Quote from: cilgwyn, George Lloyd threadThere isn't a Ruth Gipps thread;but I wonder if vandermolen (or anyone else who is interested in this composer) is aware that Chandos are going to be releasing a cd of Ruth Gipps' Symphonies 2 & 4. You can view the artwork on the MDT website!
Well let's make a Ruth Gipps thread then! I've got the Symphony No. 2 as part of the 10-disc British Symphonic Collection. A tiny bit disappointed they've chosen to re-record No. 2 rather than go for two unrecorded symphonies, but at this rate we must take what we can get.
This is such great news! The Symphony 4 is her masterpiece I think but I like everything I have heard by her including the ClassicO release of Symphony 2. On the radio the other day I heard a delightful horn concerto which I thought must be Malcolm Arnold but it was actually by Ruth Gipps (on a Lyrita CD). Good to see Chandos promoting lesser-known composers again. Thanks to cilgwyn and Maestro267 for alerting us to this.
Thank you Maestro267! I would have made a thread,but unfortunately,I've got some software on the pc that stops me from spending too much time online!! It makes me feel like Ronnie Corbett in that old sitcom! ("Language Timothy!"). It also stops me from browsing s/h cd's and "discovering" yet another old B movie or cinema serial that never gets shown on tv (but is on dvd!) and allows me to concentrate more on painting and writing!
I have noticed that Chandos have seemed to have begun recording less well known repertoire,again. This culminated,recently,in a new Richard Rodney Bennett series,and now Ruth Gipps. I might just consider buying this,even though I've been trying to avoid composers that I don't already have in my collection. This is partly due to reasons of space (or lack of it!). But this does seem the first really hard bit of evidence that Chandos may be going back to one of things that made them such a stand out label;and I would,really,like to support such a release;especially of a British composer!
I have to say the poor sound quality of off-air recordings I have heard of Ruth Gipps' music,have put me off! I wonder what composer she most resembles? I have read comparisons with Vaughan Williams! What is the release date,by the way. I'm unable to look at the MDT site at the moment (see above!! :().
Quote from: vandermolen on July 21, 2018, 11:31:48 PM
This is such great news! The Symphony 4 is her masterpiece I think but I like everything I have heard by her including the ClassicO release of Symphony 2. On the radio the other day I heard a delightful horn concerto which I thought must be Malcolm Arnold but it was actually by Ruth Gipps (on a Lyrita CD). Good to see Chandos promoting lesser-known composers again. Thanks to cilgwyn and Maestro267 for alerting us to this.
Fully agree. The Horn concerto is one of four or five pieces by Ruth Gipps that are available on Spotify - the only music I have in my luggage here (in Israel and Palestine). Another lovely piece - she really has a very characteristic style of her own, perhaps somewhere in the wider Vaughan Williams orbit, but certainly not mimicking him or anyone else - is the Wind Sinfonietta.
(https://i.scdn.co/image/1a9e19999684ce71e0fe0df65b7d3e9494449db7)(https://www.hbdirect.com/coverm/thumbnails/7103965079029.pt01.jpg)
Quote from: cilgwyn on July 23, 2018, 09:00:50 AM
Thank you Maestro267! I would have made a thread,but unfortunately,I've got some software on the pc that stops me from spending too much time online!! It makes me feel like Ronnie Corbett in that old sitcom! ("Language Timothy!"). It also stops me from browsing s/h cd's and "discovering" yet another old B movie or cinema serial that never gets shown on tv (but is on dvd!) and allows me to concentrate more on painting and writing!
I have noticed that Chandos have seemed to have begun recording less well known repertoire,again. This culminated,recently,in a new Richard Rodney Bennett series,and now Ruth Gipps. I might just consider buying this,even though I've been trying to avoid composers that I don't already have in my collection. This is partly due to reasons of space (or lack of it!). But this does seem the first really hard bit of evidence that Chandos may be going back to one of things that made them such a stand out label;and I would,really,like to support such a release;especially of a British composer!
I have to say the poor sound quality of off-air recordings I have heard of Ruth Gipps' music,have put me off! I wonder what composer she most resembles? I have read comparisons with Vaughan Williams! What is the release date,by the way. I'm unable to look at the MDT site at the moment (see above!! :().
7th September according to the MDT website. I very much doubt that you would regret investing in the CD:
https://www.mdt.co.uk/gipps-ruth-symphonies-rumon-gamba-chandos-records.html
I've just got to buy this one for the above reasons and such a lovely photo of the composer on the front! The customer reviews on Amazon and MusicWeb are all very encouraging. Also another female composer in my collection. Not many,I'm afraid! I rate Grace Williams and Louise Farrenc very highly,though! I've got some Amy Beach and Hildegarde of Bingen on cassette tape. A cd-r of Ethel Smyth and Morfydd Owen! Oh,and Dana Suesse,who I do like. I wish Chandos would do a cd of her! But first things first!
Grazyna Bacewicz is very good too,I seem to remember?! I had some off air tapes of symphonies.
Just placed my order with MDT! :)
Quote from: cilgwyn on July 23, 2018, 10:30:32 AM
Just placed my order with MDT! :)
I'll look forward to discussing the release with you. The photo on the front is very nice and Ruth Gipps sounds like a rather endearing personality with her penchant for sports cars. I have a feeling that, in my youth, I saw her conduct one of her works in London but might have got this wrong. Another work by a female composer which I strongly admire is the Symphony by Nina Makarova who was married to Khachaturian. Well worth looking out for. I have it on a Russian Disc CD but these are often prohibitively expensive. It is, however,mon You Tube as well. I think highly of Grace Williams as well, especially her turbulent Symphony 2. Recently I had a nice exchange with Judith Bailey a living British composer whose music I enjoyed ( it featured on a CD called 'Havas' with music by George Lloyd). She sent me a freebie CD if her chamber music which I thought excellent.
How is her style? I'm reading this thread and I'm curious now.
Excellent news about the forthcoming Chandos CD, however I can't say her Symphony no. 2 (the only work of hers that I've heard) impressed me too much. There are some nice parts, but I felt that it fails to cohere as a whole.
Quote from: kyjo on July 23, 2018, 06:49:07 PM
Excellent news about the forthcoming Chandos CD, however I can't say her Symphony no. 2 (the only work of hers that I've heard) impressed me too much. There are some nice parts, but I felt that it fails to cohere as a whole.
No 4 is the greater work I think Kyle.
Quote from: SymphonicAddict on July 23, 2018, 06:35:12 PM
How is her style? I'm reading this thread and I'm curious now.
A bit like Vaughan Williams/Malcolm Arnold also Sibelius and maybe Moeran in places I think Cesar but with her own distinct, tuneful, tonal and melodic style.
Here is an earlier performance of Symphony 4 which, if it works, will give you an idea of her style:
https://youtu.be/JYCoZP6p0tY
Have just listened to it through again myself. The recording on You Tube is not that great but the performance (John Pritchard with the BBC SO I think) is fine. There is a lovely, sad, heroic tune which first appears about 22 minutes in (a bit like a warmer-hearted 'Swan of Tuonela') if you want to hear just a sample but it returns at the end, with harp accompaniment, and builds up to a fine, moving, inspiriting ending - at times I was even reminded of Tubin. Certainly I can't wait to hear the new release from Chandos.
Since I have already music by her and like it enormously, the Chandos is on my order list too.
Quote from: "Harry" on July 24, 2018, 01:27:29 AM
Since I have already music by her and like it enormously, the Chandos is on my order list too.
Good to know Harry.
The release is now on the Amazon UK site for pre-order quoting a 31st August release date.
Looking for reviews and information,articles about Ruth Gipps online,I read a post by Gareth Vaughan at Unsung Composers. I can't resist posting this observation by Holbrooke,Sacheverell Coke champion (amongst others) Gareth Vaughan,regarding Gipps' Fourth Symphony. I hope he doesn't mind?!
"It's a wonderful score and deserves a first-rate recording. Indeed, she deserves a symphonic cycle by Chandos with a first class orchestra and conductor".
Could this (deserved) Chandos cycle be on the verge of becoming a reality?! ???
It's interesting to hear a different view from kyjo! I'm not familiar with the music of Ruth Gipps. I felt I had to pre-order this one,though;because it's the first real,hard evidence that Chandos (though there have been hopeful signs of late) are going back to recording composers,and music,that are neglected on cd;and hopefully,if the cd fares well,more neglected repertoire will follow (Oh,and some Holbrooke,please! ::) ;D)?!
There is so much music by Ruth Gipps that I have not heard - but everything I have heard from the few meagre CDs on the market (and You Tube), I like very, very much. This is a great move by Chandos. Essential for anyone who appreciates RVW, Howells, Finzi, Moeran etc.
Quote from: Oates on July 24, 2018, 04:18:00 AM
There is so much music by Ruth Gipps that I have not heard - but everything I have heard from the few meagre CDs on the market (and You Tube), I like very, very much. This is a great move by Chandos. Essential for anyone who appreciates RVW, Howells, Finzi, Moeran etc.
I think you should write them a letter telling them so. This will put a bug in their ear to do more like this since these things can be scheduled out for years. Here is their address:
Chandos House
1 Commerce Park
Commerce Way
Colchester
Essex
CO2 8HX
United Kingdom
or email them here:
https://www.chandos.net/contactus
Quote from: cilgwyn on July 24, 2018, 04:02:10 AM
It's interesting to hear a different view from kyjo! I'm not familiar with the music of Ruth Gipps.
I always hold his opinions in high esteem, often agree or admire even. About Ruth Gipps Second I beg to differ: find it very personal and very moving, love it dearly. :-)
As a student I went to a couple of orchestral rehearsals which were run by Ruth Gipps. It was called something like the London Repertoire Orchestra. In my ignorance/arrogance I have little memory of her except that she was quite small and not very good at conducting! That Chandos disc looks like a must-buy. Anything offered up in the past by Bostock on Classico is almost certain to sound weaker than it actually is.
Quote from: Roasted Swan on July 24, 2018, 11:38:32 AM
Anything offered up in the past by Bostock on Classico is almost certain to sound weaker than it actually is.
I would like to disagree with that. Bostock is a highly competent conductor, who is not in the habit of making the works he conducts weaker than they actually are. All works in that box are highly valued by me.
Quote from: vandermolen on July 23, 2018, 10:46:00 PM
No 4 is the greater work I think Kyle.
I look forward to hearing it, then! Re. Symphony 2, there is one part I really like, about 3/4 of the way through - a delightful march-like section with a prominent snare drum.
Quote from: kyjo on July 24, 2018, 02:37:02 PM
I look forward to hearing it, then! Re. Symphony 2, there is one part I really like, about 3/4 of the way through - a delightful march-like section with a prominent snare drum.
I find No. 2 very endearing but think No. 4 is perhaps the greater work. I shall greatly look forward to hearing them both on the new release. In the meantime I must look out my ClassicO CD of Symphony 2.
Quote from: "Harry" on July 24, 2018, 01:34:21 PM
I would like to disagree with that. Bostock is a highly competent conductor, who is not in the habit of making the works he conducts weaker than they actually are. All works in that box are highly valued by me.
I was given the Classico box (The British Symphonic Collection) as a Christmas present and found it mostly enjoyable. The only real dud performance-wise is RVW's Job. I can't say I enjoyed the Gregson-Hoddinott-McCabe disc but that is down to the music not the performance. I have better recordings of the Bax, Arnold and Holst but the rest of the box has some interesting rarities, all generally well-played. I will have to give the Gipps another spin soon.
Quote from: relm1 on July 24, 2018, 06:41:12 AM
I think you should write them a letter telling them so. This will put a bug in their ear to do more like this since these things can be scheduled out for years. Here is their address:
Chandos House
1 Commerce Park
Commerce Way
Colchester
Essex
CO2 8HX
United Kingdom
or email them here:
https://www.chandos.net/contactus
And so I did - and they have replied saying:
"Discoveries of this nature is what Chandos is known for and we intend to keep it going."
Very encouraging I think, but I expect sales will also figure.
Quote from: Oates on July 25, 2018, 03:38:30 AM
And so I did - and they have replied saying:
"Discoveries of this nature is what Chandos is known for and we intend to keep it going."
Very encouraging I think, but I expect sales will also figure.
And good for you for contacting them. I suspect that the release will attract considerable interest in view of the melodic and approachable nature of her music.
On a separate note, which I may have mentioned before, your Carnforth location brings back happy memories for me of my student days at Lancaster University in the 1970s.
Quote from: vandermolen on July 25, 2018, 04:12:35 AM
And good for you for contacting them. I suspect that the release will attract considerable interest in view of the melodic and approachable nature of her music.
On a separate note, which I may have mentioned before, your Carnforth location brings back happy memories for me of my student days at Lancaster University in the 1970s.
Interesting. The University was famous for its rock concerts - you didn't see The Who play there in 1970 did you?
Quote from: "Harry" on July 24, 2018, 01:34:21 PM
I would like to disagree with that. Bostock is a highly competent conductor, who is not in the habit of making the works he conducts weaker than they actually are. All works in that box are highly valued by me.
the dread word "competent" - how many competents = 1 inspired/visionary/charismatic......?
Take those Brit Music recordings:
RVW -Job - Much better in just about any other version
Bax 6 - much better in any other version (ditto Tintagel)
Holst - surpassed by more recent/better versions
Elgar - all dull - including the RLPO mixed discs with an Enigma/In the South
Arnold - lacking flair
Part of the problem - the Elgar/Bax/Holst/RVW is the calibre of the orchestra and the engineering - neither anywhere near top drawer. The Delius in Norway disc is better just because it is the RLPO but they can't save his Nielsen cycle from the sense of adequate and not inspired.
which leaves the discs without comparable versions
Quote from: Roasted Swan on July 25, 2018, 05:31:23 AM
the dread word "competent" - how many competents = 1 inspired/visionary/charismatic......?
