Album insights
Robert Simpson did not attempt a symphonic composition for the first time with Symphony No. 1. Despite composing four symphonies in the late 30s and 40s, including one in the serial music style, all were later abandoned. The official First Symphony, completed at the young age of thirty, earned him a doctorate from Durham University. Its premiere in Copenhagen featured the Dansk Staatsradiofonien Sinfonie Orkester under the renowned conductor Launy Grøndahl. Sir Adrian Boult conducted the UK premiere in 1954, dedicating the work to him. The recording two years later remains one of the most significant interpretations of Simpson.
Simpson's Symphony No. 1 is considered remarkable by fellow symphonist Edmund Rubbra. Creating a 26-minute single-movement symphony showcases unique confidence in symphonic expression. The composition, rough yet logically crafted, suggests subtle Nielsen influences internalized to reflect personal expression. The orchestration blends seamlessly, never sacrificing musical integrity for effect. Rubbra emphasizes the exquisite score and music's excellence.
The symphony's structure, uniquely original, maintains a continuous form mirroring Simpson's First String Quartet's thematic exploration. The opening movement introduces two contrasting themes, one robust and encompassing the score, the other gentle and contrapuntal. These themes evolve throughout the symphony, shaping its core content.
The Symphony's second part demonstrates Simpson's exceptional polyphonic mastery, resonating with clarity and grandeur uncommon in contemporary music. Influenced by Palestrina, the slow movement reflects the second theme's inversion from the opening, featuring contrasting orchestral sounds. Transformative in nature, the symphony remains internally cohesive.
The final movement, 'Finale,' features a swift triple-meter rhythm transforming earlier themes in A major. The work references the central movement, transitioning from solemn Es to energetic moments in A major. Noteworthy for its fluid movement and energy, the piece concludes with vibrant exuberance.
Simpson intended First Symphony for a standard symphony orchestra without percussion, featuring two additional high D trumpets. Commissioned by the Royal Philharmonic Society with support from the Arts Council of Great Britain, Symphony No. 8 was dedicated to Anthony and Daphne Dorrell. The premiere, led by Jerzy Semkov, took place at the Royal Festival Hall in London. Simpson's personal reflections shed light on the collaborative process shaping this compelling symphony.
The Eighth Symphony stands as Simpson's most impressive work to date, composed for a large orchestra with a rich tonal palette. While challenging, particularly in its finale, the symphony exemplifies Simpson's profound symphonic language, setting him apart from his contemporaries.
The symphony's two parts complement each other. The looming sense of threat referenced in Part I transitions into a foreboding 'Poco animato' opening, leading seamlessly into the menacing 'Minaccioso' Scherzo. Part II unfolds with a rigorous Adagio, featuring intense fugal passages contrasted with serene episodes before culminating in the dynamic finale.
Simpson's Eighth Symphony engulfs listeners in a dark, explosive musical landscape. Ominous dissonances and recurring motifs culminate in powerful orchestral moments, eliciting both tension and release throughout the composition. The symphony's journey, marked by intense musical dialogues, dazzling harmonies, and energetic peaks, resolves in a masterful display of symphonic prowess.