Composer: Richard Emsley
Works: Helter-Skelter (1981), Flow Form (1987), a For Piano 3 (1997), …from swerve of shore to bend of bay… (1985), Finnissys Fifty (1996), a For Guitar 1 (1998), b For Piano 2 (1997), a The Juniper Tree (1981)
Performers: Ian Pace (piano), Alan Thomas (guitar), Claire Lesser (soprano), Nancy Ruffer (flutes), Christopher Redgate (oboes), Julian Warburton (percussion), Guy Cowley (clarinets), Bridget Casey (viola), Betsy Taylor (cello), Mikel Toms (conductor)
Recording: Christ’s Hospital, Horsham, May 2000 (piano works), August 2000 (For Guitar 1), October 2000 (Helter-Skelter), October 2000 (…from swerve of shore…), Vestry Hall, London, December 2000 (The Juniper Tree)
Label: METIER MSV CD 92044
Richard Emsley, a figure whose work straddles the experimental and the contemplative, presents a fascinating array of musical thought in this collection, which showcases pieces spanning from 1981 to 1998. His works, characterized by their intricate textures and challenging demands on performers, reflect a composer deeply engaged with the nuances of instrumental color and the psychological weight of narrative. The juxtaposition of the serene and the violent, as seen in “Helter-Skelter” and “The Juniper Tree,” encapsulates a broader exploration of sound as both a contemplative and visceral medium.
The performance of “Helter-Skelter,” featuring the delicate interplay of flute, vibraphone, and piano, unfolds with a deliberate slowness, embodying the title’s suggestion of chaotic motion without the rush typically associated with it. Ian Pace’s piano work is particularly noteworthy here; his touch is both nuanced and assertive, allowing the individual lines to breathe while maintaining an overarching sense of cohesion. The ensemble’s independence, reminiscent of Morton Feldman’s influence, is executed with precision, yet the performers manage to infuse a contemplative layer that invites the listener to dwell in the sound rather than race through it. The recording captures these subtleties with clarity, the engineering allowing for distinct separation of instruments, which is crucial given the complex interweaving of sonorities.
Conversely, “The Juniper Tree” presents a stark contrast, plunging listeners into a realm of intense violence derived from one of Grimm’s more macabre tales. The ensemble—comprised of soprano, flutes, oboes, percussion, and piano—confronts the listener with a relentless barrage of sound. Claire Lesser’s soprano is fierce and commanding, navigating the demanding vocal lines with a ferocity that aligns perfectly with the narrative’s brutality. The piece’s frenetic energy is palpable, and the performers rise to the challenge, creating a visceral experience that is at once compelling and overwhelming. The recording quality here enhances the sense of urgency, with each instrument’s contribution crisply articulated against the backdrop of chaos.
Emsley’s “Flow Form” and other solo piano compositions provide a contrasting calm amidst the turbulence. These works are studies in fluidity, showcasing the piano’s capacity for textural richness. Pace’s interpretation in “Flow Form” is particularly striking; his ability to shape the sound into cascading textures speaks to both technical proficiency and artistic sensibility. The longer pauses and sparse textures in “For Piano 2” and “For Piano 3” introduce an experimental facet to the recording, inviting the listener to reflect on the silence that punctuates the sound. These moments are handled with care, allowing the music to unfold organically.
The engineering quality of this release merits mention, as METIER has consistently delivered recordings that honor the intricacies of contemporary music. The spatial balance among instruments, particularly in works with multiple performers, allows for an immersive listening experience. Each recording session, spanning various locations, has been executed with a fidelity that supports Emsley’s complex textures and dynamic contrasts.
Emsley’s oeuvre, as represented in this collection, is demanding yet rewarding, offering a rich tapestry of sound that challenges both performers and listeners alike. The musicians involved bring a commitment that elevates Emsley’s intricate compositions, and the recording is a testament to the potential of contemporary classical music to resonate deeply. Each piece stands as a reflection of Emsley’s unique voice within the modern canon, making this release an essential listen for those eager to engage with the evolving landscape of classical music.