Take those Brit Music recordings:
RVW -Job - Much better in just about any other version
Bax 6 - much better in any other version (ditto Tintagel)
Holst - surpassed by more recent/better versions
Elgar - all dull - including the RLPO mixed discs with an Enigma/In the South
Arnold - lacking flair
Part of the problem - the Elgar/Bax/Holst/RVW is the calibre of the orchestra and the engineering - neither anywhere near top drawer. The Delius in Norway disc is better just because it is the RLPO but they can't save his Nielsen cycle from the sense of adequate and not inspired.
which leaves the discs without comparable versions
Your last point is the key thing for me - the value of the Bostock CDs was the rarity of much of the content (at the time of release). Why he had to retread
Job, I can't imagine. So I value the Gipps CD simply because it's all there is.
Incidentally, am I the only person to find the track divisions on the Gipps symphony clumsy and overdone?
Quote from: Oates on July 25, 2018, 05:55:05 AM
Your last point is the key thing for me - the value of the Bostock CDs was the rarity of much of the content (at the time of release). Why he had to retread Job, I can't imagine. So I value the Gipps CD simply because it's all there is.
Incidentally, am I the only person to find the track divisions on the Gipps symphony clumsy and overdone?
I think the Gipps is rather episodic (still enjoyable) but dividing it into 11 tracks seems a bit excessive. Having said that, I just let it play without paying much attention to the track numbers. I am sure I will be buying the new release when it is available.
I enjoyed most of the rarities but not sure how often I will revisit them.
Why a lot of people are butchering the conductor Bostock is beyond me. I am not a novice in classical music, and score reading is second nature to me. I have been for quite some time in the recording business, recording classical music of many different ensembles, so this rant against Bostock is completely incomprehensible to me. From a pure technical standpoint the recordings in this British Symphony box are outstanding, and I might add that although one may not like his interpretations, in a musical sense there are no faults, other as I see often with other conductors too. For me this guy has a inert sense of the right proportions and tempi, as well as a good head for detail. If you don't like him, that's one thing, but do not discredit or compromise his stature as a conductor of standing.
Quote from: Oates on July 25, 2018, 04:59:47 AM
Interesting. The University was famous for its rock concerts - you didn't see The Who play there in 1970 did you?
A bit before my time there (1973-76). I sat my finals during the infamous heatwave of 1976, which has been in the news a lot recently!
I don't have a problem with Bostock and especially like the Novak recordings. As for the box set, which I also have, I liked the Arnold disc (especially for the shorter work but the Symphony 5 as well) and the Gipps/Butterworth one in particular. Also interesting to hear a German orchestra do Bax. I actually don't like the symphony that much. As for VW Bostock includes the orchestral version of the Variations for Brass Band which is a bonus point for me. Don't like the Cowen but Bush's 'Nottingham' Symphony is excellent.
Quote from: vandermolen on July 23, 2018, 10:47:38 PM
A bit like Vaughan Williams/Malcolm Arnold also Sibelius and maybe Moeran in places I think Cesar but with her own distinct, tuneful, tonal and melodic style.
Here is an earlier performance of Symphony 4 which, if it works, will give you an idea of her style:
https://youtu.be/JYCoZP6p0tY
Have just listened to it through again myself. The recording on You Tube is not that great but the performance (John Pritchard with the BBC SO I think) is fine. There is a lovely, sad, heroic tune which first appears about 22 minutes in (a bit like a warmer-hearted 'Swan of Tuonela') if you want to hear just a sample but it returns at the end, with harp accompaniment, and builds up to a fine, moving, inspiriting ending - at times I was even reminded of Tubin. Certainly I can't wait to hear the new release from Chandos.
Many thanks for your nice response! It is right up my alley, her music sounds not less than attractive.
Quote from: "Harry" on July 25, 2018, 06:34:28 AM
For me this guy has a inert sense of the right proportions and tempi,
Fair enough Harry - we'll agree to disagree - I'll let your typo above have the last word as to my feelings!
Was doing some evening listening to test my theory. A work I don't know well at all - Jacob's Symphony No.2; Listened to Bostock/Munich and then Wordsworth/Lyrita/LPO. Chalk and Cheese. Nothing explicitly "wrong" with the Bostock but nothing that commanding of one's attention either. Wordsworth/LPO different league. Just try the 2nd movement - *molto* allegro. Bostock neat and nice and dainty. Wordsworth fiery and dangerous. I know which very compels me to listen more attentively and makes me think this could be a rather good piece.....
Quote from: SymphonicAddict on July 25, 2018, 11:08:31 AM
Many thanks for your nice response! It is right up my alley, her music sounds not less than attractive.
Pleased to hear that Cesar - I suspected that you would enjoy her music.
:)
Quote from: Roasted Swan on July 25, 2018, 12:19:25 PM
Fair enough Harry - we'll agree to disagree - I'll let your typo above have the last word as to my feelings!
Thank you for the complimentary answer, next time you write in Dutch, I will return the favour in kind. :)
What do you think of the Arthur Butterworth symphony,that's paired with the Ruth Gipps symphony,vandermolen? Just wondering! ::) ;D I know it's A Ruth Gipps column,but I'll be listening to it if I buy the cd! I didn't buy the Lyrita cd of Brian's Symphonies 6 & 16,because of the Cooke! (I paid for downloads of 6 & 16,instead!).
Quote from: cilgwyn on July 26, 2018, 03:15:14 AM
What do you think of the Arthur Butterworth symphony,that's paired with the Ruth Gipps symphony,vandermolen? Just wondering! ::) ;D I know it's A Ruth Gipps column,but I'll be listening to it if I buy the cd! I didn't buy the Lyrita cd of Brian's Symphonies 6 & 16,because of the Cooke! (I paid for downloads of 6 & 16,instead!).
Actually I like the Cooke Symphony 3 very much so that was a bonus for me on the Lyrita HB disc. When I first heard Arthur Butterworth's 1st Symphony on ClassicO I didn't think much of it at all and only listened thereafter to the Ruth Gipps Symphony 2 which I liked very much. I might never have bought any more Arthur Butterworh had a music-loving friend not spoken very highly of the Dutton CD featuring Arthur Butterworth's Symphony 4 - which was a revelation to me! I thought it was a wonderful work, albeit derivative at times of Sibelius (he seems to quote directly from 'The Tempest' at one point). It held my attention and I became increasingly gripped by it. The powerful ending had me on the edge of my seat. Also included in the two CD set was Butterworth's 1st Symphony, which I appreciated much more than on first acquaintance. Butterworth's Symphony 4 remains my favourite but I now enjoy his First Symphony. Rather a long-winded answer! Now back to David Munrow's music for the film 'The Six Wives of Henry VIII' (Testament CD).
There is a recording of Butterworth's Symphony No 1 from Barbirolli and the Halle (of which Butterworth was a member). It is in mono and I only have it as a mp3 download but it is considerably more dramatic than Bostock's performance. I am not sure if it is still available and can't remember where I got it from except that I bought it coupled with Barbirolli conducting RVW4.
Really thrilled that this thread has generated quite a lot of discussion.
Re. Butterworth 1: That is one of my favourite new discoveries from the BSC box.
Quote from: Biffo on July 26, 2018, 05:56:23 AM
There is a recording of Butterworth's Symphony No 1 from Barbirolli and the Halle (of which Butterworth was a member). It is in mono and I only have it as a mp3 download but it is considerably more dramatic than Bostock's performance. I am not sure if it is still available and can't remember where I got it from except that I bought it coupled with Barbirolli conducting RVW4.
The Dutton 2 CD set that I was rambling on about contains the excellent Barbirolli performance of Arthur Butterworth's Symphony 1. It is really a super collection:
[asin]B001SGYCEA[/asin]
Quote from: Maestro267 on July 26, 2018, 10:47:05 AM
Really thrilled that this thread has generated quite a lot of discussion.
Re. Butterworth 1: That is one of my favourite new discoveries from the BSC box.
That's nice! When the new Ruth Gipps CD finally appears hopefully there will be even more discussion.
I have rarely anticipated a new release with such excitement.
:)
I rate Ruth Gipps' 3rd Symphony highly as well and I hope this get a decent recording some day. I've heard this version
https://www.youtube.com/watch?v=1ZiLsTKu01Q
The 'big tune' here is a beautiful and haunting theme that starts at 12:50. This section was extracted in a version for solo piano "Theme and Variations for Piano" which has been recorded by Angela Brownridge here (along with Gipps' Piano Concerto) for Cameo Classics.
https://www.amazon.co.uk/British-Composers-Premiere-Collections-Vol/dp/B00IJZIFLO/ref=sr_1_3?s=music&ie=UTF8&qid=1532643342&sr=1-3&keywords=Cameo+Classics
I think her symphonies got better and better. We could certainly do with good recordings of ss 3-5, the off air ones are poor (3), bad (4), and awful (5).
>:(
Quote from: Oates on July 26, 2018, 02:16:45 PM
I rate Ruth Gipps' 3rd Symphony highly as well and I hope this get a decent recording some day. I've heard this version
https://www.youtube.com/watch?v=1ZiLsTKu01Q
The 'big tune' here is a beautiful and haunting theme that starts at 12:50. This section was extracted in a version for solo piano "Theme and Variations for Piano" which has been recorded by Angela Brownridge here (along with Gipps' Piano Concerto) for Cameo Classics.
https://www.amazon.co.uk/British-Composers-Premiere-Collections-Vol/dp/B00IJZIFLO/ref=sr_1_3?s=music&ie=UTF8&qid=1532643342&sr=1-3&keywords=Cameo+Classics
Never heard the Third before. Let's hope that Rumon Gamba records it but mustn't be greedy.
The Chandos album of Symphonies 2 & 4 etc (Gamba/BBC NOW) is now available to download. Those who want a shiny disc have to wait until September. I have gone for a lossless download..
I downloaded just the Symphony No 4. In the modern recordibg you can appreciate how wonderful it is.
Hope Chandos come up with the Symphonies 3 & 5 next.
Quote from: Biffo on August 04, 2018, 03:27:46 AM
The Chandos album of Symphonies 2 & 4 etc (Gamba/BBC NOW) is now available to download. Those who want a shiny disc have to wait until September. I have gone for a lossless download..
Excellent! Although I'm waiting for the shiny disc!
8)
Quote from: vandermolen on August 05, 2018, 02:52:07 AM
Excellent! Although I'm waiting for the shiny disc!
8)
Nothing on Spotify yet. ::)
Quote from: vandermolen on August 05, 2018, 02:52:07 AM
Excellent! Although I'm waiting for the shiny disc!
8)
Same here. I've waited 45 years for a top grade recording of the 4th Symphony, another couple of weeks now won't hurt!
Looking through the list of Gipps' 'selelcted works' on Wiki, there's some very tantalising titles in there. It looks like a rich seam to be mined...Items in bold are the only ones currently on CD (including the new Chandos) as far as I can tell.
Orchestra Variations on Byrds's "Non nobis", for small orchestra, Op. 7 (1942)
Knight in Armour, tone poem, Op. 8 (1942) Sea Nymph, ballet for small orchestra (or for two pianos), Op. 14 (1941 ?)
