Worthy of Your Attention and Admiration
GEOFF PEARCE listens to chamber music by Malcolm Williamson
'... fine technical skills and great commitment ...'
Living in Australia, I knew of Malcolm Williamson of course, as he was Australian-born and moved to London when he was nineteen. I also knew that he was appointed Master of the Queen's Music after the death of Sir Arthur Bliss. I have not heard much of his music, and to be honest, I cannot say what I have heard to date has endeared itself to me. So why did I choose to review this disc? I suppose really because I had not heard any of his chamber music and was hoping I might enjoy this more.
Scattered through the disc are the Gallery pieces which were incidental music for a television programme of that name from 1966. These are found in tracks 1, 2, 14, 15, 17, 18, 21 and 22. They are pithy little pieces under a minute in length and are scored for brass, piano and percussion. They appear to be usually in pairs, signifying opening and closing, and you certainly get that feeling listening to them.
Tracks 3-8 are a collection of short movements all under three minutes entitled 'Pas de Quatre' and are performed by Sarah O'Flynn (flute); Melanie Ragge (oboe); Neyire Ashworth (clarinet); Meyrick Alexander (bassoon); and Antony Gray (piano). This dates from 1967 and follows the pattern of a regular balletic Pas de Quatre. The first and last movements feature the full ensemble and the movements inside this feature a solo instrument(s) and piano, or two solo instruments - flute and oboe as in the case of the fourth movement. I have to say that I found this work colourful, inventive with a considerable amount of contrast between the short movements, and I really enjoyed it.
Listen — Malcolm Williamson: Coda (Pas de quatre)
(DDX 21120 track 8, 2:04-2:33) ℗ 2025 Antony Gray :
The next work is a little heartfelt vocalise in G for clarinet and piano lasting under ninety seconds. This was tender and heartfelt, and again, thoroughly enjoyable. It was written in 1985 for a close friend whose husband was dying. It was sung for him with the composer at the piano in the adjoining room.
December (From a year of birds) is a piece in similar vein, and there exists a clarinet part, as well as an alternate vocal. The year of composition is not known.
Listen — Malcolm Williamson: December (A Year of Birds)
(DDX 21120 track 10, 0:00-0:29) ℗ 2025 Antony Gray :
The third vocalise is a longer and earlier composition, tender and slightly tinged with sadness or regret. It was originally, as the title suggests, written for a soprano friend, but suits the clarinet very well.
Listen — Malcolm Williamson: Vocalise in G minor
(DDX 21120 track 11, 1:55-2:23) ℗ 2025 Antony Gray :
The two movement Clarinet Trio dates from 1956. The original performers were Harrison Birtwistle on clarinet, John Dow on cello and Cornelius Cardew on piano. These two movements were supposed to have a first movement added at a later date, but this never happened, and the piece was lost until 2023. The quite interesting first movement reminds me of birdsong in the clarinet part. The cello provides a more melodic and songlike character when it comes in, sort of mirroring the birdsong feeling of the clarinet. The second movement is quite burlesque-like and is thoroughly entertaining.
Listen — Malcolm Williamson: Allegro - Presto (Trio for Clarinet, Cello & Piano)
(DDX 21120 track 13, 2:25-3:11) ℗ 2025 Antony Gray :
The next work, Pieta, features Sally Lundgren (mezzo soprano), Melanie Ragge (oboe), Meyrick Alexander (bassoon) and Antony Gray (piano) with texts by Pär Lagerqvist. Williamson was attracted by Scandinavia and Swedish poets in particular. His work is a setting of five poems and was composed in 1973. All the poems relate to Mary and the crucifixion. The work lasts almost twenty minutes and is a strangely beautiful and somewhat mystical experience. It is slow and sorrowful, reflecting the setting.
Listen — Malcolm Williamson: Pieta
(DDX 21120 track 16, 7:48-8:29) ℗ 2025 Antony Gray :
Malcolm Williamson played the french horn in his youth, and this next little piece, Music for Solo Horn, was written when he was sixteen. It is an entertaining and great little work for the repertoire. This is likely a first recording.
Listen — Malcolm Williamson: Music for Solo Horn
(DDX 21120 track 19, 3:16-3:56) ℗ 2025 Antony Gray :
The final piece, Concerto for Wind Quintet and Two Pianos (Eight Hands), is performed by Sarah O'Flynn (flute), Melanie Ragge (oboe), Neyire Ashworth (clarinet), Meyrick Alexander (bassoon), Roger Montgomery (horn) and pianists Antony Gray, Joe Howson, Iain Clarke and Hamish Brown, with Matt Scott Rogers conducting. It was composed in 1966 for Alan Rawsthorne's sixtieth birthday, and the pianists in the first performance are worth mentioning: Richard Rodney Bennett, Peter Maxwell Davies, Thea Musgrave and the composer, with the New London Wind Ensemble. This is a demanding work and quite austere, until we come to the last movement, which cuts loose joyfully. The work was well received at its first performance, but has received very few performances since. When I listened to the disc, I actually started with this work, and really did not care for it at all, and found the first three movements quite indigestible, but brilliantly written, and the fourth movement welcome relief but quite insane. Upon listening again, I changed my mind and warmed to the piece much more.
Listen — Malcolm Williamson: Allegro vivo
(Concerto for Wind Quintet & Two Pianos (Eight Hands))
(DDX 21120 track 26, 0:00-0:42) ℗ 2025 Antony Gray :
What a marvellous bunch of performers, who have fine technical skills and great commitment, tackling music that is often very demanding. I am very pleased that this disc is being released and that I was able to review it as it has encouraged me to take a fresh look at a composer that I probably would have continued to largely ignore, and I would be the poorer for it. The recording quality is first class and the booklet is very informative as to the background of the works without going into a blow-by-blow analysis. This is a disc worthy of your attention and admiration.
Copyright © 8 June 2025
Geoff Pearce,
Sydney, Australia
