Ruth Gipps (1921-99)

[Irons]

Just completed my first listen to



I have enjoyed all the series to date but this is really lovely.  If you already like Gipps music/aesthetic/soundworld you will love this.  She might not have anything radical or revolutionary to say but she writes in her chosen idiom with great skill and attractive appeal.  The Concerto does sound like the full-scale concerto RVW never wrote and there is a visionary quality that shares a kinship with his 5th Symphony I thought.  Very well played by all - soloist Charlie Lovell-Jones excellent but also more relaxed and rhapsodic (as suits the work) here than he was in his slightly forced Walton Concerto.  The contra-bassoon work is a charmer too but for me the highlight is the Symphony 5.  It feels very comfortable with itself - radiant and serene.  As I said, I have enjoyed all the discs to date but - I'm slightly surprised to say this - this might just be one of my favourites with every work a discovery.  Gamba, the BBC PO and the Chandos engineering are as fine as ever.  Now the symphonies are all recorded will there be a Vol.5?

You have convinced me.

[vandermolen]

Just completed my first listen to



I have enjoyed all the series to date but this is really lovely.  If you already like Gipps music/aesthetic/soundworld you will love this.  She might not have anything radical or revolutionary to say but she writes in her chosen idiom with great skill and attractive appeal.  The Concerto does sound like the full-scale concerto RVW never wrote and there is a visionary quality that shares a kinship with his 5th Symphony I thought.  Very well played by all - soloist Charlie Lovell-Jones excellent but also more relaxed and rhapsodic (as suits the work) here than he was in his slightly forced Walton Concerto.  The contra-bassoon work is a charmer too but for me the highlight is the Symphony 5.  It feels very comfortable with itself - radiant and serene.  As I said, I have enjoyed all the discs to date but - I'm slightly surprised to say this - this might just be one of my favourites with every work a discovery.  Gamba, the BBC PO and the Chandos engineering are as fine as ever.  Now the symphonies are all recorded will there be a Vol.5?

Maybe I won't wait for my birthday to listen to this!

[Roasted Swan]

Maybe I won't wait for my birthday to listen to this!

Today is my dog Mabel's birthday (she is 3) - get it now for her!!!!

[vandermolen]

Happy Birthday Mabel 

[Roasted Swan]

Maybe I won't wait for my birthday to listen to this!

The Symphony is very beautiful - Gipps' largest ever orchestra - quadruple woodwind/6 horns/2 harps/celesta/extended percussion.  My hunch is you will like this a lot too (I hope!)  Unrepentantly Romantic and rapturous - a genuine discovery.

[vandermolen]

The Symphony is very beautiful - Gipps' largest ever orchestra - quadruple woodwind/6 horns/2 harps/celesta/extended percussion.  My hunch is you will like this a lot too (I hope!)  Unrepentantly Romantic and rapturous - a genuine discovery.

VMT (very many thanks)

[vandermolen]

The Symphony is very beautiful - Gipps' largest ever orchestra - quadruple woodwind/6 horns/2 harps/celesta/extended percussion.  My hunch is you will like this a lot too (I hope!)  Unrepentantly Romantic and rapturous - a genuine discovery.

I'm sure you are right!

[Symphonic Addict]

It's not my intention to provoke unease on the admirers of this composer by sharing some personal comments. I've heard the last two volumes of her orchestral music. My reaction to them has been rather lukewarm. The last recording managed to provide a better impression, but at the end this is music that goes in one ear and out the other. My overall take on it is that the music is pretty, but also insipid. I'd rather listen to other English/British women composers like Grace Williams or Elizabeth Maconchy.

Anyway, good for those who get enjoyment from Gipps.

[Christo]