Symphony No. 1 in F minor, Op. 22 (1942)
Death on a Pale Horse, tone poem, Op. 25 (1943)
Chanticleer Overture, Op. 28 (1944)
The Chinese Cabinet Suite for orchestra, Op. 29 (1945)
Symphony No. 2 (in One Movement), Op. 30 (1945) Mahomet and the Cat, Op. 32 (1947)
Song for orchestra, Op. 33 (1948) Cringlemire Garden, Impression for String Orchestra, Op. 39 (1952)
Coronation Procession for orchestra, Op. 41 (1953)
Kensington Garden Suite, Op. 2, orchestral version (1953 ; orig. for oboe and piano, 1938)
Pageant Overture The Rainbow, Op. 44 (1954)
Symphony No. 3, Op. 57 (1965)
Symphony No. 4, Op. 61 (1972) Symphony No. 5, Op. 64 (1982)
Ambarvalia for small orchestra, Op. 70 (1988)
Concertante Concerto for Clarinet and Orchestra, Op. 9 (1940)
Jane Grey, Fantasy for Viola and String Orchestra (or piano), Op. 15 (1940)
Concerto for Oboe and Orchestra in D minor, Op. 20 (1941, premiered by the Modern Symphony Orchestra under Arthur Dennington in the 1941/42 season)
Concerto for Violin and Orchestra in B flat major, Op. 24 (1943, premiered on 05.02.1944 with the Modern Symphony Orchestra conducted by Arthur Dennington and the composer's brother Ernest as soloist)[3]
Concerto for Piano and Orchestra in G minor, Op. 34 (1948) Concerto for Violin, Viola and Small Orchestra, Op. 49 (1957)
Concerto for Horn and Orchestra, Op. 58 (1968) Leviathan for Contra-Bassoon and Chamber Orchestra, Op. 59 (1969)
Introduction and Carol: The Ox and the Ass for Double Bass and Chamber Orchestra, Op. 71 (1988)
Threnody for English Horn and Piano, Op. 74, version for English Horn, Strings and Harp (1990)
Chamber Music Kensington Garden Suite for Oboe and Piano, Op. 2 (1938)
Sea-Shore Suite for Oboe and Piano, Op. 3b (1939)
Chamois for 2 Violins and Piano, Op. 3c (1939)
Sonata No.1 for Oboe and Piano in G minor, Op. 5 (1939)
The Kelpie Of Corrievreckan for Clarinet and Piano, Op. 5b (1939)
Pixie Caravan for Flute and Piano (1939)
Rowan for Flute and Piano (1940)
Trio for Oboe, Clarinet and Piano, Op. 10 (1940)
The Piper of Dreams for Oboe Solo, Op. 12b (1940)
Sea-Weed Song for English Horn and Piano, Op. 12c (1940)
Suite for 2 Violins, Op. 12d (1940)
Elephant God for Clarinet and Percussion, Op. 12e (1940)
Sabrina, String Quartet in one movement, Op. 13 (1940)
Quintet for Oboe, Clarinet, Violin, Viola and Cello, Op. 16 (1941)
Brocade, Piano Quartet, Op. 17 (1941)
Rhapsody in E♭ for Clarinet Quintet, Op. 23 (1942)
Rhapsody for Violin and Piano, Op. 27a (1943)
Scherzo: The Three Billy Goats Gruff for Oboe, Horn, and Bassoon, Op. 27b
Sonata for Violin and Piano, Op. 42 (1954)
Sonata for Clarinet and Piano, Op. 45 (1955)
Lyric Fantasy for Viola and Piano, Op. 46 (1955)
String Quartet, Op. 47 (1956)
Evocation for Violin and Piano, Op. 48 (1956)
Prelude for Bass Clarinet Solo (or B♭ Clarinet), Op. 51 (1958)
Seascape for 2 Flutes, Oboe, English Horn, 2 Clarinets, 2 Bassoons and 2 Horns, Op. 53 (1958) A Tarradiddle for 2 Horns, Op. 54 (1959)
Sonatina for Horn and Piano, Op. 56 (1960)
Triton for Horn and Piano, Op. 60 (1970)
Sonata for Cello and Piano, Op. 63 (1978)
Octet for 2 Oboes, 2 Clarinets, 2 Bassoons and 2 Horns, Op. 65 (1983)
Sonata No. 2 for Oboe and Piano, Op. 66 (1985)
The Saint Francis Window for Alto Flute and Piano, Op. 67 (1986)
The Riders of Rohan for Trombone and Piano (1987)
Scherzo and Adagio for Cello Solo, Op. 68 (1987)
Sinfonietta for 10 Winds and Percussion, Op. 73 (1989) Threnody for English Horn and Piano (or Organ), Op. 74 (1990)
The Pony Cart for Flute, Horn and Piano, Op. 75 (1990)
A Wealden Suite, Quartet for E♭, B♭, A and Bass Clarinets, Op. 76 (1991)
Cool Running Water for Bass Flute and Piano, Op. 77 (1991)
Pan and Apollo for 2 Oboes, English Horn and Harp, Op. 78 (1992)
Sonata for Alto Trombone (or Horn) and Piano, Op. 80 (1995)
Piano The Fairy Shoemaker (1929)
Sea Nymph, ballet for small orchestra (or for two pianos), Op. 14 (1941 ?)
Conversation for 2 Pianos, Op. 36 (1950)
Theme and Variations, Op. 57a (1965) Opalescence, Op. 72 (1989)Choral 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)
Vocal Four Baritone Songs for Baritone and Piano, Op. 4b (1939)
Heaven for High Voice and Piano (1939)
Four Songs of Youth for Tenor and Piano (1940)
Two Songs for Soprano and Piano, Op. 11 (1940)
Rhapsody for Wordless Soprano and Small Orchestra, Op. 18
Ducks for Soprano, Flute, Cello and Piano, Op. 19 (1941)
The Song of the Narcissus for Soprano and Piano, Op. 37 (1951)
Three Incantations for Soprano and Harp, Op. 50 (1957)
The Lady of the Lambs for Soprano and Wind Quintet, Op. 79 (1992)
As a footnote maybe we should also mention this item:
Variations On A Theme Of Ruth Gipps by Malcolm Arnold.
https://www.amazon.co.uk/Arnold-M-Concerto-Players-Variations/dp/B001MV59M0/ref=sr_1_fkmr1_1?ie=UTF8&qid=1533544682&sr=8-1-fkmr1&keywords=malcolm+arnold+theme+on+ruth+gipps
Quote from: Oates on August 06, 2018, 12:40:24 AMDucks for Soprano, Flute, Cello and Piano, Op. 19 (1941)
Didn't know she was a quack? ;)
I have just revisited the Bostock recording of Symphony No 2 and find it preferable to Gamba; it is (for me) more characterful and incisive. Symphony No 4 is completely new to me and I have yet to hear it.
Quote from: Oates on August 06, 2018, 12:40:24 AM
Same here. I've waited 45 years for a top grade recording of the 4th Symphony, another couple of weeks now won't hurt!
Looking through the list of Gipps' 'selelcted works' on Wiki, there's some very tantalising titles in there. It looks like a rich seam to be mined...Items in bold are the only ones currently on CD (including the new Chandos) as far as I can tell.
Orchestra
Variations on Byrds's "Non nobis", for small orchestra, Op. 7 (1942)
Knight in Armour, tone poem, Op. 8 (1942)
Sea Nymph, ballet for small orchestra (or for two pianos), Op. 14 (1941 ?)
Symphony No. 1 in F minor, Op. 22 (1942)
Death on a Pale Horse, tone poem, Op. 25 (1943)
Chanticleer Overture, Op. 28 (1944)
The Chinese Cabinet Suite for orchestra, Op. 29 (1945)
Symphony No. 2 (in One Movement), Op. 30 (1945)
Mahomet and the Cat, Op. 32 (1947)
Song for orchestra, Op. 33 (1948)
Cringlemire Garden, Impression for String Orchestra, Op. 39 (1952)
Coronation Procession for orchestra, Op. 41 (1953)
Kensington Garden Suite, Op. 2, orchestral version (1953 ; orig. for oboe and piano, 1938)
Pageant Overture The Rainbow, Op. 44 (1954)
Symphony No. 3, Op. 57 (1965)
Symphony No. 4, Op. 61 (1972)
Symphony No. 5, Op. 64 (1982)
Ambarvalia for small orchestra, Op. 70 (1988)
Concertante
Concerto for Clarinet and Orchestra, Op. 9 (1940)
Jane Grey, Fantasy for Viola and String Orchestra (or piano), Op. 15 (1940)
Concerto for Oboe and Orchestra in D minor, Op. 20 (1941, premiered by the Modern Symphony Orchestra under Arthur Dennington in the 1941/42 season)
Concerto for Violin and Orchestra in B flat major, Op. 24 (1943, premiered on 05.02.1944 with the Modern Symphony Orchestra conducted by Arthur Dennington and the composer's brother Ernest as soloist)[3]
Concerto for Piano and Orchestra in G minor, Op. 34 (1948)
Concerto for Violin, Viola and Small Orchestra, Op. 49 (1957)
Concerto for Horn and Orchestra, Op. 58 (1968)
Leviathan for Contra-Bassoon and Chamber Orchestra, Op. 59 (1969)
Introduction and Carol: The Ox and the Ass for Double Bass and Chamber Orchestra, Op. 71 (1988)
Threnody for English Horn and Piano, Op. 74, version for English Horn, Strings and Harp (1990)
Chamber Music
Kensington Garden Suite for Oboe and Piano, Op. 2 (1938)
Sea-Shore Suite for Oboe and Piano, Op. 3b (1939)
Chamois for 2 Violins and Piano, Op. 3c (1939)
Sonata No.1 for Oboe and Piano in G minor, Op. 5 (1939)
The Kelpie Of Corrievreckan for Clarinet and Piano, Op. 5b (1939)
Pixie Caravan for Flute and Piano (1939)
Rowan for Flute and Piano (1940)
Trio for Oboe, Clarinet and Piano, Op. 10 (1940)
The Piper of Dreams for Oboe Solo, Op. 12b (1940)
Sea-Weed Song for English Horn and Piano, Op. 12c (1940)
Suite for 2 Violins, Op. 12d (1940)
Elephant God for Clarinet and Percussion, Op. 12e (1940)
Sabrina, String Quartet in one movement, Op. 13 (1940)
Quintet for Oboe, Clarinet, Violin, Viola and Cello, Op. 16 (1941)
Brocade, Piano Quartet, Op. 17 (1941)
Rhapsody in E♭ for Clarinet Quintet, Op. 23 (1942)
Rhapsody for Violin and Piano, Op. 27a (1943)
Scherzo: The Three Billy Goats Gruff for Oboe, Horn, and Bassoon, Op. 27b
Sonata for Violin and Piano, Op. 42 (1954)
Sonata for Clarinet and Piano, Op. 45 (1955)
Lyric Fantasy for Viola and Piano, Op. 46 (1955)
String Quartet, Op. 47 (1956)
Evocation for Violin and Piano, Op. 48 (1956)
Prelude for Bass Clarinet Solo (or B♭ Clarinet), Op. 51 (1958)
Seascape for 2 Flutes, Oboe, English Horn, 2 Clarinets, 2 Bassoons and 2 Horns, Op. 53 (1958)
A Tarradiddle for 2 Horns, Op. 54 (1959)
Sonatina for Horn and Piano, Op. 56 (1960)
Triton for Horn and Piano, Op. 60 (1970)
Sonata for Cello and Piano, Op. 63 (1978)
Octet for 2 Oboes, 2 Clarinets, 2 Bassoons and 2 Horns, Op. 65 (1983)
Sonata No. 2 for Oboe and Piano, Op. 66 (1985)
The Saint Francis Window for Alto Flute and Piano, Op. 67 (1986)
The Riders of Rohan for Trombone and Piano (1987)
Scherzo and Adagio for Cello Solo, Op. 68 (1987)
Sinfonietta for 10 Winds and Percussion, Op. 73 (1989)
Threnody for English Horn and Piano (or Organ), Op. 74 (1990)
The Pony Cart for Flute, Horn and Piano, Op. 75 (1990)
A Wealden Suite, Quartet for E♭, B♭, A and Bass Clarinets, Op. 76 (1991)
Cool Running Water for Bass Flute and Piano, Op. 77 (1991)
Pan and Apollo for 2 Oboes, English Horn and Harp, Op. 78 (1992)
Sonata for Alto Trombone (or Horn) and Piano, Op. 80 (1995)
Piano
The Fairy Shoemaker (1929)
Sea Nymph, ballet for small orchestra (or for two pianos), Op. 14 (1941 ?)
Conversation for 2 Pianos, Op. 36 (1950)
Theme and Variations, Op. 57a (1965)
Opalescence, Op. 72 (1989)
Choral
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)
Vocal
Four Baritone Songs for Baritone and Piano, Op. 4b (1939)
Heaven for High Voice and Piano (1939)
Four Songs of Youth for Tenor and Piano (1940)
Two Songs for Soprano and Piano, Op. 11 (1940)
Rhapsody for Wordless Soprano and Small Orchestra, Op. 18
Ducks for Soprano, Flute, Cello and Piano, Op. 19 (1941)
The Song of the Narcissus for Soprano and Piano, Op. 37 (1951)
Three Incantations for Soprano and Harp, Op. 50 (1957)
The Lady of the Lambs for Soprano and Wind Quintet, Op. 79 (1992)
As a footnote maybe we should also mention this item: Variations On A Theme Of Ruth Gipps by Malcolm Arnold.
https://www.amazon.co.uk/Arnold-M-Concerto-Players-Variations/dp/B001MV59M0/ref=sr_1_fkmr1_1?ie=UTF8&qid=1533544682&sr=8-1-fkmr1&keywords=malcolm+arnold+theme+on+ruth+gipps
Thanks for posting this interesting sounding list. 'Mazeppa's Ride' for Female Chorus and Orchestra sounds enticing, although being her Opus 1. The 'Cat Cantata' sounds like a must-hear.
A coupling with Ducks op 19 would be killer!
Quote from: The new erato on August 06, 2018, 07:08:11 AM
A coupling with Ducks op 19 would be killer!
A sensational release I am sure!
8)
Also 'The Riders of Rohan' for Trombone and Piano - a must for LOTR fans.
According to an email from MDT the cd of the new Chandos Ruth Gipps cd was sent out today. I'm looking forward to this. I don't know her music. The off air recordings I have come across were too poor for my ears,so I quickly switched them off. Like Gaze Cooper (for example) I felt I needed to reserve judgement until a decent recording appeared on cd. I suppose I could have bought the Classico cd,but I resisted. This Chandos cd was just too much for me. Chandos releasing the kind of repertoire that made them such a great label. And I feel I need to encourage more releases of this kind. Not that my little order will make that much difference on it's own;but the more the merrier. Holbrooke next,please,Chandos! (I would say that,wouldn't I?!! ::) ;D).
Quote from: cilgwyn on September 06, 2018, 03:44:14 AM
According to an email from MDT the cd of the new Chandos Ruth Gipps cd was sent out today. I'm looking forward to this. I don't know her music. The off air recordings I have come across were too poor for my ears,so I quickly switched them off. Like Gaze Cooper (for example) I felt I needed to reserve judgement until a decent recording appeared on cd. I suppose I could have bought the Classico cd,but I resisted. This Chandos cd was just too much for me. Chandos releasing the kind of repertoire that made them such a great label. And I feel I need to encourage more releases of this kind. Not that my little order will make that much difference on it's own;but the more the merrier. Holbrooke next,please,Chandos! (I would say that,wouldn't I?!! ::) ;D).
I'm in the same boat waiting for my order to arrive, although I have to wait until November for Chandos to release Copland's Third Symphony in the John Wilson series and until January 2019 for Lyatoshinsky's epic Third Symphony and 'Grazhyna'.
