Search - Robert [Composer] Simpson, Vernon Handley, Matthew Taylor :: Robert Simpson: The Complete Symphonies [Box Set]

3.5 stars -- a prolific postwar British symphonist with an o

Larry VanDeSande | Mason, Michigan United States | 10/28/2007

(3 out of 5 stars)

"Robert Simpson (1921-97) was a British writer, radio announcer and composer. His sequence of 11 symphonies is highly valued in Britain, where he is considered one of the more important composers of the 20th century postwar period. He wrote books about both Nielsen and Bruckner, whom many hear in his symphonies. He studied with British composer Herbert Howells, who convinced him to obtain both bachelor's and doctoral degrees in music. Simpson's collegiate training shows throughout his symphonic ouevre, which is both original in concept and resolutely pedantic, with the composer often being more interested in tempo relationships and musical forms than inspiration, which is often lacking in his music.



Among the academic notions pursued in the symphonies are his tonal principles -- many characterize his counterpoint being dueling musical cells fighting against each other -- his predilection to outline major seconds, thirds and fourths, and the famous palindromatic design in the second movement of the Symphony No. 2. A palindrome is same backward as forward -- a sentence such as "Able was I ere I saw Elba" or a number such as 1881 (my thanks to Merriam-Webster Online for this example) -- something that, in music, can be thought of as a lengthy arpeggio.



Listening to Simpson's symphonies in the order of their numbering in this box, I concluded the composer had three distinct periods as a symphonist:



-- An early period (Symphonies 1-4). where he tries to define himself. He begins wanting to be dissonant and serial but, instead, finds he cannot abandon traditional forms. He substitutes a lot of noisy musical rhetoric for development and churns out symphonies that are, with the exception of 3, largely forgettable.



-- A middle period (Symphonies 5-8), mostly in the 1970s, where he defines his individual voice, begins to completely tune out the bombastic rhetoric, and starts to finely tune his developmental style in symphonies marked more often in parts instead of movements.



-- A late period (Symphonies 9-11) where his style is completely developed. Here, he composes his best symphonies while somewhat ironically, he loses much of his individual voice developed through the urgency and darkness exhibited in the early and middle symphonies.



The early symhonies are all bombastic, LOUD, dark, and somewhat dissonant. The middle symphonies carry over some of the earlier darkness with better development. The later symphonies are even better but, while listening to the Symphonies 9 and 10, I was regularly reminded of the American band of brothers composers whose symphonies sound like they are all stamped by a corporate sound -- Schuman, Harris, Piston, Persichetti and Mennin.



Because no review I read described in much detail the music that lies inside the recordings, I will spend a few moments on each CD trying to define what's going on in these compositions.



Symphonies 1 and 8. The first symphony is, like the Bruckner Symphony No. 1, a collection of the composer's influences. More than faint echoes of Beethoven, Shostakovich, Nielsen and Sibelius riddle the score, steeped in Brucknerian grandeur. This is a tonal, post-romantic 20th century symphony that reflects Simpson's influences but not his own voice. Symphony 8 starts as if French-influenced when things turn dissonant before a modernist martial theme reminiscent of Shostakovich takes over. The early portions are tonal but press the 12 tone envelope in what my notes remind me is a loud, meandering, boring, uneventful opus whose material consistently overstays its welcome.



Symphony 2 and 4. No. 2 begins quiet and lyrical but ends up like 8 -- loud and tedious -- in the opening allegro grazioso. The following largo cantabile is a bit more intersting but is still too loud and uneventful with poor development characteristics. The final movement begins in an interesting variation but one of Simpson's worst early characteristics -- overuse of timpani -- literally beats this to death. Beginning a la ballet like Prokofiev Symphony 4, the Simpson 4 begins with balletic interaction between woodwinds and strings (a feature that will identify this composer from this point forward), sometimes pizzicato, until it launches into a loud subject at about 9 minutes. Much more too loud music follows in the intervening movements until an elegaic cell opens the andante. The finale is full of big ideas but this composition, like Symphonies 2 and 3, is much too loud far too often. It wears down the listener with its volume and attack.



