Elcock Symphony no.3 Op. 16 (2005-10); Choses renversées par le temps ou la destruction op.20 (2013); Festive Overture op.7 (1997)
Royal Liverpool Philharmonic Orchestra / Paul Mann
Reviewed by Richard Whitehouse
The first release devoted to Steve Elcock, whose distinctive and uncompromising music went unheralded until four years ago when Toccata Classics supremo Martin Anderson took up the cause which resulted in the recording of the works featured here in Liverpool earlier this year.
What’s the music like?
Born in Chesterfield in 1957 and residing in central France for over three decades, Elcock has amassed a select catalogue (currently running to op.26) with five symphonies at its core. The present disc is dominated by his Third Symphony, composed over five years and cast in three movements whose relative contrasts become subsumed into the powerfully cumulative whole.
The opening Allegro veers between dynamism and stasis as to override thematic distinctions in its underlying sonata-form, heading to a tensile yet unresolved ending. Elements of parody are accentuated in the ensuing ‘Ostinato’, whose middle section emphasizes a coarse melody which points up the lunging and often violent activity around it. Its climax spills over into a final ‘Passacaglia’ as long as its predecessors combined, while given focus by its methodical alternation between loud and quiet expression, along with a steady sarabande rhythm which underpins the ultimately tragic tone. The winding down to an ominous, trill-suffused centre then intensified surge towards a tragic outcome is duly capped by the stark closing cadence.
A notable achievement, but scarcely less impressive is Choses renversées par le temps ou la destruction (Things knocked down by time or destruction). This symphonic triptych moves from the tense expectancy of ‘broken columns’ with its dismantling of the 14th Prelude from Book Two of Bach’s ‘48’ (played on harpsichord by Richard Casey), through the amorphous textures then eventual eruption of ‘mills of god’, to the all-round confrontation of ‘last man standing’ whose unfolding as a slow rondo effects the blackly humorous waltz near its close.
By contrast, the Festive Overture is in the lineage of pieces by such as Walton and Arnold, though Elcock draws comparably on Shostakovich’s eponymous piece and Elliott Carter’s Holiday Overture for its lively interplay of blithe melody and ingenious counterpoint.
Does it all work?
Yes, notwithstanding a passing tendency to over-score and the occasional pre-emptive climax. Elcock’s music has energy and momentum, but also eloquence and resourcefulness, as amply holds the attention. Mention is made of the ‘Nordic-British’ symphonic tradition, though that of European modernism is frequently detectable with the imaginative handling of orchestral texture and a rhetoric leavened with irony. For someone largely self-taught in composition, moreover, Elcock’s sense of control over form and expression is rarely less than impressive.
Is it recommended?
Indeed, not least when the Royal Liverpool Philharmonic Orchestra sounds so committed to the cause under the guidance of Paul Mann. The latter contributes an informative overview of these pieces, complemented by the composer’s autobiographical outline. Further instalments are planned, rightly so, but it would be a pleasure to hear these works – the Third Symphony in particular – in live performance; affording this music the tangibility it amply warrants.