Ruth Gipps: Orchestral Works, Volume 4 (CD Review)
by Ryan Ross
Violin Concerto, Op. 24; Leviathan, Op. 59; Symphony No. 5, Op. 64. Charlie Lovell-Jones, violinist; Bill Anderson, contrabassoonist; Rumon Gamba, conductor; BBC Philharmonic. Chandos 20319
Perhaps the most challenging aspect of reviewing classical music is having to deal honestly with composers and compositions that one wants to extol but can’t fully. The problem is compounded when performers are sympathetic and deliver the works in question about as well as can be expected. I want to root for Ruth Gipps and her advocates here, much as I have wanted to root for Mieczyslaw Weinberg and Company in my past reviews. I feel tempted to make exaggerated claims for these composers out of sheer admiration for their life stories, causes, and even the considerable talent that each exercised. But if the peculiar failures of recent musicology and music criticism (where they can be separated anymore) are any indication, merely wishing for something does not make it so. I wish Ruth Gipps were a great composer rather than merely a very good one capable of the occasional outstanding effort, but she wasn’t. And as I suggested in my review of Volume 3 of her orchestral works, this reality weighs when comparing her miniatures and longer works. Volume 4 here contains two of the latter plus a solid miniature: not an auspicious beginning for my initial desire to give this recording a rave review.
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| Bill Anderson |
We’ll start with the miniature. Leviathan is scored for the interesting combination of contrabassoon (or double-bassoon) and chamber orchestra. Frankly, I’ve always harbored a special affection for this solo instrument, and my curiosity is stirred whenever it receives more than background consideration. Happily, Leviathan is now my personal favorite work featuring it (whatever that distinction is worth!). Here is a study in atmospheric scene setting, where I imagine an open ocean scene under a saturnine sky with a large sea serpent or cetacean rolling at the water’s surface. Aided by that imagery the music gives me chills! At 5 minutes long it should be programmed and taken up by your friendly local contrabassoonist everywhere.But then we come to the bigger works, and I just wish I were less frustrated by them. The main thing is that Gipps’s themes are not arresting and differentiated enough for extended treatment. Materials that more distinguished composers might use briefly for transitional purposes here get positioned in a front-and-center way. Her tendency of spinning larger forms from these materials is reminiscent of Vaughan Williams, but without either his sense of drama or melodic ability. These problems are more serious in the Symphony, where there is no soloist to provide relief activity. But even in the Violin Concerto there is too much sameness that lasts for too long. The trimmer, more inviting Horn Concerto of later years avoids this issue. (I do think solo winds are friendlier to Gipps’s sound palette.) However, when it came to symphonies she was never entirely able to overcome her limitations. And so, while her Fifth is beautifully constructed and (again) atmospheric, it just doesn’t pack the punch that a work pushing 40 minutes ought to do. Not even a “Missa brevis for Orchestra” finale provides enough interest to keep me from wishing it had all ended beforehand.
I’ll say it: Ruth Gipps tended to be at her best when she attempted less. And there’s no shame in this! Even a great composer like Chopin never produced a symphony or an opera. Schumann is still most enthusiastically praised for his songs and piano miniature cycles. It’s not that any of these individuals couldn’t do big orchestral things; it’s that what they had to say was so frequently said advantageously in the small and medium genres. Gipps won’t bear comparison to Chopin or Schumann, nor even to one of the great British symphonists, but she doesn’t have to for her specific gifts to shine.
John J. Puccio, Founder and Contributor
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl Nehring, Editor and Contributor
For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technologies that enable us to enjoy it in so many wonderful ways.
William (Bill) Heck, Webmaster and Contributor
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
Ryan Ross, Contributor
I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.
I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
Mission Statement
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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