Symphonies 3 and 5. Number 3 is the most often recorded of Simpson's symphonies (Horenstein once recorded it) and many say this CD is the place to begin with this composer. The opening of 3 is mysterious, another badge this composer develops that is a departure from the norm. Felicitous string writing remindful of William Schuman leads to typical blasts from the brass and timpani that molt to a marcato finish. The adagio - presto second movement is a new voice -- a subdued mood in strings followed by woodwind that proceeds through a set of Shostakovich-like variations to a titanic whirlwind of sound from which comes a concluding trumpet solo with string accompaniment. Symphony 5 begins with a string threndoy that gives way to a maelstrom of fortissiomo sound and energy. In the second movement (Canone) a solo flute emerges misterioso and launches into variations with a clarinet & strings. A playful Scherzino turns mean and loud before a second Canone (rondo) begins in low strings, then builds a lengthy crescendo-decrescendo in timpani that swells and recedes like waves with the tension of a ticking bomb. It bursts forth with energy in halves that quiets before the concluding section molts for 16 minutes. This is Simpson's best symphony thus far, more well-developed and individually voiced than anything that came before.



Symphony 6 and 7. For me, as well as for the All Music Guide (which recommends one Simpson symphony recording; this one) this is the pinnacle of the set. Here Simpson's individual voice becomes fully developed as he sets aside the bombast of his early, noisy symphonies while retaining the demonic energy that has so many listeners comparing him to Beethoven. No. 6 starts (Part 1) with an elegy in strings as if more modern and dissonant, only to turntraditional with traces of Shostakovich and Prokofiev's Symphony 2. Part 2 is 17 minutes of very fine variations that ends, for the first time in a Simpson symphony, with an affirmative, positive note. Symphony 7 is, for me, the best this composer has to offer. It representsw the mature voice of the composer and imaginer in the now familar language that is the Simpson trademark -- counterpoint that mates string tremeloes followed by woodwind followed by brass, then by timpani. The three-part symphony, written in 1977, has more advanced and traditional development and ends with a lengthy section of sustained tension in the final allegro remindful of Shostakovich in the largo of his Symphony 6 or the most intense pages of Symphony 8.



Symphony 9. From this point forward, Simpson is a more thoughtful symphonist with almsot no bombast and orchestral development. I believe his symphonies become more conventional from this symphony on, with a negative demarcation -- his voice becomes less distinctive, more generalized. Part 1 begins with a low string rumble and accompanying figures that give way to devleopment on an ostinato theme in halves constructed on monumenal ideas in full orchestra. Late in Part 1 you hear, more clearly than at any other time, the duelling nature of Simpson orchestral cells with the strings and winds playing 8ths and the brass in halves. Part 2 begins on a sprightly, chirping dance that soon turns serious in brass. The finale builds sustained tension that gives way to a great outburst near the end similar to the closing of the Shostakovich Symphony 4.



Symphony 10. A four-movemenet symphony begins with a traditional 20th century allegro constructed from a single note orchestral tutti and goes on for 12 minutes. The Allegro leggiero has quiet strings and woodwind figures that moves into the third movement (Andante molto masso) sounding a lot like what we just heard. Symphony 10 closes with a dramatic 19 minute Largo - Allegro con brio in a highly crafted 20th century symphony that could've been written by any of a dozen different composers.



Symphony 11 and Variations on a theme by Nielsen. No. 11's Andante begins misterioso in strings and woodwinds (another Simpson badge, this time adopted from Bruckner) while the spectre of a Shostakovich largo looms large. It later rises and subsides in full orchestral voicing before closing as a meditation. The second movement Allegro vivace starts as if a playful scherzo in Simpson counterpoint before it turns darker, returns to hushed tension, becomes more agitated, returns to quiet tension, then to sawing strings and a brass outburst that molts before returning to a quiet ending. Compared to the almost universal dark mood of the symphonies, the Nielsen variations begin brightly, with the initial theme supported by a hooting tuba that, with the low brass, play pivotal roles in the early variations (there are 9 variations and a finale.) These variations are to Simpson what the Haydn variations were to Brahms -- one composer showing his admiration and love for the other.



The packaging, playing, sound, notes and interpretations in this production -- a box with 7 CDs in individual (this time sealed) sleeves -- are all first rate. Calum McDonald's notes give you insight into Simpson the man and composer. In the 40-page booklet (with notes in three languages), McDonald carefully details the history and guts of each symphony with text that outlines their respective places in British musical history. If you don't know much about Simpson before you buy this, you'll know a lot about him afterward.



