English Symphony Orchestra / Kenneth Woods
Composer Portrait – Adrian Williams
Chamber Concerto ‘Portraits of Ned Kelly’ (1998)
Russells’ Elegy (2009/11)
Wyastone Concert Hall, Monmouth
Recorded September 21 2020 and 8 April 2021 for online broadcast
Written by Richard Whitehouse
The English Symphony Orchestra’s latest online concert was devoted to the music of Adrian Williams (b1956), a composer whose long and wide-ranging career has resulted in an output -championed by the likes of cellist Raphael Wallfisch and the Amsterdam Sinfonietta – which covers almost all the major genres and with a stylistic diversity that does not preclude a more unified or personal manner from emerging. Such was evident from the three highly contrasted works featured in this programme which, between them, constituted a most revealing portrait.
A programme, moreover, which was launched ‘at the deep end’ with the Chamber Concerto ‘Portraits of Ned Kelly’. The artist Sidney Nolan was during his later years a neighbour of the composer, his powerfully imagist and pointedly un-romanticized evocations of the Australian outlaw directly influencing this music. Its pungent opening sets out the basic premises – not least the pitting of wind quintet (with doublings) against string quartet, with double-bass and harp adding subtle contributions as the piece unfolds. A more inward central section builds to a febrile culmination – after which, the wind and strings are gradually drawn into a monody that brings about a resigned if hardly serene close. Impressive, too, is Williams’s handling of often fractious material such that a clear formal and expressive trajectory is always evident.
Williams has already contributed several works as the ESO’s current John McCabe Composer -in-Association, Russells’ Elegy likely one of his most directly appealing as well as being a commemoration of the pianist-conductor John Russell and the director Ken Russell (thus the plural of the title). Audibly in a long lineage of British works for strings, it alternates between passages for the ensemble and those in which solo strings dominate with no mean subtlety or finesse – before culminating in a sustained tutti that fades longingly if inevitably into silence.
That the ESO’s music director Kenneth Woods should have described Migrations as ‘‘one of the very greatest works in the rich canon of string music’’ is not mere hyperbole. Scored for 22 solo strings and inspired by migratory patterns of birds in the environs of the composer’s Herefordshire home, this substantial piece unfolds with a seamlessness of purpose in which cluster-like outbursts of great emotional force are integrated into melodic writing of distilled poignancy. The textures are highly variegated while always consistent – not least in the final minutes when, after a fateful pause, solo strings exchange interjections of an intensity which gradually subsides into fatalistic acceptance. In conception if not in content, Migrations can be compared to Strauss’s Metamorphosen for the sheer precision and eloquence of its writing.
It helped, of course, that here (as throughout the programme) the ESO was so committed to this idiom, rendering the often dense and exacting nature of its writing with an unwavering commitment. All three works are to feature on a future release of the composer’s music, and Williams has recently completed a large-scale symphony that is scheduled for this orchestra’s 21st Century Symphony Project towards the end of this year. In the meantime, listeners yet to make the acquaintance of his distinctive and emotionally engaging music are urged to do so.
You can watch the concert on the English Symphony Orchestra website here
For more information on the English Symphony Orchestra you can visit their website here, and you can read about their latest recording, Fiddles, Forests and Fowl Fables, here. For more on Adrian Williams, click here