As I have expressed here on occasion, that Ruth Gipps' music is exceptionally good to me, a small comment might be nice. What makes her music so good? Take the five symphonies, all exemplary in my view: a sonata-like construction of the first movement where the main themes - without exception personal and lyrical - are unfolded right away and quickly also build up tensions that discharge, letting you know that everything is in motion, full of vistas. The style is distinctive from the opening chord: this could only be Ruth Gipps, the voice is unique. What follow are lilting, mostly widely spun adagios, playful scherzos and all-spanning finales: a traditional structure but in a contemporary style, a bit like that of Einar Englund in Finland. But for me she has a unique, distinctive voice, one that can literally move me to tears, similar to the way Pēteris Vasks too is IMHO more 'personal' than all his contemporaries.
I agree with you that Vaughan Williams had exceptionally gifted pupils, who all went their own way and were relatively undervalued in the absolutist climate of the 1960s. Four women stand out: apart from Elizabeth Maconchy and Grace Williams, also their Irish collegue Ina Boyle. But of those four, Ruth Gipps has the most individual voice. Let me take her 1989 late orchestral work Ambarvalia as an example: there are two performances, but the one by the RLPO under Charles Peebles is the best. It's a modest, charming pastoral miniature of 'Ravellian' refinement in which the only percussion consists of a few parallel chords on the celeste, and including some lovely pastoral woodwind solos. But what makes Ambarvalia so appealing is the unique, intimate, personal voice speaking out of it: every time I listen to it, I'm strongly moved by a voice that's also apparent in the symphonies, e.g. the equally "personal" Second. I know almost no other symphonists with such an individual, personal voice, at the same time anchored in convincing symphonic forms. And it is precisely this "personal voice" that is in all music the most impossible to explain: I once had a neighbor who could only find the opening of Vaughan Williams' Fifth "deadly boring, nothing happening at all" whereas for me it is, to quote Goethe's Faust, a "Prolog im Himmel," a timless, unprecedented vista. It is no different with Ruth Gipps. 

[Harry]

As I have expressed here on occasion, that Ruth Gipps' music is exceptionally good to me, a small comment might be nice. What makes her music so good? Take the five symphonies, all exemplary in my view: a sonata-like construction of the first movement where the main themes - without exception personal and lyrical - are unfolded right away and quickly also build up tensions that discharge, letting you know that everything is in motion, full of vistas. The style is distinctive from the opening chord: this could only be Ruth Gipps, the voice is unique. What follow are lilting, mostly widely spun adagios, playful scherzos and all-spanning finales: a traditional structure but in a contemporary style, a bit like that of Einar Englund in Finland. But for me she has a unique, distinctive voice, one that can literally move me to tears, similar to the way Pēteris Vasks too is IMHO more 'personal' than all his contemporaries.
I agree with you that Vaughan Williams had exceptionally gifted pupils, who all went their own way and were relatively undervalued in the absolutist climate of the 1960s. Four women stand out: apart from Elizabeth Maconchy and Grace Williams, also their Irish collegue Ina Boyle. But of those four, Ruth Gipps has the most individual voice. Let me take her 1989 late orchestral work Ambarvalia as an example: there are two performances, but the one by the RLPO under Charles Peebles is the best. It's a modest, charming pastoral miniature of 'Ravellian' refinement in which the only percussion consists of a few parallel chords on the celesteincludes some lovely pastoral woodwind solos. But what makes Ambarvalia so appealing is the unique, personal voice speaking out of it: every time I listen to it, I'm strongly moved by a voice that's also apparent in the symphonies, e.g. the equally "personal" Second. I know almost no other symphonists with such an individual, personal voice, at the same time anchored in convincing symphonic forms. And it is precisely this "personal voice" that is in all music the most impossible to explain: I once had a neighbor who could only find the opening of Vaughan Williams' Fifth "deadly boring, nothing happening at all" whereas for me it is, to quote Goethe's Faust, a "Prolog im Himmel," a timeless, unprecedented vista. It is no different with Ruth Gipps. 

Hear, Hear, absolute in agreement with you! Well written too.

[Irons]

Gipps seems to be tarred with the conservative brush. Her music not radical enough, a beige composer. I think this unfair, the 2nd Symphony for example I find quite progressive in form, with one continuous movement in eleven parts. Her idiom is that of her teacher RVW - nothing wrong with that in my book. Gipps didn't stretch the boundaries as Elisabeth Lutyens for example does. However, given a choice between the two, Gipps every time. Although to fully appreciate her music I need to listen multiple times which suggests some depth.   

[Brian]

I had already decided on Friday to stream this album Monday while working...it's been a pleasure to follow along the discussion about it and about Gipps more generally.



This is the disc in the series I have gotten along with best so far on first listens (although the individual work I like most so far is the Oboe Concerto). Leviathan is a 5-minute miniature with an extensive contrabassoon solo. It's hard to imagine how it would fit on a concert album so it is good that we have this recording of it. The Violin Concerto and Symphony No. 5 both definitely show the influence of Vaughan Williams, maybe moreso in the concerto. The symphony is dedicated to Walton but almost has the kind of mystical pastoral outlook that is more like Rubbra or Moeran?

I like the concerto and will happily listen again; the transition into the finale was my favorite part (though the ending of the finale was not very striking). The Symphony has some things I liked and some I didn't (the scherzo seemed especially loyal to RVW's example). Its finale is a wordless Mass with submovements for Kyrie, Gloria, Credo, etc. This is a bit strange since the first three movements are pastoral and cheery rather than dramatic. I'm not religious so any specific references are lost on me, but this is more pleasant RVW-ish music. Hosanna in excelsis sounds like George Lloyd.

