Ruth Gipps on Chandos: Violin Concerto & Fifth Symphony

This is the fourth volume on Chandos of music by Gordon Jacob suddent and Vaughan Williams protegée R4th Gipps (1921-99). Previously at Classical Explorer, we have covered the Chandos release Paper of Dreams, and, on Prima Facie, chamber music on a disc entitled, Opalescece. Robert Plane's disc Reawakened included Gipps' Clarinet Concerto; and her settings of Brooke can be found here.

The Violin Concerto, Op. 24 was written in 1943. The composer was a mere 21 years old and yet it is confident and assured over its 24-miute canvas. After a determined, powerful opening, the violin soliloquises. while later grander statements recall Willim Walton. Chalie Lovell-Jones makes light of the solo part's myriad difficulties

Lovers of both Vaughan Williams and Bax will find much to admire in the songful slow movment (an Andante); and just as Lovell-Jones had been indefatigable in the first movement, so he is songful and lyrical here, especially up high. This is absolutely the pastoral interlude the booklet notes suggest:

Rumon Gamba has led all volumes of this series, and clearly loves this music. The Manchester-based BBC Philharmonic is at he top of its form: of the BBC orchestras, the BBC Phil is known for its transparency, a real asset her. The music segues into the finale, which begins Allegro (it sounds almost like Presto here). There are hints of a Walton march here, before the music slides into an Adagio (marked "slower than the Andante"). It is a literal slide: a fall in pitch, billianly effected by both compose ad executants. This multivalent final is a stroke of genius: eminently structurally satisfying, with elements both of summary coupled with its own forward thrust. Perhaps the gong strike is a touch anomalous, but tis remains a fine work, one I should be delighted to hear live one day:

Dating from 1969, Leviathan, Op. 59 is a piece for double-bassoon and orchestra. The piece was commissioned by Valenine Kennedy, a bassoonist with the LPO. Possibly tied to Psalm 104 (given Gipps'religeous proclivities). the slightly off-kilter 5/8 middle section is beautifully written, while soloist Bill Anderson also foregrounds his instrument's lyrical side beautifully. Small chance of heairng this live, I would suggest, so great to have it here. The double bassoon slithers magnificently (is this a sea monster?):

Gipps' last symphony, her Fifth (Op. 64, 1982) is dedicated to William Walton. It begins with a movement of huge power. This is the lurgest orchestra Gipps ever wrote for: the scoring includes quadruple woodwind, six horns and two harps plus.large kitchen department. Structurally in this opening movement, Gipps uses tempo changes as articulators:

A brief Andante (featuring a lovely cor anglaas solo and some sterling horn playing) leads to.more substantial Scherzo in the English Pastoal tradition and features, here, some positively virtuoso woodwind playing:

The scherzo ends with a wonderfully dismissive gesture. There follows an orchestral Missa brevis (on Psalm CXXVII, "Except the Lord build the house, they Labour in vain to build it"). Suddenly, the music is positively cinematographic. Chandos track each part. List to he contrasts within the second pat, "Gloria - Et in terra pax":

If the Credo's climax once more hints a matters filmic, how brilliant the vigorous "Hosanna":

But it is the dark, burnished tones of the "Agnus Dei" that are so impressive here.

A incredibly valuable disc: I can't imagine these performances bettered.

The disc is available at Amazon here and at iDagio here.