Is your order coming from MDT? This is the sort of recording Hickox might have made if he'd lived! Or Handley,once,I suppose?! I'm not so familiar with Rumon Gamba,really;but I rather like his recordings of Arnold;particularly his Seventh. Not my favourite;but I find his fast tempi actually gives it a manic intensity which,while I was a bit taken-a-back,at first,actually seems rather appropriate for the music (despairing,somewhat neurotic?!). Ruth Gipps is obviously a different sort of composer,of course!
Quote from: cilgwyn on September 06, 2018, 09:10:50 AM
Is your order coming from MDT? This is the sort of recording Hickox might have made if he'd lived! Or Handley,once,I suppose?! I'm not so familiar with Rumon Gamba,really;but I rather like his recordings of Arnold;particularly his Seventh. Not my favourite;but I find his fast tempi actually gives it a manic intensity which,while I was a bit taken-a-back,at first,actually seems rather appropriate for the music (despairing,somewhat neurotic?!). Ruth Gipps is obviously a different sort of composer,of course!
Yes, it's from MDT and enroute apparently. I like Gamba's film composers series. He attended the local comprehensive school.
The Ruth Gipps cd arrived this morning. Well done to MDT and the Royal Mail,by the way! The cd is playing now. It's too early to express my thoughts,really. Going by past experience,the excitement of receiving a new cd,particularly of a neglected composer or work and previously unrecorded,to boot,can colour one's judgement;so I'm going to be careful this time. That said,the opening of the Fourth Symphony caught my attention immediately and there is a wonderful clarity to the orchestration which I really do like,I love her use of the horns and there is an urgency to the narrative that draws me along. No feeling of,oh dear,and looking at the mini hi-fi's led display,wondering how much is left?!! ::) ;D Lovely use of woodwind,some wonderfully limpid orchestration. Oh and I do get the feel of a truly individual voice. I was worried I might be listening to some watered down VW,pastoral (cowpat! ;D) ruminations. There.......I've said too much,already! And wow! Some quite exciting orchestration here. I really didn't expect this!! ??? :)
Yes,it's too early to say,really;but so far I really am impressed by what I'm hearing!! ??? :)
I bought the Chandos album as a lossless download a few weeks ago and listened to Symphony No 2 immediately. For various reasons I haven't got round to listening to Symphony No 4 until this morning, mainly prompted by the reawakening of this thread. I found No 2 rather episodic though still enjoyable but No 4 is a different matter, a fine symphony and a fine performance from Gamba and the BBC NOW.
I should point out,I was referring to the Fourth Symphony,when I was posting. I also enjoyed the tone poem. It's a bit too early for me to make up my mind about the Second symphony as I've been a bit too busy to listen carefully;but the Fourth symphony did strike me as more cohesive and individual an utterance. It's a much later work,though,of course. I'm impressed by what I've heard. You may be right about the Second symphony? Hopefully,I'll have time to fully absorb it later on. I get the feeling that there will be much to enjoy along the way,though. We shall see?!!
The Fourth is obviously a more tightly structured creation;but (taking a moment to give it my full attention) listening to the part of the Second Symphony (in one movement) marked,'Allegro moderato-poco meno-più mosso-meno mosso',in the booklet;there is some lofty string and horn writing which really is quite grand and a balm to my ear 'oles! If uneven has bits as scrumptious as this..........?!!!! ??? :) :) :)
Thanks for the commentary cigwyn. I'm hoping that my copy will be waiting for me when I get home from work today.
My pleasure! :) I should think it will be there?! Your wife will probably be playing it;unable to resist the temptation to sample your latest cd purchase! ;D You will walk up to the front door to the resounding strains of Ruth Gipps Fourth! ;D
I've got to say;tightly structured (Fourth Symphony) or possibly (?) uneven (Second)......I'm finding everything on this cd a delight. The best neglected composer cd find I've had for quite a while! :) Oh,and the sound quality is absolutely superb!
Quote from: cilgwyn on September 07, 2018, 04:28:19 AM
My pleasure! :) I should think it will be there?! Your wife will probably be playing it;unable to resist the temptation to sample your latest cd purchase! ;D You will walk up to the front door to the resounding strains of Ruth Gipps Fourth! ;D
I've got to say;tightly structured (Fourth Symphony) or possibly (?) uneven (Second)......I'm finding everything on this cd a delight. The best neglected composer cd find I've had for quite a while! :) Oh,and the sound quality is absolutely superb!
More likely my wife will have intercepted the package and detonated it using a controlled explosion 8)
Glad you're enjoying the CD.
Quote from: vandermolen on September 07, 2018, 04:48:33 AM
More likely my wife will have intercepted the package and detonated it using a controlled explosion 8)
Glad you're enjoying the CD.
Well, if so I will tell you soon how wonderful I think it is. I am always at home to receive all goodies, so she has no chance to set explosive devices. :laugh:
Quote from: "Harry" on September 07, 2018, 04:53:38 AM
Well, if so I will tell you soon how wonderful I think it is. I am always at home to receive all goodies, so she has no chance to set explosive devices. :laugh:
HA! 8) :)
;D Very funny! I just hope she took the package outside before blowing it up! I don't like to think of you sitting in a pile of rubble,like Oliver Hardy,with just the door left standing! (Looking on the bright side;at least your wife doesn't have a shotgun!!).
Just posted this on the "What are you listening to Now" thread!
"Still listening to this. Yes,the Fourth Symphony is more tightly structured and easily the finest of the two symphonies. That said,the Second Symphony is,imho,a fine work,and after several listens now,I really do like it. Gipps really had a flair for orchestration,and there is always something to capture my attention. Even if I hadn't heard the Fourth Symphony,I would have enjoyed this work. In fact,not being familiar with Gipps before,I really have enjoyed and been impressed by everything I've heard on this cd. Even the smaller works. Also,she has her own voice. She doesn't sound like any of the usual suspects,VW,Moeran or Bax; ie I don't keep thinking,"this sounds like such and such";although there are obviously some influences detectable. In fact,on this basis alone,I 'd go so far as to say that Chandos would be daft not to give us some more Gipps! I know it sounds a little patronising;but I really didn't expect the contents of this cd to be this good. If I was a music critic (Yeah,me a critic?!! ::) ;D) I might just nominate this as my cd find of the year! In fact,I can't wait to hear more Gipps (hint! hint! Chandos!! ;D And again,what a great cover photo! :)"
(https://i.imgur.com/V1MzERy.jpg)
Every year at primary school we had a photo taken. Usually we were sitting a desk, face on, holding a pencil with an open (blank) exercise book in front of us. The photo above reminded me of that, except of course RG is working on a score and is partly sideways on. It is a charming photo; usually I looked morose or like a rabbit in car headlights.
It is a great pity that photography wasn't invented earlier then we might have known what Mozart really looked like, most of his portraits are bogus or useless.
Prostudiomasters has the high-res download of the Chandos disc on sale for $14.39
https://www.prostudiomasters.com/featured/genre/classical/new#quickview/album/22645
Oddly the Chandos store itself doesn't seem to have the high-res version yet.
What a wonderful disc!
It was indeed waiting for me in the outside letterbox when I got home from work yesterday (oddly alongside a package containing a second hand CD by the Pet Shop Boys, which I'd also ordered) and was carefully smuggled into the house 8)
However, my wife wanted me to watch a TV drama with her ('Anne with an E') on Netflix, which was nice but, as it was on Netflix the end of one episode morphed into the next one and as there were about 200 episodes by the time we'd had enough of Anne with an E it was a bit late to listen to Ruth Gipps (just a bit of context here in the style of cilgwyn's entertaining posts).
However, I most certainly am listening to it now. As with cilgwyn this is one of my discs of the year. The quality of the recording and Rumon Gamba's performances are terrific (he went to the same school as my daughter). For example I was hardly aware of the harps in Symphony 4 from the old John Pritchard version. I didn't realise that it was dedicated to Arthur Bliss, another of my favourite composers. Not only is the cover photo of Ruth Gipps charming (I agree with all the comments above) but there are loads of other fine photos of her in the booklet as well as a slightly chubbier than usual Rumon Gamba on the back of the booklet. Much as I like the ClassicO recording of Symphony 2 this is better and made me think even more highly of this work. 'Song for Orchestra' and 'Knight in Armour' are the icing on the cake, both very enjoyable. She has a recognisable and not derivative style which is very engaging, endearing and at times moving. I shall be playing this CD often and all credit to Rumon Gamba and Chandos for recording it. :)
Embarassing confession time! I've got to be careful what I say,but I can't help thinking Ruth Gipps looks rather (ahem!You fill in the blank :-[ ;D) in that cover shot;in a 'horsey' kind of way!! And I mean in the sort of riding crop on a horse way (not horse faced!!!). It must be my age?!! Anyway! (Hurriedly changing the topic!! ;D) I was so impressed by the music on this cd that I can't help thinking that Lyrita's Itter really made a mistake in not picking up on Ruth Gipps. Wouldn't it have been nice if one,or more,of her symphonies had been recorded during her lifetime? Alas! :( Would it have renewed interest? Actually,I don't think it would have done much,at that time;but it would been nice for Ruth Gipps and made some of her music available to adventurous music lovers like you and I. In terms of the musical climate,I think the present time is actually more conducive to neglected composers like Gipps. Allot of it thanks to small,adventurous labels like Chandos,Hyperion,Dutton,Naxos (and previously,Marco Polo) also Cpo.
This release is also a reminder that there were good women composers. Another reason why Chandos should be encouraged to record more of Ruth Gipps output. Looking at her list of compositions on Wikipedia there is plenty to explore!!
Quote from: cilgwyn on September 08, 2018, 02:44:27 AM
Embarassing confession time! I've got to be careful what I say,but I can't help thinking Ruth Gipps looks rather (ahem!You fill in the blank :-[ ;D) in that cover shot;in a 'horsey' kind of way!! And I mean in the sort of riding crop on a horse way (not horse faced!!!). It must be my age?!! Anyway! (Hurriedly changing the topic!! ;D) I was so impressed by the music on this cd that I can't help thinking that Lyrita's Itter really made a mistake in not picking up on Ruth Gipps. Wouldn't it have been nice if one,or more,of her symphonies had been recorded during her lifetime? Alas! :( Would it have renewed interest? Actually,I don't think it would have done much,at that time;but it would been nice for Ruth Gipps and made some of her music available to adventurous music lovers like you and I. In terms of the musical climate,I think the present time is actually more conducive to neglected composers like Gipps. Allot of it thanks to small,adventurous labels like Chandos,Hyperion,Dutton,Naxos (and previously,Marco Polo) also Cpo.
This release is also a reminder that there were good women composers. Another reason why Chandos should be encouraged to record more of Ruth Gipps output. Looking at her list of compositions on Wikipedia there is plenty to explore!!
I hope I will get next week sometime, but since I like her music already, having the Classico recording, and have listen to the samples, it will make quite an impression. The Classico recording is sonically very good, but the lush sound of Chandos will add more detail no doubt.
In my collection there are more unknown composers then the ones we all know.
I very much agree with cilgwyn that Ruth Gipps was a missed opportunity for Lyrita. I'm sure that she would have been thrilled with the new Chandos CD. I'm pleased that I did see her conduct once (in a black polo-knecked sweater if I remember correctly). I think that you are also right about the time now being now more conducive to her approachable music.
Harry, I'm sure that you'll really enjoy this disc when it arrives (probably on its way now on the MV Stena Hollandica to the Hook of Holland - a ship I remember with much affection from my trip over to Leiden with my daughter. She 'studied' at the university for a year - happy memories also of visiting some of your GMG compatriots there as well).
Quote from: vandermolen on September 08, 2018, 03:25:28 AM
I very much agree with cilgwyn that Ruth Gipps was a missed opportunity for Lyrita. I'm sure that she would have been thrilled with the new Chandos CD. I'm pleased that I did see her conduct once (in a black polo-knecked sweater if I remember correctly). I think that you are also right about the time now being now more conducive to her approachable music.
Harry, I'm sure that you'll really enjoy this disc when it arrives (probably on its way now on the MV Stena Hollandica to the Hook of Holland - a ship I remember with much affection from my trip over to Leiden with my daughter. She 'studied' at the university for a year - happy memories also of visiting some of your GMG compatriots there as well).
It's Hoek van Holland, lol, the hook made me grin from ear to ear ;D
Leiden is simply one of the most beautiful cities in the Netherlands, so I quite understand your fascination with it.
As to meeting with fellow GMG ers, I did not meet any of them, maybe my character is too formidable, at least for some, but kidding apart, I am still waiting for Paul and Kimi, he promised me a visit, hopefully in my lifetime.
But then again I live in all respects a monastic life, and love to be alone, so maybe that's the reason why I never met up with some of you guys/gals. But all are welcome of course.
Quote from: "Harry" on September 08, 2018, 03:40:20 AM
It's Hoek van Holland, lol, the hook made me grin from ear to ear ;D
Leiden is simply one of the most beautiful cities in the Netherlands, so I quite understand your fascination with it.
As to meeting with fellow GMG ers, I did not meet any of them, maybe my character is too formidable, at least for some, but kidding apart, I am still waiting for Paul and Kimi, he promised me a visit, hopefully in my lifetime.
But then again I live in all respects a monastic life, and love to be alone, so maybe that's the reason why I never met up with some of you guys/gals. But all are welcome of course.
I would love to meet you Harry and appreciated our PM exchanges from previous years. If I'm ever back in the Netherlands I will, of course, let you know. Likewise if you come to London or southern England it would be great to meet up.
Despite my Dutch ancestry I used the English translation which I think is 'Hook of Holland' although I agree that 'Hoek' sounds much better! :)
PS I hope that your meeting with Paul and Kimi happens - would be v nice to meet the two of them.