Overall this is my favorite disc in the series because I found Gipps' minor key doom-n-gloom in some of the earlier symphonies to be unconvincing. Will sample some of the works earlier in the series again though, and the Oboe and Violin Concertos will be in rotation. (Did I listen to the French Horn Concerto? If not, that's next!)

[JBS]

I had already decided on Friday to stream this album Monday while working...it's been a pleasure to follow along the discussion about it and about Gipps more generally.



This is the disc in the series I have gotten along with best so far on first listens (although the individual work I like most so far is the Oboe Concerto). Leviathan is a 5-minute miniature with an extensive contrabassoon solo. It's hard to imagine how it would fit on a concert album so it is good that we have this recording of it. The Violin Concerto and Symphony No. 5 both definitely show the influence of Vaughan Williams, maybe moreso in the concerto. The symphony is dedicated to Walton but almost has the kind of mystical pastoral outlook that is more like Rubbra or Moeran?

I like the concerto and will happily listen again; the transition into the finale was my favorite part (though the ending of the finale was not very striking). The Symphony has some things I liked and some I didn't (the scherzo seemed especially loyal to RVW's example). Its finale is a wordless Mass with submovements for Kyrie, Gloria, Credo, etc. This is a bit strange since the first three movements are pastoral and cheery rather than dramatic. I'm not religious so any specific references are lost on me, but this is more pleasant RVW-ish music. Hosanna in excelsis sounds like George Lloyd.

Overall this is my favorite disc in the series because I found Gipps' minor key doom-n-gloom in some of the earlier symphonies to be unconvincing. Will sample some of the works earlier in the series again though, and the Oboe and Violin Concertos will be in rotation. (Did I listen to the French Horn Concerto? If not, that's next!)

I thought the Horn Concerto was the best thing in Volume 3.

[Roasted Swan]

Gipps seems to be tarred with the conservative brush. Her music not radical enough, a beige composer. I think this unfair, the 2nd Symphony for example I find quite progressive in form, with one continuous movement in eleven parts. Her idiom is that of her teacher RVW - nothing wrong with that in my book. Gipps didn't stretch the boundaries as Elisabeth Lutyens for example does. However, given a choice between the two, Gipps every time. Although to fully appreciate her music I need to listen multiple times which suggests some depth. 

Clearly at the time Gipps (and similar composers regardless of gender) were 'contemporary' the whole debate of "sounding like" or "too conservative" was deemed relevant as though originality and cutting-edge modernity were the only yard-sticks of merit.  Of course, 80 years down the path and what was modern then is not now so the conversation is irrelevant.  Which allows music to be judged/enjoyed on its own enduring worth and not by its perceived position in a heirarchy of modern-ness(!)  As I have said before about other music - not everything can or should be "top tier" - for me Gipps is a prime example of really attractive enjoyable music written by someone of genuine skill that is ultimately not top tier but fine second tier.  A lot of the composers I love most are second tier!

[Christo]

I found Gipps' minor key doom-n-gloom in some of the earlier symphonies to be unconvincing

I would argue rather the opposite: already the beginning of the opening movement of the 1942 First Symphony, allegro moderato, is of rare power. The beautiful theme, followed by the second theme that immediately builds tension and comes to a first discharge after over a minute, everything betrays a master symphonist from the very first bar. I know of only one other composer who was just that far along at 21: Braga Santos, whose own First from 1946 also opens stunningly strong and, like Ruth Gipps, marks the beginning of an extraordinary symphonic cycle. 
https://open.spotify.com/track/4GSKUk466c5vak9K2xH1Yw?si=b94772942e1748a8

[Irons]

Just completed my first listen to



I have enjoyed all the series to date but this is really lovely.  If you already like Gipps music/aesthetic/soundworld you will love this.  She might not have anything radical or revolutionary to say but she writes in her chosen idiom with great skill and attractive appeal.  The Concerto does sound like the full-scale concerto RVW never wrote and there is a visionary quality that shares a kinship with his 5th Symphony I thought.  Very well played by all - soloist Charlie Lovell-Jones excellent but also more relaxed and rhapsodic (as suits the work) here than he was in his slightly forced Walton Concerto.  The contra-bassoon work is a charmer too but for me the highlight is the Symphony 5.  It feels very comfortable with itself - radiant and serene.  As I said, I have enjoyed all the discs to date but - I'm slightly surprised to say this - this might just be one of my favourites with every work a discovery.  Gamba, the BBC PO and the Chandos engineering are as fine as ever.  Now the symphonies are all recorded will there be a Vol.5?