While the box is expensive, it is the easiest and most economical way to get to know this composer. For curious listeners unwilling to put out $60 or $70, I'd recommend the CD containing the Symphonies 6 and 7 as a view into the mature composer and his style. Others have designated the Symphonies 3, 5, 9 and 11 as his best, so there is little uniformity on that question. This, I think, because Simpson is unique, difficult to understand, and even more problematic to pigeonhole and rank.



Simpson's music often engages the listener intellectually, especially on the occasions when his battling cells compete with each other or he develops a string-like movement based on variations. But he can be loud and crass, too boisterous for the material, and, in his most raucous moments, boring and irksome.



Worst of all, for me, is that not one symphony, moment, movement or part from this 7-CD collection moved me to play it over and over again, and never once did any sound or idea emanating from these symphonies turn me to goose flesh. While his intelligence is great, his level of creation above average, and his development as a symphonist enlarges as he goes from opus to opus, his music never one time moved me emotionally. I know others more enthusiastically reviewed his symphonies, but this is a big demerit in my view. After living with Simpson symphonies for a week, I have no desire to play any of them again.

"

The Great Symphonic Cycle of the Late 20th Century!

R. Hutchinson | a world ruled by fossil fuels and fossil minds | 08/27/2007

(5 out of 5 stars)

"Robert Simpson (1921 -- 1997) was the greatest symphonist of the late 20th century. His 11 symphonies, originally released on 7 discs by Hyperion, have now been collected in a box (a true box, with no jewel cases -- just discs in slip covers, a la EMI or Brilliant). This is the classical release of the year, and should be heard by all modern music lovers. Simpson is a neglected modern master who deserves a much bigger audience!



Simpson, like Brahms, wrote for several years before committing his first symphony to posterity. Brahms labored in the shadow of Beethoven, and Simpson labored in the shadow of Haydn, Beethoven, Bruckner, Sibelius and Nielsen, who were his main influences. I find it interesting that while there are some striking resemblances, to my ear, between Simpson and Shostakovich, mainly the recurrent dark and dire tone and the rugged attack, Simpson's influences and tendencies were not basically similar to DSCH at all. Shostakovich was powerfully influenced by Mahler, but Simpson drew instead on the more organic developmental approach of Bruckner and Sibelius. Simpson's most proximate influence, though, was Nielsen, and he stands in a recognizable Nordic tradition. Simpson authored acclaimed books about the music of both Nielsen and Bruckner.



The discs have not been reorganized. The pairings are 1 & 8, 2 & 4, 3 & 5, and 6 & 7. The longer 9 and 10 each have their own disc, and the last, No. 11, is paired with the lively and accessible "Variations on a theme by Carl Nielsen." Nielsen's influence is clear in the slow second movement of the First Symphony (1951), and with an appealing melodic theme, it certainly makes a good introduction to the composer. The Eighth (1981) is longer and more imposing, in Simpson's mature style, the stepping stone to the Ninth, his masterpiece. The Second Symphony (1955-6) is in three movements, and sounds more clearly modern than the First, establishing a distinctively Simpsonian sound. The Fourth (1970-72) is Simpson's only traditional four movement symphony, and it is eminently accessible for those listeners coming from the 19th century classical tradition. This disc, too, might serve as an introduction. The Third Symphony (1962) has an unusual construction, leading with an energetic and compelling Allegro ma non troppo, followed by a second movement of equal length that speeds up in an accelerando from adagio to presto, over the same underlying pulse. Apparently this is his most popular, most performed symphony (in England, almost exclusively), which seems a bit odd, as I find the second movement problematic. It certainly exemplifies Simpson's restless invention. The Fifth Symphony (1972) is the most Shostakovichian of the eleven, beginning and ending with furious energy. The Fifth, in my view, is the most obvious introduction to Simpson to anyone new to his work. Symphonies Six and Seven were written back to back in 1977. While No. 6 is lively and dynamic, No. 7 is stark and has been identified as Simpson's portrayal of the end of the world in nuclear war, ending with a devastated, lifeless landscape. The Ninth is Simpson's masterpiece, a 50-minute work that attains a Brucknerian majesty. If you only hear one Simpson symphony, this is the one! The Tenth is another long work, nearly 54 minutes, and while the outer movements are strong and engaging, the quiet inner movements lose momentum if the listener does not give 100% attention to the subtle developments. The Eleventh (1990) returns to a shorter form, and is less imposing than its immediate predecessors. I find it to be a lesser work, but intriguing in the changes it brought to Simpson's style.