Incidentally,I was playing Dark side of the Moon (or Dark side of the Gloom,as I call it) when the Ruth Gipps cd arrived. An interesting contrast! Apart from a brief spot of Blood Sweat & Tears,Gipps was on repeat all day! I don't think I've had many cd's,for quite a while,that I have played as much as that one! Incidentally,I think her tone poem,Knight in Armour,is an an absolute winner!Wonderful! And not a note too long! :) (There should be a Gipps website and society,too,really! I think she deserves one!)
Quote from: cilgwyn on September 08, 2018, 04:27:37 AM
Incidentally,I was playing Dark side of the Moon (or Dark side of the Gloom,as I call it) when the Ruth Gipps cd arrived. An interesting contrast! Apart from a brief spot of Blood Sweat & Tears,Gipps was on repeat all day! I don't think I've had many cd's,for quite a while,that I have played as much as that one! Incidentally,I think her tone poem,Knight in Armour,is an an absolute winner!Wonderful! And not a note too long! :) (There should be a Gipps website and society,too,really! I think she deserves one!)
Let me dive into this idea, I have server space enough....
Quote from: "Harry" on September 08, 2018, 05:33:46 AM
Let me dive into this idea, I have server space enough....
Great idea Harry.
My favourite moment is the wonderful tune at about 1 minute and 20 seconds into the last movement of Symphony 4.
Quote from: cilgwyn on September 08, 2018, 04:27:37 AM
Incidentally,I was playing Dark side of the Moon (or Dark side of the Gloom,as I call it) when the Ruth Gipps cd arrived.
How well does the Gipps disc work as a soundtrack for
The Wizard of Oz?
Seeing the VERY positive impressions about the new release of Gipps, I can't wait to hear the Chandos CD.
Quote from: SymphonicAddict on September 08, 2018, 11:14:34 AM
Seeing the VERY positive impressions about the new release of Gipps, I can't wait to hear the Chandos CD.
Am sure you'll enjoy it Cesar and I don't think that it's being over-hyped here. I've already played the complete CD through three times in one day. The performance of Symphony 2 makes it into a more coherent work, in my opinion, compared to the (also good) earlier recording. No 4 is terrific and so nice to have a modern recording. 'Knight in Armour' is a most enjoyable discovery.
Quote from: vandermolen on September 08, 2018, 11:58:04 AM
Am sure you'll enjoy it Cesar and I don't think that it's being over-hyped here. I've already played the complete CD through three times in one day. The performance of Symphony 2 makes it into a more coherent work, in my opinion, compared to the (also good) earlier recording. No 4 is terrific and so nice to have a modern recording. 'Knight in Armour' is a most enjoyable discovery.
Bolded text - I don't think that either, what I do think is that this composer is deserving her stature as an accomplished one and we are enjoying her rediscovery for the sake of all us. Chandos would do an important job if they recorded the other symphonies and miscellaneous orchestral works. I'm a champion of unjustly neglected composers, and this release is very promising to show the world how good Gipps was.
Quote from: SymphonicAddict on September 08, 2018, 12:21:52 PM
Bolded text - I don't think that either, what I do think is that this composer is deserving her stature as an accomplished one and we are enjoying her rediscovery for the sake of all us. Chandos would do an important job if they recorded the other symphonies and miscellaneous orchestral works. I'm a champion of unjustly neglected composers, and this release is very promising to show the world how good Gipps was.
+1
Quote from: cilgwyn on September 08, 2018, 02:44:27 AM
This release is also a reminder that there were good women composers. Another reason why Chandos should be encouraged to record more of Ruth Gipps output. Looking at her list of compositions on Wikipedia there is plenty to explore!!
This thread has sensibly avoided the gender issue so far - Ruth herself was only too aware of the great challenge women faced in gaining acceptance with all the "men composers". Any neglect was clearly not due to a perception of lack of quality in her music, as this release proves. Yet of her era I can only think of Doreen Carwithen, Rebecca Clarke, Grace Williams and Elisabeth Lutyens. In the latter case, I can understand why her music has been given a wide berth!
Quote from: Oates on September 10, 2018, 02:56:19 AM
This thread has sensibly avoided the gender issue so far - Ruth herself was only too aware of the great challenge women faced in gaining acceptance with all the "men composers". Any neglect was clearly not due to a perception of lack of quality in her music, as this release proves. Yet of her era I can only think of Doreen Carwithen, Rebecca Clarke, Grace Williams and Elisabeth Lutyens. In the latter case, I can understand why her music has been given a wide berth!
Yes, a good point. Of the list of women composers you mention I enjoy the Second Symphony by Grace Williams in particular but also the short orchestral music and chamber music by Carwithen and the fine score for Watership Down by Angela Morley. Don't know much by Rebecca Clarke and have no interest in exploring the work of Elisabeth Lutyens.
Quote from: Oates on September 10, 2018, 02:56:19 AM...and Elisabeth Lutyens. In the latter case, I can understand why her music has been given a wide berth!
Quote from: vandermolen on September 10, 2018, 05:45:36 AMno interest in exploring the work of Elisabeth Lutyens.
Never heard of her before this but decided to find out what could possibly be causing the strong negative reactions from you two. Went listening on YouTube. What I found was a composer of strongly varying styles, from Schoenbergian serialism to the Strauss waltz. All of it attractive in its own way (attractive to me anyway). In any case, I thank you for bringing this composer to my attention.
Two examples of Lutyens' music :
https://www.youtube.com/v/nPdM0FXNXJE
https://www.youtube.com/v/di19ZKLZlKQ
Sarge
Quote from: Sergeant Rock on September 10, 2018, 02:07:35 PM
Never heard of her before this but decided to find out what could possibly be causing the strong negative reactions from you two. Went listening on YouTube. What I found was a composer of strongly varying styles, from Schoenbergian serialism to the Strauss waltz. All of it attractive in its own way (attractive to me anyway). In any case, I thank you for bringing this composer to my attention.
Two examples of Lutyens' music :
https://www.youtube.com/v/nPdM0FXNXJE
https://www.youtube.com/v/di19ZKLZlKQ
Sarge
Thanks for this Sarge although I have to say that the combination of Schoenbergian serialism and Strauss waltzes does not sound very appealing to me. Having said that 'En Voyage' sounded rather good and the music for 'The Skull', presumably a Hammer horror film I'd guess, reminded me a bit of Benjamin Frankel's fine score for 'Curse of the Werewolf'. Maybe I should listen to more Lutyens after all.
Dropping my wife off at the station this morning I turned on the car radio and guess what? They were playing the scherzo from her 4th Symphony, a listener's request. What struck me was how instantly recognisable her musical style is. It is not especially derivative and although she was the pupil of Vaughan Williams there were moments when her music reminded me more of Malcolm Arnold. Anyway, good to hear Ruth Gipps featured on the BBC.
Drifting slightly off the subject, of the various composers mentioned above Lutyens is the one I have known the longest though, admittedly, by only one work - 'O saisons, o chateaux'. A few years ago I investigated her work more fully and read a biography - 'A Pilgrim Soul' by Meirion and Susie Harries. Basically, she was a serialist but not a strict one, she developed her own style. To support herself, her children and her feckless husband she also wrote music for TV and film, mainly Hammer. The film music was more eclectic, hence perhaps the reference to a Strauss waltz.
Elisabeth Lutyens was the militant anti-pastoralist who coined the dismissive phrase 'cow pat' music. She subsequently went on to compose a beautiful pastoral score for the film The Heart of England, which I really wish someone would record.
Forgot to mention that the Gipps CD arrived yesterday and I'm really enjoying it. However, like on the previous Bostock CD, I'm not sure that the one movement 20 minute 2nd Symphony needs to be split into 8 tracks - overkill.
Quote from: Oates on September 11, 2018, 11:05:08 PM
Forgot to mention that the Gipps CD arrived yesterday and I'm really enjoying it. However, like on the previous Bostock CD, I'm not sure that the one movement 20 minute 2nd Symphony needs to be split into 8 tracks - overkill.
Glad you're enjoying it. A marvellous CD in my opinion.
Quote from: Oates on September 11, 2018, 10:59:03 PM
Elisabeth Lutyens was the militant anti-pastoralist who coined the dismissive phrase 'cow pat' music. She subsequently went on to compose a beautiful pastoral score for the film The Heart of England, which I really wish someone would record.
I always thought it was Constant Lambert who coined the phrase 'cow pat' music. The author of the booklet note for the Lambert film music I listened to recently certainly thinks so. Not that it really matters, Lutyens was rude about all kinds of music, especially when drunk, which was a lot of the time.
Quote from: Biffo on September 12, 2018, 12:39:34 AM
I always thought it was Constant Lambert who coined the phrase 'cow pat' music. The author of the booklet note for the Lambert film music I listened to recently certainly thinks so. Not that it really matters, Lutyens was rude about all kinds of music, especially when drunk, which was a lot of the time.
Plus I think that Aaron Copland, who later came to admire his music, said that listening to Vaughan Williams's 'A Pastoral Symphony' was like staring at a cow for 40 minutes.
Quote from: vandermolen on September 12, 2018, 12:47:18 AM
Plus I think that Aaron Copland, who later came to admire his music, said that listening to Vaughan Williams's 'A Pastoral Symphony' was like staring at a cow for 40 minutes.
'a cow looking over a gate' was another rude comment, can't remember the author. I have always 'known' the 'cow pat' jibe came from Constant Lambert but now I come to try and track it down I am unsuccessful. In 'Music Ho!' he has quite a lot to say about the 'Pastoral', most of it condescending but nothing downright rude.
I can't find the source, but I always thought "cow-pat" came from Lutyens and "cow over a gate" from Lambert or Warlock.
https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/cowpat-music
There's also a description by someone, not sure whom, of 'A Pastoral Symphony' as depicting 'VW rolling over and over in a ploughed field on a wet day'. I have to admit that I rather like that one.
The Lutyens biography I mentioned also ascribes the phrase to her and 'folky-woky melodies on the cor anglais', also mentioned in the link you gave. You are also right about Peter Warlock and the Pastoral Symphony. Hugh Allen described the latter as '... VW rolling over and over in a ploughed field on a wet day'
Quote from: vandermolen on September 12, 2018, 03:00:03 AM
There's also a description by someone, not sure whom, of 'A Pastoral Symphony' as depicting 'VW rolling over and over in a ploughed field on a wet day'. I have to admit that I rather like that one.
We posted simultaneously!
Turned on Radio 3 this morning and thought 'what's this interesting sounding music?'
It turned out to be 'Knight in Armour' by Ruth Gipps. Obviously the new CD has generated interest in her which is great and as it should be.
Finally arrived: the new Ruth Gipps, BBC National orchestra of Wales, Rumon Gamba, Symphony No. 4, Knight in armour, Symphony No. 2, Song for Orchestra.
First listening was sensational, great performances. The start with the Fourth Symphony is overwhelmingly beautiful, but that goes for the whole cd. So please, more Gipps! She's defintely a fine composer with a very dinstinctive voice of her own.
Quote from: Christo on September 19, 2018, 10:13:59 PM
Finally arrived: the new Ruth Gipps, BBC National orchestra of Wales, Rumon Gamba, Symphony No. 4, Knight in armour, Symphony No. 2, Song for Orchestra.
First listening was sensational, great performances. The start with the Fourth Symphony is overwhelmingly beautiful, but that goes for the whole cd. So please, more Gipps! She's defintely a fine composer with a very dinstinctive voice of her own.
Totally agree. I've twice turned on the radio recently and heard extracts from the Chandos CD being played, so it's obviously making quite an impression here. 'Knight in Armour' I didn't recognise and stayed tuned in to find out what the piece was. I agree that she does have a distinctive and very appealing voice. The performance of Symphony 2 is more urgent than the old one on ClassicO but all credit to Douglas Bostock for recording it in the first place.
Quote from: vandermolen on September 19, 2018, 10:46:15 PM
Totally agree. I've twice turned on the radio recently and heard extracts from the Chandos CD being played, so it's obviously making quite an impression here. 'Knight in Armour' I didn't recognise and stayed tuned in to find out what the piece was. I agree that she does have a distinctive and very appealing voice. The performance of Symphony 2 is more urgent than the old one on ClassicO but all credit to Douglas Bostock for recording it in the first place.
I seem to be the only one to prefer Bostock to Gamba in Symphony No 2. The Chandos album is excellent and there is not really much in it performance-wise for No 2 just find Bostock more incisive. I listened to the Song for Orchestra last night, somehow I have overlooked it. When I first downloaded the album I listened to Knight in Armour first (listening to it again now) followed by Symphony No 2 (and Bostock for comparison).
Listened to the 4th Symphony from the new Chandos CD yesterday and was quite impressed. Gipps very much has a language of her own, sometimes elusive but always accessible and colorful with unique touches in the orchestration. Her writing for woodwinds is especially ear-catching, which makes sense as she was an oboist herself. I certainly hope Chandos goes on to record more of her music!
Quote from: kyjo on September 21, 2018, 12:47:09 PM
Listened to the 4th Symphony from the new Chandos CD yesterday and was quite impressed. Gipps very much has a language of her own, sometimes elusive but always accessible and colorful with unique touches in the orchestration. Her writing for woodwinds is especially ear-catching, which makes sense as she was an oboist herself. I certainly hope Chandos goes on to record more of her music!
Yes, yes. I played the CD for the first time last night and it was obvious why so many people here like it.
I hope to remedy my postponed listen this weekend.
Having listened to the Gipps CD, my impressions suggest this release was utterly successful, the renditions are just impressive, so is the great sound engineering. The works I liked the most were the symphonies. The No. 2 has nice melodies and a curious, rather unconventional shape. I didn't feel it discursive as others point out. There are some slight ideas from VW I heard in places. Possibly I found this symphony a little better than the 4th.
