individual lines are clearly heard and well balanced: that latter point is a tribute to the players also. I can only agree with the composer’s comment that this movement contains ‘a profusion of melody and rhythm and a sense of life bubbling over.’ The second movement strikes a more serious tone but the finale is, in Blake’s words, ‘capricious, light and breathless.’ Infectiously gay rhythms impart a real spring to the music.
All the music on this disc is splendidly performed both by the soloists and by The Academy of St Martin in the Fields. Incidentally, Sir Neville Marriner will celebrate his 90th birthday in April 2014 so the timing of the release of this new disc is highly appropriate. He would have been 88 at the time these recordings were made but I defy any listener to deduce that: the spirited performances could be the work of a man half his age. The recorded sound is excellent. My one very minor caveat is a suspicion that the clarinet was just a shade too close to the microphone; occasionally one detects a little bit of extraneous noise from the instrument but not to any disruptive degree. Otherwise the soloists are expertly balanced against the accompaniment and the overall sound is clear and pleasing. I listened to this hybrid SACD as a conventional CD. The notes are brief but tell you all you need to know about the music.
“What about the title of the disc?”, I hear you ask. Apparently, Sir Neville, his son, Andrew and Howard Blake all patronised the same hairdressing salon in Knightsbridge, London. At first they weren’t aware that each of them was a client of Jean-Marie but through him they met in due course and planned this recording. Hence the witty album title which, for me, sets the seal on a collection of expertly crafted, very melodious and highly entertaining music. Since the music is so immaculately performed as well I can only conclude by saying ‘suits you, sir.’
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