Simpson was completely independent among his peers. He did not join the serialist movement, but neither was he content to plow the furrows of traditionalism. I find his music to be powerfully modern while maintaining and innovating within the symphonic tradition of his illustrious 19th and early 20th century models. Simpson's symphonies are likely to sound too modern for traditionalists, and not modern enough for devotees of the post-serialist avant-garde. But with open ears, I think his music powerfully recommends itself to both camps.



My admiration for Simpson is deepened by my knowledge of his life and his principles. He was a "pugnacious pacifist" (from his Guardian obituary, 24/11/97, by Calum MacDonald) who served with an ARP mobile surgical unit throughout the London blitz as a wartime conscientious objector. Simpson was also an "instinctive socialist," who moved to Ireland in 1986 because of his loathing of Thatcher's government. Following the completion of his music Ph.D (his First Symphony was his dissertation) in 1951, he joined the BBC as a producer. Well-loved in that role, one of his innovations was the Innocent Ear series, with the composer's identity being revealed only after the piece was played, in order to remove the influence of received reputations. Simpson composed 15 string quartets in addition to the 11 symphonies. Critical of much contemporary art, he once said "[n]o one born deaf could ever be a composer, though if it could happen now is the time."



This Hyperion box is well worth obtaining, as purchasing all seven discs separately would be much more expensive. Of course, I realize it may seem excessive for those not yet convinced, and if so, start with the Ninth, or the Third/Fifth disc. The cover art is the Vela pulsar nebula, and this is not accidental -- most of the individual discs in the series feature astronomical phenomena, reflecting Simpson's love of astronomy. He actually became a member of the Royal Astronomical Society, though he was an amateur. While there is more detail in the essays for the individual discs, the 10-page essay for the box's pamphlet, by Calum MacDonald, is excellent. Thanks as well to Rob Barnett, whose review of this set for MusicWeb is superb. And thanks to Vernon Handley, who conducts nearly all of the symphonies, for his persistent championing of Simpson's music!"

A great collection of music that is good, sometimes better.

Ryan Morris | Chicago, IL | 10/18/2007

(4 out of 5 stars)

"Robert Simpson is a true intellectuals composer, creating music far more intricate and complex than most serialists. However, despite the severe intellectual depth of the music, it is intellectual while being in the vein of the german tradition, meaning symphony's-big symphonies at times. Despite the relative size of his symphony's, many exceed 40 minutes, we have to remember these are post Sibelius and Strauss and the efficiency of the themes and the format of the later ones reflects this(one movements symphonies created from a germ cell are closer to the manner of Bax than Sibelius 7.

However, Simpson was overzealous with loftier goals than his aesthetic abilities allowed him to achieve. While interesting from an educational standpoint-there is not a whole lot of melodies in the manner of Mahler or Sibelius to grab hold of and you wont be whistling any of these tunes throughout your post-simpson experience.

Despite that, I do enjoy his works and would recommend them more as time-to-time listening than as something to write to mother about-though there is the initial shock of discovery that accompanies some of these works. They have more qualities in moments, or sequences--big, dramatic build ups and sweeping orchestrations---fugues(remember those) and other tradional aspects that are comforting to hear in a modern soundtext.

I would say this music is like Max Reger. Music that is Very intellectual and put together by proficient orchestrators. It is good and you are always aware of that but there is that something missing that makes it timeless. This box will hopefully give Simpson his some of the recognition he deserves. I believe it was very valiant of him to adhere to his style despite the parallel classical nightmare everywhere around him from the nutty Boulezians and the like and he truly believes in what he is doing and how he is doing it. Simpson seemed to view classical music like a scientist and his works exhibit that. Every note is like a atom that is equally responsible for the whole. But unlike serialists, his works are worth listening to in a soundworld reminscient of Reger, Strauss, Brahms, Sibelius, Beethoven, and Shostakobich with a whole dose of early 20th century english symphonic thought. Worth the time and effort."