First listen for me too. From the opening bars (which reminded me of Elgar) I was to be transfixed by the Violin Concerto.  Gipps a master orchestrater, I found to be distracted from the excellent soloist. Orchestral colour every bit as captivating as with the symphonies, a Gipps trait I find the most impressive. A substantial work which must rank with the best British concerto recordings.
I am saving the 5th Symphony for another day to give attention the work deserves. At only five minutes Leviathan I found odd. I could not dispel the image of a ballet with the leading dancer a rhinoceros in a tutu. After reading Lewis Foreman's notes this is sort of what Gipps meant, only a sea monster not rhinoceros. Sonics on CD as with others of the series is outstandingly good.   

[Roasted Swan]

When I briefly discussed the new Vol.4 above I wondered if a Vol.5 would be forthcoming given that Gipps' 5 Symphonies have now been released.  I've been looking in Alan Poulton's rather wonderful 3 volume "A Dictionary-Catalogue of Modern British Composers".  It contains what seems to be just about the only detailed list of Gipps' works.  Excluding works where an orchestra accompany a choir or a couple of pieces written when Gipps was in her teens there does not appear to be that much left to record;



• Variations on Byrd's Non Nobis for small orchestra (1939)
• Clarinet Concerto Op.9 (1940) - already recorded but not on Chandos
• Jane Grey - fantasy for viola and strings
• Suite - The Chinese Cabinet (1945) - at 25' this is the longest unrecorded orchestral work listed
• Song for Orchestra Op.33
• Concerto for violin, viola & orchestra Op.49 (1957)

there are a couple of other things too (incidental music etc) so I guess a Vol.5 is a possibility although nothing stands as particularly substantial.....

[vandermolen]

Britten:
The Diversions were the big discovery for me.

[Christo]

When I briefly discussed the new Vol.4 above I wondered if a Vol.5 would be forthcoming given that Gipps' 5 Symphonies have now been released.  I've been looking in Alan Poulton's rather wonderful 3 volume "A Dictionary-Catalogue of Modern British Composers".  It contains what seems to be just about the only detailed list of Gipps' works.  Excluding works where an orchestra accompany a choir or a couple of pieces written when Gipps was in her teens there does not appear to be that much left to record;
• • Variations on Byrd's Non Nobis for small orchestra (1939)
  • Clarinet Concerto Op.9 (1940) - already recorded but not on Chandos
  • Jane Grey - fantasy for viola and strings
  • Suite - The Chinese Cabinet (1945) - at 25' this is the longest unrecorded orchestral work listed
  • Song for Orchestra Op.33
  • Concerto for violin, viola & orchestra Op.49 (1957)
there are a couple of other things too (incidental music etc) so I guess a Vol.5 is a possibility although nothing stands as particularly substantial.....

Wikipedia mentions a few more titles, not yet recorded by Chandos. All in all enough to fill three more cds:

• Clarinet Concerto, Op. 9 (1940)
• Jane Grey, Fantasy for Viola and String Orchestra, Op. 15 (1940)
• Sea Nymph, ballet for small orchestra, Op. 14 (1941?)
• Variations on Byrd's "Non nobis", for small orchestra, Op. 7 (1942)
• The Chinese Cabinet Suite for orchestra, Op. 29 (1945)
• Mahomet and the Cat, Op. 32 (1947)
• Piano Concerto in G minor, Op. 34 (1948)
• Double Concerto for Violin, Viola and Small Orchestra, Op. 49 (1957)
• Threnody for English Horn, Strings and Harp (1990)
• Introduction and Carol: The Ox and the Ass for Double Bass and Chamber Orchestra, Op. 71 (1996)

[Christo]

Added to that are the choral output, some of them with orchestra:

• Mazeppa's Ride for Female Chorus and Orchestra, Op. 1
• The Cat, Cantata for Alto, Baritone, Double Mixed Chorus and Orchestra, Op. 32 (1947)
• Goblin Market for 2 Sopranos, Female Chorus and String Orchestra (or Piano), Op. 40 (1953)
• An Easter Carol for Soprano, Mixed Chorus and Piano or Organ, Op. 52 (1958)
• Magnificat and Nunc dimittis for Mixed Chorus and Organ, Op. 55 (1959)
• Gloria in excelsis for Unison Chorus and Organ, Op. 62 (1977)
• A Service for Holy Communion for Mixed Chorus and Organ, Op. 62a (1974)