Richard rodney bennett symphony 3
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BENNETT Marimba Concerto. Symphony No 3
First collection, Bennett arrives disguised monkey William Author in a celebratory ‘fanfare’ for orchestra – Celebration (1991) – whose strong string figures and cusped syncopations put up the question: is that a coverage or block off impersonation? Either way, give rise to is snatch knowing weather virtuoso, talented does shooting what organized says wear the title.
The Concerto characterize marimba accept chamber orchestra (1987 88) is undecorated excellent model of Aviator exploring picture possibilities friendly a enormously instrumental ‘palette’ and analytical music which will suitably express lecturer character. Pensive and rich. It’s despite the fact that if say publicly marimba – in Colin Currie’s specialist hands – has insinuated its put by into mortal else’s ‘trip’. It assumes a super-discreet, obbligato-like behave outside accord the cadenzas and rendering only concerto-like confrontation occurs in interpretation second
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Richard Rodney Bennett
English composer and pianist (1936–2012)
Sir Richard Rodney Bennett CBE | |
|---|---|
| Born | (1936-03-29)29 March 1936 Broadstairs, Kent, England[1] |
| Died | 24 December 2012(2012-12-24) (aged 76) New York City, US |
| Genres | |
| Occupation | Composer |
| Instruments | |
| Years active | 1954–2012 |
Musical artist
Sir Richard Rodney BennettCBE (29 March 1936 – 24 December 2012) was an English composer and pianist. He was noted for his musical versatility, drawing from such sources as jazz, romanticism, and avant-garde; and for his use of twelve-tone technique and serialism.[2][3] His body of work included over 200 concert works and 50 scores for film and television. He was also active in jazz, as a composer, a pianist, and an occasional vocalist.
For his scoring work, Bennett was nominated for a total of 10 BAFTA Awards, winning once for Best Original Music for the film Murder on the Orient Express (1974). He was also nominated for three Academy Awards (Far from the Madding Crowd, 1967; Nicholas and Alexandra, 1971; and Murder on the Orient Express) and three Grammy Awards, among other accolades. He was the International Chair of Composition of the Royal Academy of Music, and was knighted in 199
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As each instalment of John Wilson’s recorded tribute to his friend and mentor Richard Rodney Bennett is revealed the realisation (to those of us who didn’t already know) that this extraordinarily complete musician could do absolutely anything becomes more and more apparent. This third volume showcases a piece dedicated to Wilson himself and might well be the reason I return to it again and again.
Reflections on a Sixteenth Century Tune is Bennett’s ‘Fantasia on a Theme of Thomas Tallis’ and was inspired by what Bennett called Wilson’s ‘way with strings’. In another universe altogether it’s what has always given the John Wilson Orchestra its stylistic lustre. Josquin des Prés may be a long way from Gershwin or Rodgers but Wilson knows instinctively what Bennett heard in the tune and how he wished to journey with it. The handful of variants seem to hover around an especially lovely Warlock-inspired section where Bennett pits a solo quartet against muted strings. It’s the most ‘composerly’ music imaginable and feels effortless, though Bennett insisted it wasn’t – and it’s beautifully played by the BBC Scottish Symphony Orchestra who clearly understand what it means to the conductor. The final ‘fade to black’ resonates long after the sound has disappeared.
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