Composer: Various
Works: Patterning (2000) by Tansy Davies; Saturnine (2000) by Jonathan Powell; Constellations (1998/9) by Mary Bellamy; Buoy (1998) by Morgan Hayes; Partners in Psychopathology (1998) by Sam Hayden; Caught (1998) by Jonathan Cole; Green Plastic, Pink Oil and Water (1998) by Rachel Leach; Deep in your Coral Caves (2000) by Alastair Stout; A Beast of Burden (1998) by Julia Simpson; Cadence (2000) by Oscar Bettison; Los Rábanos (1998) by Richard Baker; Rat-Race (2000) by Alison Kay; Chanctonbury Ring (2000) by Deborah Pritchard
Performers: Composers’ Ensemble; Peter Wiegold, conductor
Recording: St Silas, Chalk Farm, London, January 2001
Label: NMC D 076
The Hoxton Thirteen presents an exhilarating snapshot of contemporary British composition, featuring thirteen young composers whose works were crafted for the Composers’ Ensemble. This collection, recorded in early 2001 at St Silas, Chalk Farm, serves as both a showcase and a testament to the vibrant pulse of the UK’s new music scene at the dawn of the millennium. Each piece, designed to fit within a five-minute framework, invites listeners into diverse sonic landscapes, ranging from the minimalist to the richly textured.
The performance, under the capable direction of Peter Wiegold, exhibits a commendable cohesion among the ensemble members, each bringing their unique musical voices to the fore. Tansy Davies’s “Patterning” opens the album with a vitality that characterizes the collection. The work’s rhythmic precision and intricate layering demonstrate a deft command of timbral variety, setting a high standard for the pieces that follow. In contrast, Jonathan Powell’s “Saturnine” explores a darker, more introspective atmosphere, employing dissonance and hesitant melodic lines that evoke a sense of unease—a striking juxtaposition to the buoyant opening.
Recording quality is stellar throughout, capturing the nuances of each composer’s intentions. The clarity of individual instruments enhances the intricate dialogues and interplay that are hallmarks of contemporary chamber music. For example, the playful textures in Julia Simpson’s “A Beast of Burden” are rendered with delightful transparency, allowing the whimsical character of the piece to shine through. Similarly, Alastair Stout’s “Deep in your Coral Caves” demonstrates an impressionistic quality, where the ensemble’s deft handling of dynamics and articulation conjures vivid imagery, reminiscent of Debussy’s water motifs.
While the majority of the works are engagingly accessible, they often reflect a broader aesthetic discourse. Oscar Bettison’s “Cadence,” with its minimalist inclinations, stands out as an intriguing exploration of repetition, crafted around a singular downward phrase that undergoes subtle transformations. This contrasts sharply with the more vibrant and colorful constructions of Rachel Leach’s “Green Plastic, Pink Oil and Water,” which thrives on playfulness and textural inventiveness.
The concluding piece, Deborah Pritchard’s “Chanctonbury Ring,” serves as a fitting finale, showcasing the ensemble’s technical prowess and rhythmic vitality. Its scherzo-like energy encapsulates the spirit of the collection, leaving the listener with a sense of optimism about the future of these young composers.
This recording not only highlights the individual strengths of the featured composers but also reflects a collective ambition that is both commendable and inspiring. The technical mastery displayed and the artistic voices of these emerging talents suggest a promising trajectory for their future contributions to the musical landscape. The Hoxton Thirteen is a compelling collection that invites both seasoned aficionados and newcomers to the contemporary classical genre to engage with the evolving narrative of British music at the start of the 21st century.
