- poetry
- Richard Strauss: Elektra
- Samuel Barber
- vocal music
- Peter Thompson
- Bob Gilmore
- Sándor Szokolay
- Brahms: Three Intermezzi
Quite Compelling
GEOFF PEARCE listens to contemporary orchestral music on the Ablaze Records label
'... each composer is worthy of your consideration as they are all talented and original voices ...'
When this recording was announced, I was looking forward to hearing it and possibly reviewing it as I have reviewed others in the series, released by the fine Ablaze Records label. This offering showcases six composers from several generations and features two excellent orchestras. The enclosed booklet supplies excellent information on the composers, the works and the artists. The recordings, as always with this label, are clear and warm.
The first work is by American composer Martin Hebel (born 1990). Entitled Half Silver, it is dedicated to the victims of gun violence everywhere. 'Like a vision in a two-way mirror, Half Silver reflects and looks beyond, exploring hope in the face of violence, contrasting darkness and light.' I enjoyed this short eight-and-a-half minute work. It was written in 2019 and revised in 2024. There are moments of peace and stillness which are occasionally disturbed by disquieting moments, and there are many moments of tension and then release. Sometimes the music is sorrowful, and at other times reflective and perhaps more hopeful. There are moments of considerable tension, but overall, the music is subdued and contemplative, and the flute plays a prominent role in the quieter passages.
Listen — Martin Hebel: Half Silver
(ar-00076 track 1, 2:42-3:39) ℗ 2025 Ablaze Records :
The next work, by Ayaz Gambarli (born 1984), entitled Ateshgah, refers to a temple in Baku, Azerbaijan - the composer's country of birth. The temple has been used over the centuries by Hindus, Sikhs, and Zoroastrians. The work lasts about six and a half minutes and is made up of many layers and textures. The scoring is, by and large, contemplative and delicate, but there are changes of mood which are often quite subtle. This music should be heard in a quiet place, free from distraction. Some quite remarkable rapid crescendos disappear into nothing, and the textural detail of this work is quite intriguing.
Listen — Ayaz Gambarli: Ateshgah
(ar-00076 track 2, 3:11-4:05) ℗ 2025 Ablaze Records :
The Glory of Spring by American composer Lisa Nardi (born 1959) pays tribute to the composer's favourite season. Like the previous piece, I have no date of composition for this work, which depicts typical events on a spring day, from a peaceful early morning, followed by a later storm and then a return to peace. She has created a work of great beauty, and one which I am sure listeners will enjoy. It is the most romantic sounding of the works on this album.
Listen — Lisa Nardi: The Glory of Spring
(ar-00076 track 3, 3:58-4:52) ℗ 2025 Ablaze Records :
Swiss composer David Rossel (born 1988) wrote Abschiedsbrief, Op 22/3 for tenor, strings, celesta, and tubular bells. It is the third of Four Serious Songs and portrays the tragic life of German composer Hugo Distler who took his own life in 1942 whilst suffering severe depression and left behind a suicide note (or farewell note) in which he remembers his loved ones. This work contains a couple of musical references - one by Heinrich Schutz and the other by J S Bach. Running for eight-and-a-half minutes, it is touching, beautifully orchestrated and is quite a compelling piece and one that I think will be performed often, as it is immediately engaging. The tenor, Michael Feyfar, is particularly fine, and his tonal qualities, delivery and superb dynamic control really suit this music. This piece blew me away emotionally.
Listen — David Rossel: Abschiedsbrief
(ar-00076 track 4, 3:43-4:29) ℗ 2025 Ablaze Records :
Michael Timpson (Born 1970) is an American composer who has influences largely drawn from non-classical music, including music from Asia, and its vast musical heritages. This work, Sinfonia Sketches, was written during the COVID-19 pandemic and is in three sections: 'Ascensione silenziosa', 'Cicli vitali' and 'Satira politica'. These are contrasting movements and many of the influences that have inspired the composer come into play. This work is atmospheric, beautifully varied, brilliantly orchestrated and repeated listening soon reveals its charms. It is a quite fascinating work.
Listen — Michael Timpson: Sinfonia Sketches
(ar-00076 track 5, 2:23-3:03) ℗ 2025 Ablaze Records :
The final work is by American/Australian composer Douglas Knehans (born 1957). His Ripple - Symphony No 1 was written in 2002 at the Bundanon Artists Centre. The Shoalhaven area is one of my favourite areas in New South Wales, and I spend a lot of time in the region. The work is in five parts and 'Ripple' when referring to sound is defined as 'to go on or proceed with an effect like that of water flowing in ripples'. I think the Shoalhaven River would have inspired quite a lot of this. This work, at over thirteen minutes, is the largest of the works on this disc and is immediately arresting with the forthright nature of the themes, striking orchestration and rhythmic energy. The piece is quite varied in nature and there are some absolutely beautifully quiet contemplative moments which contrast the more energetic and spirited sections. The booklet notes, written by the composer, give an excellent insight into the structure and nature of this work. This is also the only recording on the disc that does not use the Brno Philharmonic, but instead, the forces of the Kyiv Philharmonic are involved and conducted by Robert Ian Winstin, so this recording would have dated from the first decade of this millennium, as, sadly, the conductor died in 2010.
Listen — Douglas Knehans: Ripple - Symphony No 1
(ar-00076 track 6, 8:26-9:18) ℗ 2025 Ablaze Records :
This disc showcases the great variety and depth of 21st century orchestral music and each composer is worthy of your consideration as they are all talented and original voices who are, indeed, masters of the orchestra. The booklet gives detailed information, and the performances are exemplary by both the orchestras and directors. Labels such as Ablaze are worthy of your attention as they go where often the better-known labels refuse to go.
Copyright © 8 March 2025
Geoff Pearce,
Sydney, Australia