On the other hand, the 4th displays a quite tender and subdued use of the woodwinds without being too incisive. The 2nd movement was particularly charming. The way she used the orchestra stands out as well, all is well proportioned.
As others mention, her voice as a composer is clear. I really liked all what there is on this CD, and I hope will not be the last one in the future.
Quote from: SymphonicAddict on September 26, 2018, 02:02:15 PM
Having listened to the Gipps CD, my impressions suggest this release was utterly successful, the renditions are just impressive, so is the great sound engineering. The works I liked the most were the symphonies. The No. 2 has nice melodies and a curious, rather unconventional shape. I didn't feel it discursive as others point out. There are some slight ideas from VW I heard in places. Possibly I found this symphony a little better than the 4th.
On the other hand, the 4th displays a quite tender and subdued use of the woodwinds without being too incisive. The 2nd movement was particularly charming. The way she used the orchestra stands out as well, all is well proportioned.
As others mention, her voice as a composer is clear. I really liked all what there is on this CD, and I hope will not be the last one in the future.
Glad you enjoyed it Cesar. I liked every work on the CD. Twice recently I turned on the radio to hear the BBC playing extracts from the CD 'Knight in Armour' and scherzo from Symphony 4, so it is clearly attracting considerable interest.
Quote from: vandermolen on September 26, 2018, 10:29:35 PM
Glad you enjoyed it Cesar. I liked every work on the CD. Twice recently I turned on the radio to hear the BBC playing extracts from the CD 'Knight in Armour' and scherzo from Symphony 4, so it is clearly attracting considerable interest.
A good symptom!
Record labels, pay attention to this for further releases :D
I listened to the Chandos Ruth Gipps cd,again,last night,after leaving it on the shelf (in a box,actually!) for a while. I often find that really is the deciding factor with a new cd,of some neglected work or composer. Sometimes there is that rush of blood to the head?! Although,I was pretty sure my first impressions were correct this time around. Anyway,I put on the Fourth Symphony. Wow! I love the way this symphony opens. It really draws you into it's world. It really is quite magical. The whole symphony feels so well thought out,from start to finish. Not a note too long. And some of the most beautiful orchestration I've heard in a British symphony. I don't often cry when I listen to music;but I could feel tears pricking at the corners of my eyes at one point,in the final movement. I think it's near the beginning. I'm no musician;but it's the sounds of harps,I think? The slow movement is stunning. And the final few minutes really are quite thrilling. I can hear it in my head now! Quite exciting! I stopped playing the cd a little later. Not because the other pieces weren't good;but because I just had to think about what I'd heard,and savour it in my head! Reading about Ruth Gipps' frustration at not being able to get performances of her music was another factor. Fashion?!! Huh!! ::) It must have been awful,for her?! But this music can really stand on it's own merits.
Quote from: cilgwyn on January 06, 2019, 02:57:33 AMI don't often cry when I listen to music;but I could feel tears pricking at the corners of my eyes at one point,in the final movement.
Somebody here* described her music as 'unemotional' and I was flabbergasted and couldn't respond: both her Second and Fourth Symphonies are among the most emotionally moving that I know and I remember shedding tears on listening to the Second, a couple of years ago. Great to learn about your response.
*Edit: I think it was the Hurwitzer - who sometimes doesn't take time to listen before he gives his final verdict. ;D
The only good thing about the Hurwitz is the number of times I've discovered a composer I enjoy after reading a review rubbishing his (or her?) music (ie,"Right! I'm going to buy it,now!!! >:( ;D)
I find her symphonies 2 and 4 emotionally moving. I love the celebratory ending of No.2 which, it has been suggested, denotes her happiness at the safe return of her husband from World War Two.
Quote from: cilgwyn on January 09, 2019, 08:27:22 AM
The only good thing about the Hurwitz is the number of times I've discovered a composer I enjoy after reading a review rubbishing his (or her?) music (ie,"Right! I'm going to buy it,now!!! >:( ;D)
The first, and last, review by Hurwitz that I read tried to rubbish both Jascha Horenstein and Robert Simpson (unsuccessfully)! >:(
Great to hear 'Song for Orchestra' on BBC Radio 3 yesterday morning as I was driving up to Noth London. The announcer commented on the puzzling neglect of her music.
Quote from: vandermolen on February 25, 2019, 02:40:24 AM
Great to hear 'Song for Orchestra' on BBC Radio 3 yesterday morning as I was driving up to Noth London. The announcer commented on the puzzling neglect of her music.
So many comments about neglect of composers' music...but very little actual solutions. I mean, the Chandos disc last year was an
enormous help to boost Gipps' profie, but it hasn't led to a glut of Gipps concerts replacing your usual oversaturation of Beethoven and/or Mahler symphonies.
Quote from: Maestro267 on February 25, 2019, 03:34:11 AM
So many comments about neglect of composers' music...but very little actual solutions. I mean, the Chandos disc last year was an enormous help to boost Gipps' profie, but it hasn't led to a glut of Gipps concerts replacing your usual oversaturation of Beethoven and/or Mahler symphonies.
That's quite right but, as you say, her profile has been raised by the recording and it was that performance which was played on the radio yesterday.
Here's one concert performance, at least:
https://youtu.be/_FSm_DUbb_0
Quote from: Dimitri on July 02, 2019, 12:26:37 PM
Here's one concert performance, at least:
https://www.youtube.com/v/_FSm_DUbb_0&feature=youtu.be
Great to hear it in this third performance - nothing less than the US premiere, by the
Seattle Philharmonic Orchestra under Adam Stern, on March 31, 2018. Find the piece emotionally very moving.
(And note that this performance predated the Chandos CD release...!)
A quick heads-up that this afternoon (Wednesday 4th), there will be a live performance of Ruth Gipps' Symphony No. 3, on BBC Radio 3. The concert is scheduled for 2:00pm-3:30pm, and also includes Tippett's Praeludium and Arnold's 1st Clarinet Concerto. BBC Philharmonic conducted by Rumon Gamba.
Full concert/broadcast details: https://www.bbc.co.uk/programmes/m000bxgl (https://www.bbc.co.uk/programmes/m000bxgl)
I presume it'll be on iPlayer afterwards if you're unable to catch the live broadcast.
Quote from: Maestro267 on December 03, 2019, 10:41:42 PM
A quick heads-up that this afternoon (Wednesday 4th), there will be a live performance of Ruth Gipps' Symphony No. 3, on BBC Radio 3. The concert is scheduled for 2:00pm-3:30pm, and also includes Tippett's Praeludium and Arnold's 1st Clarinet Concerto. BBC Philharmonic conducted by Rumon Gamba.
Full concert/broadcast details: https://www.bbc.co.uk/programmes/m000bxgl (https://www.bbc.co.uk/programmes/m000bxgl)
I presume it'll be on iPlayer afterwards if you're unable to catch the live broadcast.
Thanks for this. I hope there's a CD release one day.
Quote from: Maestro267 on December 03, 2019, 10:41:42 PM
A quick heads-up that this afternoon (Wednesday 4th), there will be a live performance of Ruth Gipps' Symphony No. 3, on BBC Radio 3. The concert is scheduled for 2:00pm-3:30pm, and also includes Tippett's Praeludium and Arnold's 1st Clarinet Concerto. BBC Philharmonic conducted by Rumon Gamba.
Full concert/broadcast details: https://www.bbc.co.uk/programmes/m000bxgl (https://www.bbc.co.uk/programmes/m000bxgl)
I presume it'll be on iPlayer afterwards if you're unable to catch the live broadcast.
thankyou! I'll be listening in the middle of sorting out business accounts.......
Quote from: Roasted Swan on December 03, 2019, 11:41:52 PM
thankyou! I'll be listening in the middle of sorting out business accounts.......
Hope you'll concentrate on the music! ???
This is wonderful music! Some big climaxes in the first movement, and some wonderful high-pitched bells (probably crotales) in the third movement.
Oh, and the orchestra replied "Watch this space..." when asked on Twitter about a possible recording. So watch this space I guess.
Quote from: Maestro267 on December 04, 2019, 06:01:40 AM
This is wonderful music! Some big climaxes in the first movement, and some wonderful high-pitched bells (probably crotales) in the third movement.
+1 - instantly impressive and confident music. Gipps orchestrates with real flair and invention. Anybody reading this who enjoys British 20th Century music must make a point of catching up with this piece while it is still available on BBC iplayer. Impressive performance too - played with panache and commitment. Three cheers all round!
Copied from the Land of Lost Content Blog - which in turn copies this article by Gipps on her 3rd Symphony from an article in "Musical Events" from 1966:
Early last year a sardonic friend of mine, to whom I had sent a sort of progress report, 'phoned me with the question "Do I gather from your reference to a development section that yours is a symphonic symphony?"
Well, yes, that was the intention.
The medium used is a large but perfectly normal symphony orchestra consisting of human beings who make music because they want to. The vital importance of the musicians' wish to play a piece of music cannot be overstressed; they cannot give full expression to a work with which they are not in sympathy. It is a fundamental of orchestral craftsmanship that all individual parts should be musically interesting and also grateful for the particular instruments to play.
Beyond that, a general idea of dimensions of the work, one's intentions with regard to a piece of absolute music are unlikely to be specific. If it is real music the composer is a setter-down of ideas and their inevitable development; not a "creator".
My 3rd Symphony is in four movements, and runs about 35 minutes. It has tonality rather than key. In the first movement, for instance, there is a constant pull between a mode on C sharp and a more angular scale based on D. This argument provides much of the texture of a normal sonata form movement whose actual subjects are melodic.
The second movement is a Theme and Variations, and the third a scherzo in 7/8 with an ostinato on harp and glockenspiel. This leads without a break into the finale; and here for once I can remember the thought processes (if they can be so called) which resulted in a particular structure. At the time I was so over-worked professionally that the symphony had to be written in trains, in bed, and in odd moments when some student was blessedly late or absent. The introduction to the finale is a rather vague affair in 3/4 with odd bars of 5/4; this changes to a cheerful 4/4 Allegro. As I worked ahead on this during a gap between pupils, a new theme appeared on the violins accompanied by clucking woodwind. At this point the missing student arrived; I concealed my manuscript and unwillingly returned to duty...
The next day, in a train, I regarded the violin theme and realised that it wanted an answer a fourth lower. Could I have written a fugue subject by accident? – I had had no thought of writing a fugue. Scrutiny revealed that the subject fitted in stretto at the 5th, or, if the second voice were inverted, at the 7th. This would have been quite clever of me, if I had done it on purpose!
The following night in bed I had another thought. Yes, the fugue subject in 4/4 fitted without the alteration of a single note against the introduction [of the finale] tune in 3/4 and 5/4. In fact the whole form of the movement was implicit in these two ideas, which were inevitably related although I had no comprehension of it when writing them down.
The finale, then, is a big fugue. The structure should be pretty clear even at a first hearing; but of course what really matters is that orchestra and the audience should respond to the music emotionally.'
Ruth Gipps: Musical Events March 1966.
Quote from: Maestro267 on December 04, 2019, 06:01:40 AM
This is wonderful music! Some big climaxes in the first movement, and some wonderful high-pitched bells (probably crotales) in the third movement.
Oh, and the orchestra replied "Watch this space..." when asked on Twitter about a possible recording. So watch this space I guess.
Excellent! I do hope it gets recorded (along with the rest of Gipps' unrecorded works). Her Horn Concerto, contained on the below Lyrita disc, was a great recent discovery of mine - a bright, breezy, and lyrical work:
[asin] B000N8UVSK[/asin]
Quote from: kyjo on December 06, 2019, 08:50:20 AM
Excellent! I do hope it gets recorded
I suspect it has been. These days they can just take the concert audio and use that. It's not like they have to book studio time and whatnot anymore.
Well, it's not all quiet on the CD front. There is this gem:
https://www.somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
Quote from: Oates on December 09, 2019, 01:39:47 PM
Well, it's not all quiet on the CD front. There is this gem:
https://www.somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
+1
Quote from: Oates on December 09, 2019, 01:39:47 PM
Well, it's not all quiet on the CD front. There is this gem:
https://www.somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
The Gipps is the stand-out work on this disc - the Bright is interesting and well crafted but not amazing. Also, although the Gipps is NOT a premiere recording this version is infinitely better than the earlier performance on Cameo Classics which suffers from a sub-fusc orchestra and so so recording - although the actual solo piano playing is good.
Quote from: Roasted Swan on December 10, 2019, 01:08:10 AM
The Gipps is the stand-out work on this disc - the Bright is interesting and well crafted but not amazing. Also, although the Gipps is NOT a premiere recording this version is infinitely better than the earlier performance on Cameo Classics which suffers from a sub-fusc orchestra and so so recording - although the actual solo piano playing is good.
+1 I have that earlier Cameo Classics disc too.
https://www.youtube.com/v/n6-S_CNRAtQ
Sounds like exemplary Gipps, perfect. #amgoingtoorderit ;)
Quote from: Roasted Swan on December 10, 2019, 01:08:10 AM
The Gipps is the stand-out work on this disc - the Bright is interesting and well crafted but not amazing. Also, although the Gipps is NOT a premiere recording this version is infinitely better than the earlier performance on Cameo Classics which suffers from a sub-fusc orchestra and so so recording - although the actual solo piano playing is good.
It is worth pointing out that there is a Gipps premiere recording here in the shape of the 8 minute orchestral piece
Ambarvalia, though you wouldn't know it from the front cover.
https://www.bbc.co.uk/programmes/m000sxzh
BBC Radio 3 Composer of the Week this week. Looks like there will be a fair chunk of Gipps' pieces that are not available on CD getting a long overdue airing.
