Composer: Martin Butler
Works: Tin-Pan Ballet (1986), Bluegrass Variations (1987), Jazz Machines (1990), On the Rocks (1992), Going with the Grain (1991)
Performers: Ruth Crouch (violin), Martin Butler (piano), Richard Benjafield (marimba), Lontano, Odaline de la Martinez
Recording: St Silas Church, London
Label: Lorelt LNT 104
Martin Butler, born in 1960, is a prominent figure in contemporary British music, known for his vibrant engagement with various musical idioms, particularly jazz and folk influences. The collection presented in this recording showcases works from the late 1980s to early 1990s, a period when Butler was honing his unique voice while drawing inspiration from diverse musical traditions. The pieces included, notably “Tin-Pan Ballet” and “Bluegrass Variations,” illustrate an exuberant blend of classical form with popular styles, offering a refreshing perspective on contemporary composition.
Each piece in this collection is characterized by a buoyant spirit and an infectious rhythmic vitality. “Tin-Pan Ballet,” for six players including a synthesiser, exudes a sense of playfulness, utilizing syncopated rhythms and jazz harmonies that evoke the lively atmosphere of a dance hall. The performance by Lontano under the baton of Odaline de la Martinez is particularly notable for its precision and dynamism. The ensemble navigates Butler’s intricate textures with ease, capturing the essence of the work’s celebratory nature. The use of the synthesiser adds a modern touch that complements the acoustic instruments without overshadowing them, showcasing a clever dialogue between the electronic and the organic.
In contrast, “Bluegrass Variations” offers a more introspective journey. Written as a test piece for the Carl Flesch International Violin Competition, it transcends mere stylistic homage to American fiddle music. Ruth Crouch’s interpretation of the solo violin part is both technically accomplished and deeply expressive, managing to convey the piece’s emotional depth without succumbing to excessive sentimentality. The intricate bowing techniques and rapid passages are executed with clarity, particularly in the virtuoso passages that demand both agility and lyrical phrasing. This work stands out not merely as a display of technical prowess but as a profound exploration of cultural crossover.
The recording quality merits mention, as the acoustics of St Silas Church provide a warm resonance that enhances the lively character of the pieces. The engineering captures the nuanced interplay between the instruments, allowing for a balanced sound that does justice to Butler’s orchestrations. The clarity of the marimba in “Going with the Grain” is particularly commendable, where Richard Benjafield’s performance shines with a delicate touch in the slow movement, contrasting effectively with the spirited outer sections. However, the work does begin to feel slightly repetitive, and while it is engaging, one might argue it could benefit from a more concise structure.
this collection of Butler’s works is a testament to the composer’s ability to weave joy and technical ingenuity into his music. While these pieces may not aspire to the gravitas of the symphonic canon, they provide a delightful listening experience that encourages a sense of enjoyment and engagement with contemporary music. Butler’s music, with its accessibility and charm, invites listeners to embrace the lighter side of the repertoire, reminding us that contemporary composition can be both entertaining and artistically fulfilling. This recording is an excellent introduction to Butler’s oeuvre and a fine representation of the vibrant landscape of British contemporary music.
