Composer: Roger Smalley
Works: Symphony, Piano Concerto
Performers: Roger Smalley (piano), West Australian Symphony Orchestra, Diego Masson, Sydney Symphony Orchestra, Patrick Thomas
Recording: ABC Basil Kirke Studio, Perth Australia, 19 Feb 1987; ABC Studio 225, Sydney, Australia, 13-14 Feb 1985
Label: VOX AUSTRALIS VAST 003-2
Roger Smalley, a composer whose career has traversed the avant-garde landscape from the 1960s to the present, emerges compellingly in this recording of his Symphony and Piano Concerto. Born in the UK and later establishing his reputation in Australia, Smalley’s trajectory has been marked by an engagement with both electronic and traditional forms, often interweaving complex textures with a distinctive atonality. The works presented here, although composed in the early 1980s, reveal a composer grappling with the legacy of modernism while simultaneously forging a unique voice that resonates with both exuberance and introspection.
The Piano Concerto, composed in 1985, is a theatrical amalgamation of rhythmic vitality and harmonic exploration. Smalley’s writing here is vibrant, marked by jagged contrasts and exhilarating dynamics. The opening passages are characterized by a raw energy reminiscent of Stravinsky and Prokofiev, as the orchestra engages in a tumultuous dialogue with the piano. The performance by Smalley himself, alongside the West Australian Symphony Orchestra under Diego Masson, captures this vitality beautifully. The piano’s aggressive interjections, underscored by a brassy orchestral backdrop, create a sense of pugnacity that is both thrilling and engaging. The rich textures and angular rhythms that define this work are realized with precision, with the orchestra navigating the shifting dynamics with confidence, particularly in the climactic moments that feel both tumultuous and celebratory.
Transitioning to the Symphony, one is immediately met with a more challenging sonic terrain. Originating as a string quartet, this work evolves into a complex tapestry of sound that demands rigorous engagement. The performance under Patrick Thomas by the Sydney Symphony Orchestra reveals the symphony’s darkly introspective qualities, which stand in stark contrast to the exuberance of the concerto. This piece unfolds through eight large-scale developmental sections, culminating in a theme and variations that evoke both a sense of mourning and a stark depiction of life’s tumult. The inclusion of a plague dance and a tempestuous sea storm is particularly striking, and the nuanced interpretation by the orchestra brings forth the emotional depth that Smalley intended, particularly in the haunting solo cello passages that resonate with grief and loss.
Recording quality plays a pivotal role in the overall experience of these works. The engineering captures the vivid colors of the orchestration—strident brass, whispering strings, and the tactile presence of the piano. The spatial clarity allows for an appreciation of the intricate interactions between the soloist and the orchestra. One can draw comparisons to other notable recordings of contemporary concertos, yet Smalley’s approach stands apart for its emotive directness and textural richness, reminiscent of Messiaen’s immersive landscapes.
This disc offers a compelling portrait of Roger Smalley as both a pianist and a composer, showcasing the breadth of his artistic vision. The Piano Concerto is a standout, bursting with life and rhythmic complexity, while the Symphony challenges the listener to delve deeper into its emotional and structural nuances. For those willing to engage with modernist idioms, this recording serves as an essential addition to the catalogue of late 20th-century orchestral music, revealing Smalley’s significant contributions to the genre and underscoring his position as a vital voice in contemporary classical music.
