[an error occurred while processing this directive]PERCY GRAINGER (1882-1961) The Grainger Edition Vol.1 - Orchestral Works
This review is generously sponsored by HMV Singapore.
The Duke of Marlborough Fanfare · Colonial Song · English Dance · Shepherd's Hey · There Were Three Friends · Fisher's Boarding-House · We Were Dreamers · Harvest Hymn · Blithe Bells · Green Bushes · Walking Tune (Symphonic wind band version) Suite: "In a Nutshell"
Arrival Platform Humlet · Gay but wistful · Pastoral · The "Gum-suckers" MarchBBC Philharmonic · conducted by Richard Hickox
CHANDOS CHAN 9493
[72'28"] full-priceby Adrian Tan
A collection of Grainger's works that explores his complete output with orchestral, wind band, chamber, solo song, and choral music is something long overdue. We do appreciate the problems of such an anthology for a recording company though, as some of his music could exist in as many as 10 to 12 different versions for various instrumentation.
Kudos to Chandos for undertaking such a project to give a deserving composer a good documentation. Newbies to Grainger's music are certainly going to get a earful and Grainger fans all over the world rejoice!
THE GRAINGER Edition begins with a first volume of "Orchestral Works", a medium which Grainger contributed greatly to but where he never gained much popularity. A distant horn signifying long-past wars ushers the listener in with a lamenting but sorrowfully grand tune which when repeated the second time is much closer at hand. This is "The Duke of Malborough" Fanfare subtitled "the British war mood grows". Composed in 1939, it was perhaps an ominous fanfare to war.
Colonial Song is one of my personal favourites. This was the first of his many beautiful settings he called "Sentimentals" and sentimental it surely is. Inspired by feelings of longing and love for his native Australia, his people and breathtaking natural landscape.
Left: Detail from "Ned Kelly" (1964) by one of Australia's most renowned painters, Sir Sidney Nolan (1917-92).
This is one of Grainger's most memorable melodies set with harmonic subtlety and innovative voicing. The warm sound of the low strings carry the theme in the beginning which is picked up by solo woodwind instruments. The 'lilting' feel in the development section is remarkably well captured by the BBC Philharmonic. The climax is ecstatic with a myriad of voices and a magnificently soaring host of counter-melodies before it quietens down to end on a unison note and a dissonant piano glissando.
Grainger was greatly influenced by and admired J.S.Bach from his early years at Frankfurt. The effect is represented in English Dance and Blithe Bells. In the former, Grainger sought to achieve "the somewhat grey and certainly monotonous scheme of Bach's colouring". This I certainly don't see in the work, as this "Tally of English Energy" is exciting and bursting with orchestral colours throughout that led Gabriel Fauré to exclaim "It's as if the total population was a-dancing!"
Blithe Bells is what Grainger calls a "free ramble" on "Sheep may safely graze", which is used as a point of departure. The "tuneful percussion" states the sublime Bach melody, which is then deviated from and developed by the composer. It is a work some would consider "impressionist" but I think just adds a touch of melancholy to what is usually seen as simply peaceful and serene.
GRAINGER’S affection for the verse of novelist-poet Rudyard Kipling inspired many works. Amongst these, the most important is The Jungle Book, which the composer lovingly set to music. There Were Three Friends (1898/89), Fisher's Boarding House (1899) and We Were Dreamers (1899) were written for a small 'classical' orchestra of woodwinds, horn and strings and are representative of Grainger's earlier works (he was only about 17 then). These, I feel, though not exceptionally significant, are telling of Grainger's experimentation and growth as a young man and as a budding composer. The earliest use of F-sharp major, the key signature which Grainger used most often in his pieces "of a dream-like and improvisatory nature" (from the liner notes by Barry Peter Ould - The Percy Grainger Society). The pieces tend not to be as innovative but already hints where Grainger was heading with his music.
In a Nutshell is a suite for orchestra comprising "Arrival Platform Humlet", "Gay but wistful", "Pastoral" and "The Gum-sucker's march" , each an independent creation that could stand well on its own. The third movement "Pastoral" perhaps stands out in this set as it presents possibly some of the best of Grainger's writing.
The depiction of nature is alien and disturbing, far from the rural quality as suggested by the oft used title. The "Gum-suckers" are Australians hailing from Victoria where the leaves of the Eucalyptus are very refreshing to suck in the parching weather. Though innocently charming and tuneful, this piece is not easy to perform at all with all of Grainger's complicated scoring, metric manipulation and difficult chordwork.
The BBC Philharmonic proves itself to be more than competent in handling the selection. They are ably led by Richard Hickox (left), who shows a thorough understanding of the music and tackles the challenges posed by Grainger's eccentricity with finesse, culminating in a clean and expressive rendition of all the works contained herewith.
The joy for me while listening to this has been to be constantly conscious of the complexity and the demands of the music, and yet being amazed to hear how the musicians are able to deliver it in a way that sounds so simple and effortless. That is truly the mark of a great performance of the music and a fitting tribute to the art of Percy Grainger.
A full catalogue of Chandos is now available in Singapore at HMV (The Heeren). Chandos records can also be found at Borders (Wheelock Place).
Is gum-sucking illegal in Singapore? Adrian Tan is dying from the heat!
Back to the Classical Index!... or read previous reviews and features at the InkpotOther classical music reviews by this or any other writer can be obtained from the InkVault by doing a key word search with the writer's name.
190(g1): 30.5.98. up.31.3.1999 ©Adrian Tan
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