We are still waiting Chandos vol II
Yes, the Chandos recording of Symphony No.3 (with Rumon Gamba) was broadcast yesterday but no sign of it on CD.
Quote from: Oates on March 09, 2021, 02:44:20 AM
Yes, the Chandos recording of Symphony No.3 (with Rumon Gamba) was broadcast yesterday but no sign of it on CD.
What was it like? I like symphonies 2 and 4 very much indeed.
Quote from: vandermolen on March 09, 2021, 02:57:38 AM
What was it like? I like symphonies 2 and 4 very much indeed.
I think it equally as good as the 2 and 4, with a lovely and moving slow movement. They are repeating bits of the 3rd Symphony on the Composer of the Week slot that is currently playing - I'm recording it as I'm supposed to be 'at work'.
Quote from: Oates on March 10, 2021, 03:21:01 AM
I think it equally as good as the 2 and 4, with a lovely and moving slow movement. They are repeating bits of the 3rd Symphony on the Composer of the Week slot that is currently playing - I'm recording it as I'm supposed to be 'at work'.
Thanks!
Quote from: Oates on March 09, 2021, 02:44:20 AM
Yes, the Chandos recording of Symphony No.3 (with Rumon Gamba) was broadcast yesterday but no sign of it on CD.
Chandos recording? I can't find any trace of it in any format. I have the Chandos recording of No 2 & 4 from Gamba. I can only find No 3 on You Tube. Perhaps I need to check what was played on R3 on the BBC iPlayer.
I remember hearing that performance of Sym 3 live (can't remember if it was last year or 2019 now), and assuming that it would eventually be released on Chandos given it's the same orchestra and conductor that released Nos. 2 & 4. Obviously it hasn't happened yet, but these things often take time even when we're not in a global pandemic.
Quote from: Maestro267 on March 10, 2021, 04:24:32 AM
I remember hearing that performance of Sym 3 live (can't remember if it was last year or 2019 now), and assuming that it would eventually be released on Chandos given it's the same orchestra and conductor that released Nos. 2 & 4. Obviously it hasn't happened yet, but these things often take time even when we're not in a global pandemic.
OK, thanks. For some reason I can't get R3 on iPlayer at the moment, will try again later.
Quote from: Biffo on March 10, 2021, 03:57:49 AM
Chandos recording? I can't find any trace of it in any format. I have the Chandos recording of No 2 & 4 from Gamba. I can only find No 3 on You Tube. Perhaps I need to check what was played on R3 on the BBC iPlayer.
It was credited as a Chandos recording - looks like BBC had rights to use it first. Yesterday we had
Cringlemire Garden (South West German Chamber Orchestra
Douglas Bostock, conductor) which the announcer did say was forthcoming on CD.
I must admit my favourite piece so far has been
Jane Grey Fantasy Op 15 (Scott Dickinson, viola, BBC Scottish Symphony Orchestra, Teresa Riveiro Böhm, conductor) which is very much in
Lark Ascending territory. I hope this gets a CD release at some stage.
Quote from: Biffo on March 10, 2021, 03:57:49 AM
Chandos recording? I can't find any trace of it in any format. I have the Chandos recording of No 2 & 4 from Gamba. I can only find No 3 on You Tube. Perhaps I need to check what was played on R3 on the BBC iPlayer.
BBC Sounds webpage says the Chandos release of this is on CD CHAN 20161.
Quote from: Oates on March 11, 2021, 12:38:55 AM
BBC Sounds webpage says the Chandos release of this is on CD CHAN 20161.
I can't find this number on the Chandos website
There is an interesting feature on Ruth Gipps in the new edition (August 2021) of BBC Music Magazine.
Quote from: vandermolen on July 12, 2021, 09:55:49 PM
There is an interesting feature on Ruth Gipps in the new edition (August 2021) of BBC Music Magazine.
Thanks. I will ask my wife to get me a copy.
Quote from: vandermolen on July 12, 2021, 09:55:49 PM
There is an interesting feature on Ruth Gipps in the new edition (August 2021) of BBC Music Magazine.
Unfortunately I cannot order this magazine anymore, a measure closely related to the Brexit.
I have been very impressed with this new collection of previously unrecorded chamber music from Ruth Gipps:
https://www.somm-recordings.com/recording/dedication-the-clarinet-chamber-music-of-ruth-gipps/
Its good to see the catalogues slowly filling with her work. There are some very beautiful and substantial works on this one.
Quote from: Oates on September 27, 2021, 05:52:34 AM
I have been very impressed with this new collection of previously unrecorded chamber music from Ruth Gipps:
https://www.somm-recordings.com/recording/dedication-the-clarinet-chamber-music-of-ruth-gipps/
Its good to see the catalogues slowly filling with her work. There are some very beautiful and substantial works on this one.
Looks most enticing - she was a fine composer.
Mazeppa premiere
https://berksweekly.com/arts-entertainment/through-music-berks-sinfonietta-celebrates-the-struggle-for-equality/
Quote from: Roy Bland on October 25, 2021, 08:50:25 PM
Mazeppa premiere
https://berksweekly.com/arts-entertainment/through-music-berks-sinfonietta-celebrates-the-struggle-for-equality/
Most interesting! I'd love to hear it. Thanks for posting. :)
I'm aware of the Mazeppa painting by Géricault.
(//)
Quote from: "Harry" on July 13, 2021, 12:00:50 AM
Unfortunately I cannot order this magazine anymore, a measure closely related to the Brexit.
---> https://www.ebay.nl/itm/154602844786?hash=item23ff0c3272:g:ayUAAOSwKiBhOVT5
https://www.coloradoboulevard.net/the-caltech-orchestra-presents-an-afternoon-of-english-chamber-music/
I've just been enjoying another new Ruth Gipps CD that seemed to have slipped out last year - pity it hasn't had more media prominence.
https://ascrecords.com/primafacie/opalescence.html
Missed that one! Thanks.
Quote from: Oates on February 18, 2022, 10:03:44 AM
I've just been enjoying another new Ruth Gipps CD that seemed to have slipped out last year - pity it hasn't had more media prominence.
https://ascrecords.com/primafacie/opalescence.html
Just in case you couldn't tell, that CD cover art is described as an "abstract oil of Ruth Gipps conducting by Steve Plews"!
Quote from: Oates on February 21, 2022, 01:56:52 AM
Just in case you couldn't tell, that CD cover art is described as an "abstract oil of Ruth Gipps conducting by Steve Plews"!
Lol, no it's Ruth Gipps' reaction when told she couldn't conduct because she was a woman!
One of my favourite pieces by Gipps is Leviathan for Contrabassoon and Piano (also an orchestral version). I don't think there's recording available atm but there are a couple of recital performances on Youtube (piano version). Well worth a listen.
Heard the short "Cringlemire Gardens" on YT and liked the piece a lot. Read some negative comments of Bostock on the forum but ordered the CD anyway.
https://three-worlds-records.com/press-release/ruth-gipps-winds-of-change/?msclkid=f72c755aaf7b11ecb07cc4641bb50196
Brian had posted it on the New Releases thread, but I thought it could be appropriate to post it here too:
(https://b2b.naxosusa.com/Images/LoRes/BackCovers/095115216125.jpg)
Oh thanks, that'll be great!
Quote from: Symphonic Addict on August 25, 2022, 05:47:59 PM
Brian had posted it on the New Releases thread, but I thought it could be appropriate to post it here too:
(https://b2b.naxosusa.com/Images/LoRes/BackCovers/095115216125.jpg)
How exciting! I shall definitely be ordering this one.
Thanks Cesar.
Quote from: vandermolen on August 25, 2022, 10:48:22 PM
How exciting! I shall definitely be ordering this one.
Thanks Cesar.
+1
on her
https://keep.lib.asu.edu/_flysystem/fedora/c7/DeMouy_asu_0010E_22478.pdf
https://www.bbc.co.uk/events/eqpgfx
Quote from: Roy Bland on September 29, 2023, 07:28:50 PMhttps://www.bbc.co.uk/events/eqpgfx
That's the next Chandos/Gipps disc sorted then!
Due for release on August 16th
Content:
Sonata No. 2, Op. 66
Kensington Gardens Suite, Op. 2
Sea-weed Song, Op. 12c
Sea-shore Suite, Op. 3b
Sonata No. 1, Op. 5a
The Piper of Dreams, Op. 12b
Trio, Op. 10
Threnody, Op. 74
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTY0MDAxMC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MTk0MTIxNDN9)
Quote from: Symphonic Addict on June 27, 2024, 03:35:11 PMDue for release on August 16th
Content:
Sonata No. 2, Op. 66
Kensington Gardens Suite, Op. 2
Sea-weed Song, Op. 12c
Sea-shore Suite, Op. 3b
Sonata No. 1, Op. 5a
The Piper of Dreams, Op. 12b
Trio, Op. 10
Threnody, Op. 74
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTY0MDAxMC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MTk0MTIxNDN9)
and orchestral works??
For January 3 2025:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTczMDA3MS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MzAxMjgwNzB9)
Quote from: Symphonic Addict on June 27, 2024, 03:35:11 PMDue for release on August 16th
Content:
Sonata No. 2, Op. 66
Kensington Gardens Suite, Op. 2
Sea-weed Song, Op. 12c
Sea-shore Suite, Op. 3b
Sonata No. 1, Op. 5a
The Piper of Dreams, Op. 12b
Trio, Op. 10
Threnody, Op. 74
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTY0MDAxMC4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MTk0MTIxNDN9)
It took me a couple of listens to warm up to this CD, but I think it's solid work from composer and performers.
Quote from: Symphonic Addict on October 28, 2024, 10:09:49 AMFor January 3 2025:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTczMDA3MS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MzAxMjgwNzB9)
Urrah!
Quote from: Symphonic Addict on October 28, 2024, 10:09:49 AMFor January 3 2025:
(https://d1iiivw74516uk.cloudfront.net/eyJidWNrZXQiOiJwcmVzdG8tY292ZXItaW1hZ2VzIiwia2V5IjoiOTczMDA3MS4xLmpwZyIsImVkaXRzIjp7InJlc2l6ZSI6eyJ3aWR0aCI6OTAwfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sInRvRm9ybWF0Ijoid2VicCJ9LCJ0aW1lc3RhbXAiOjE3MzAxMjgwNzB9)
I am playing this wonderful CD at the moment. However, Chandos is claiming that
Ambarvalia is one of the "Premiere Recordings" when in fact it was first recorded in 2019 and released on this CD:
(https://d9cahy9arw81t.cloudfront.net/assets/uploads/2019/08/01205017/SOMMCD273-cover.jpg)
https://somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
The earlier version is around 40s longer.
Ambarvalia is a late work by Gipps and seems to capture the best of the pastoral moods from half a century earlier.
Quote from: Oates on January 16, 2025, 12:27:20 AMI am playing this wonderful CD at the moment. However, Chandos is claiming that Ambarvalia is one of the "Premiere Recordings" when in fact it was first recorded in 2019 and released on this CD:
(https://d9cahy9arw81t.cloudfront.net/assets/uploads/2019/08/01205017/SOMMCD273-cover.jpg)
https://somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
The earlier version is around 40s longer. Ambarvalia is a late work by Gipps and seems to capture the best of the pastoral moods from half a century earlier.
Oops!
I should add that Ruth Gipps' 1st Symphony is brilliant. It is a tragedy that it was rejected after one performance and has remained unheard since 1945 (although it may have had some low-key concert outings in the meantime).
Quote from: Oates on January 16, 2025, 05:39:57 AMI should add that Ruth Gipps' 1st Symphony is brilliant. It is a tragedy that it was rejected after one performance and has remained unheard since 1945 (although it may have had some low-key concert outings in the meantime).
Totally agree. I was flabbergasted too, when I heard the first Symphony. The good thing is that her works are performed and recorded again, something on which I waited a long long time.
Quote from: Oates on January 16, 2025, 12:27:20 AMI am playing this wonderful CD at the moment. However, Chandos is claiming that Ambarvalia is one of the "Premiere Recordings" when in fact it was first recorded in 2019 and released on this CD:
(https://d9cahy9arw81t.cloudfront.net/assets/uploads/2019/08/01205017/SOMMCD273-cover.jpg)
https://somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
The earlier version is around 40s longer. Ambarvalia is a late work by Gipps and seems to capture the best of the pastoral moods from half a century earlier.
Bookmarked. Dora Bright was a composer also unknown to me, and I cannot let that happen, now can I!
Quote from: Harry on January 16, 2025, 06:38:14 AMBookmarked. Dora Bright was a composer also unknown to me, and I cannot let that happen, now can I!
I appreciate highly both works and performances female composers are shamefully underrated (for instance Gurne Creith's violin concerto is very lyrical)
Quote from: Oates on January 16, 2025, 05:39:57 AMI should add that Ruth Gipps' 1st Symphony is brilliant. It is a tragedy that it was rejected after one performance and has remained unheard since 1945 (although it may have had some low-key concert outings in the meantime).
Amen. Flabbergasted. One of the finest composers of all fine composers I know -- honestly.
Coming soon from Chandos -
(https://b2b.naxosusa.com/Images/LoRes/BackCovers/095115231920.jpg)
Quote from: Albion on February 02, 2025, 11:59:54 AMComing soon from Chandos -
(https://b2b.naxosusa.com/Images/LoRes/BackCovers/095115231920.jpg)
Perfect, wonderful news
Quote from: Harry on February 02, 2025, 12:39:58 PMPerfect, wonderful news
It is particularly positive to carry out a project quickly hoping that CPO you imitate with Kauffmann and that someone does the same for Tailleferre
Why there isn't still exact contains (tracks)?
Quote from: Albion on February 02, 2025, 11:59:54 AMComing soon from Chandos -
(https://b2b.naxosusa.com/Images/LoRes/BackCovers/095115231920.jpg)
The audio samples of this CD are now uploaded on the Chandos website and it sounds like another winner to me! As well as the items mentioned on the CD cover, it also includes
Missa brevis for Orchestra.
https://www.chandos.net/products/catalogue/CHAN%2020319
The whole Missa brevis is actually the 4th movement of the Fifth Symphony.
My mistake then - it looked odd being split into 6 sections after three longer movements.
Quote from: Oates on January 16, 2025, 12:27:20 AMI am playing this wonderful CD at the moment. However, Chandos is claiming that Ambarvalia is one of the "Premiere Recordings" when in fact it was first recorded in 2019 and released on this CD:
(https://d9cahy9arw81t.cloudfront.net/assets/uploads/2019/08/01205017/SOMMCD273-cover.jpg)
https://somm-recordings.com/recording/piano-concertos-by-dora-bright-and-ruth-gipps/
The earlier version is around 40s longer. Ambarvalia is a late work by Gipps and seems to capture the best of the pastoral moods from half a century earlier.
The earlier version on this Somm CD by the
Liverpudlians under Charles Peebles is simply better, IMHO. It has all the tempi right & is able to move me to tears.
Just completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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?
Quote from: Roasted Swan on April 17, 2025, 01:50:29 AMJust completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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?
Nice review!
Of course there will be a Volume 5, "We willed it" It is our command!
I will add Myriam Hyde, Jean Coulthard ,Ina Boyle and Avril Coleridge-Taylor
Quote from: Roasted Swan on April 17, 2025, 01:50:29 AMJust completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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?
I've just been playing this this morning and I concur with every word. An outstanding disc in an already outstanding series. As for further discs, there's a lot left to record and no one has touched her choral works yet.
Quote from: Roasted Swan on April 17, 2025, 01:50:29 AMJust completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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.
Quote from: Roasted Swan on April 17, 2025, 01:50:29 AMJust completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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!
Quote from: vandermolen on April 19, 2025, 12:55:53 AMMaybe 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!!!!
Happy Birthday Mabel ;D
Quote from: vandermolen on April 19, 2025, 12:55:53 AMMaybe 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.
Quote from: Roasted Swan on April 19, 2025, 03:51:09 AMThe 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)
Quote from: Roasted Swan on April 19, 2025, 03:51:09 AMThe 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!
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.
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. :)
Quote from: Christo on April 21, 2025, 01:29:54 AMAs 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.
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.
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.
(https://static.qobuz.com/images/covers/sa/pv/a6gvukeuzpvsa_600.jpg)
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!)
Quote from: Brian on April 21, 2025, 11:17:26 AMI 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.
(https://static.qobuz.com/images/covers/sa/pv/a6gvukeuzpvsa_600.jpg)
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.
Quote from: Irons on April 21, 2025, 07:36:08 AMGipps 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!
Quote from: Brian on April 21, 2025, 11:17:26 AMI 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 (https://open.spotify.com/track/4GSKUk466c5vak9K2xH1Yw?si=b94772942e1748a8)
Quote from: Roasted Swan on April 17, 2025, 01:50:29 AMJust completed my first listen to
(https://propermusic.com/cdn/shop/files/0095115231920.jpg?v=1741627132)
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.
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.....
Britten:
The Diversions were the big discovery for me.
Quote from: Roasted Swan on April 28, 2025, 03:07:34 AMWhen 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)
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)
My first experience with Gips, Symphony No 2, didn't make a strong impression. I am think of whether to return to the piece, or try a different one.
Quote from: Spotted Horses on April 28, 2025, 09:42:16 AMMy first experience with Gips, Symphony No 2, didn't make a strong impression. I am think of whether to return to the piece, or try a different one.
Yes, definitely try something different: a different composer. ;D
Re: Ruth Gipps
(https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/9b/3b/a2/9b3ba206-2ef3-1892-6099-cf54161abb19/5059864207839.png/600x600bb.jpg)
This is the only recording I own of Gipps music and I was not encouraged to buy the other volumes. The music wasn't 'bad' or trite, but there's nothing within it that held my interest or that intrigued me. Now that I've stopped buy CDs and only occasionally buying a digital download, I doubt I'll pursue her music any further. I've probably listened to this first volume at least twice over a period of a year and half.
So I'm in agreement with
@Symphonic Addict and
@Spotted Horses in their impressions of Gipps' music.
Quote from: Symphonic Addict on April 28, 2025, 09:46:25 AMYes, definitely try something different: a different composer. ;D
Ouch! That's pretty harsh!
Quote from: Der lächelnde Schatten on April 28, 2025, 12:14:27 PMRe: Ruth Gipps
(https://is1-ssl.mzstatic.com/image/thumb/Music211/v4/9b/3b/a2/9b3ba206-2ef3-1892-6099-cf54161abb19/5059864207839.png/600x600bb.jpg)
This is the only recording I own of Gipps music and I was not encouraged to buy the other volumes. The music wasn't 'bad' or trite, but there's nothing within it that held my interest or that intrigued me. Now that I've stopped buy CDs and only occasionally buying a digital download, I doubt I'll pursue her music any further. I've probably listened to this first volume at least twice over a period of a year and half.
So I'm in agreement with @Symphonic Addict and @Spotted Horses in their impressions of Gipps' music.
I'd have to go back and listen again, but I think that first installment of the series was unfortunately the weakest one in the series, for whatever reason--whether it was the music or the performers not being yet in tune with the composer. Try sampling the later volumes--the Horn Concerto jumps to mind, because it's on the most recent one I have. (The most recent one of all was part of the order I did last week.)
Quote from: Symphonic Addict on April 28, 2025, 09:46:25 AMYes, definitely try something different: a different composer. ;D
I've only listened to one work, one time, so I am not ready to give up yet, especially since some members have expressed enthusiasm for the music. The question in my mind is whether to listen to the second symphony again or try something else.
Quote from: Symphonic Addict on April 28, 2025, 09:46:25 AMYes, definitely try something different: a different composer. ;D
This did make me laugh.
Quote from: Spotted Horses on April 28, 2025, 02:39:55 PMI've only listened to one work, one time, so I am not ready to give up yet, especially since some members have expressed enthusiasm for the music. The question in my mind is whether to listen to the second symphony again or try something else.
Maybe some chamber music? (She herself performed as an oboist.)
(https://f.media-amazon.com/images/I/81KIjbiaASL._UF1000,1000_QL80_FMwebp_.jpg)
I have made a different sound here before, and will continue to do so. In recent months I had the rare opportunity to play both her five symphonies and George Lloyd's twelve - which I had also skipped for decades. They are compared by more people here, but for me the outcome is clear: Gipps wins on all fronts. It's a real question for me why some -- here including the highly respected Cesar, who already reacted so much differently to what I think is her masterpiece so far, her Third, but similar sounds I saw in a video of the always forminadable Hurwitzer -- find her modal tonality so "boring" and repetitive, where to me, on the contrary, it is exciting, contrasting and extremely creative. Indeed: I admire many British symphonic cycles, from Vaughan Williams to Alwyn, Arnold, Brian, Bate, Rubbra and so many more, but she is at the top for me. Does it have something to do with her modality? On that point, otherwise I find her quite different, there are similarities with Vaughan Williams. Or with the late Respighi or with Barber's Knoxville: Summer of 1915, the one work by Barber that the forlorn Hurwitzer finds unbearably boring, while I find it his best and most exciting work. Anyway: I am happy to be among the minority here who find Gipps a discovery of the first order. Glad there are now such good performances. And always special to discover how differently we can react to some music. I fully comply with Jill Halstead, writing on her centenary: >Stylistically her work parallels the other British composers of her generation who were influenced by the folk song revival and the new Franco-Russian movement. Her style is easily accessible and rich in character, marked by use of highly melodic tonal-modal themes and vibrant orchestration; harmonically her work can be chromatically complex yet never fully leaves the realms of tonality.< :)
Quote from: vandermolen on April 28, 2025, 07:13:23 AMBritten:
The Diversions were the big discovery for me.
Yes, although you probably intended to post this on a different thread, I think it's a fun and engaging work. Britten was yet another composer who found a Wittgenstein commission to be a slightly bruising experience.
Quote from: JBS on April 28, 2025, 03:47:32 PMMaybe some chamber music? (She herself performed as an oboist.)
(https://f.media-amazon.com/images/I/81KIjbiaASL._UF1000,1000_QL80_FMwebp_.jpg)
Useful suggestion. I listened to the first work on that recording, the Oboe sonata No 2, and found it interesting. But I found the audio disappointing, mainly because the piano seemed too recessed compared with the oboe. In any case, will keep Gipps on my list of composers to explore (meanderingly).
First three listens to Symphony #2 have proven to be extremely enjoyable.
I confess a level of previous scepticism for the strong positive reaction to the Gipps symphonies, but #2 has kept my attention on each playthrough. Another go later before bed, I think. Surprisingly good.
Quote from: foxandpeng on May 05, 2025, 01:30:01 PMFirst three listens to Symphony #2 have proven to be extremely enjoyable.
I confess a level of previous scepticism for the strong positive reaction to the Gipps symphonies, but #2 has kept my attention on each playthrough. Another go later before bed, I think. Surprisingly good.
I for one am happy to hear this from you dear friend. I hope that the rest of your journey through the music by Ruth Gipps, will be as successful, if not even better indeed! :)
Quote from: Harry on May 05, 2025, 10:33:23 PMI for one am happy to hear this from you dear friend. I hope that the rest of your journey through the music by Ruth Gipps, will be as successful, if not even better indeed! :)
Thank you, my friend. I had anticipated some disappointment or disinterest, tbh - partly due to my current listening habits, and partly because of so much over-promotion of female or seemingly underrepresented groups. I wondered how a genuinely gifted composer from the time of RVW could have gone unnoticed, unless it was because she actually wasn't very good.
I know that I am only one symphony in, but she seems to state a claim on her own merit. Looking forward to hearing the rest of the cycle.
Quote from: foxandpeng on May 05, 2025, 01:30:01 PMFirst three listens to Symphony #2 have proven to be extremely enjoyable.
I confess a level of previous scepticism for the strong positive reaction to the Gipps symphonies, but #2 has kept my attention on each playthrough. Another go later before bed, I think. Surprisingly good.
"Extremely enjoyable" has been my experience with all five symphonies over the last few months. Only a few times before have I been so struck by a cycle of unknown symphonies. It happened to me with Tubin in the 1980s, Holmboe in the 1990s and Braga Santos again a decade after that. For me, Gipps is "the discovery" of the past twenty years. :)
Quote from: Christo on May 06, 2025, 02:31:05 AM"Extremely enjoyable" has been my experience with all five symphonies over the last few months. Only a few times before have I been so struck by a cycle of unknown symphonies. It happened to me with Tubin in the 1980s, Holmboe in the 1990s and Braga Santos again a decade after that. For me, Gipps is "the discovery" of the past twenty years. :)
My experience is very similar. I would add the symphonies (or the ones that I know) by John Kinsella as well.
Quote from: vandermolen on May 06, 2025, 04:53:28 AMMy experience is very similar. I would add the symphonies (or the ones that I know) by John Kinsella as well.
How could I forget those wonderful years! Yes, Kinsella fills the decade between Braga Santos and Gipps. To complete the series of discoveries of unknown cycles of symphonies, for me it went something like this:
1970s Vaughan Williams
1980s Tubin
1990s Holmboe
2000s Braga Santos
2010s Kinsella
2020s Gipps. :)
I'm more than a little surprised by the 'unknown' stature of Gipps - not by me, of course, because I couldn't find my rear end in the dark if one turned out the light, but by serious lovers of classical music (ie the people on this forum).
She lived and composed so recently, and yet until recently, has little exposure. Is it because she is a woman? Were her works only recently discovered? No airplay because stylistically she doesn't represent a more modern, more astringent, more avant-garde approach? Too RVW? Insufficiently serial and jarring?
Help me out.
One would imagine that as George Lloyd or Alwyn or other British composers from the same kind of place have had their fans, Gipps would have been similarly exposed. Arnold and Bax have never struggled. Even if you go to female composers, Maconchy isn't without aficionados.
I'm not going to drown her in superlatives at this point, simply because I have only listened to Symphony 2 four or five times, and Symphony 1, twice. I may be happy to increase my expressions of praise as I get to know her music better, as I do think there is something enduring to get hold of.
Quote from: foxandpeng on May 06, 2025, 07:44:26 AMI'm more than a little surprised by the 'unknown' stature of Gipps - not by me, of course, because I couldn't find my rear end in the dark if one turned out the light, but by serious lovers of classical music (ie the people on this forum).
She lived and composed so recently, and yet until recently, has little exposure. Is it because she is a woman? Were her works only recently discovered? No airplay because stylistically she doesn't represent a more modern, more astringent, more avant-garde approach? Too RVW? Insufficiently serial and jarring?
Help me out.
One would imagine that as George Lloyd or Alwyn or other British composers from the same kind of place have had their fans, Gipps would have been similarly exposed. Arnold and Bax have never struggled. Even if you go to female composers, Maconchy isn't without aficionados.
I'm not going to drown her in superlatives at this point, simply because I have only listened to Symphony 2 four or five times, and Symphony 1, twice. I may be happy to increase my expressions of praise as I get to know her music better, as I do think there is something enduring to get hold of.
I think you have answered your own question. In less enlightened times her gender was the biggest obstacle for her to be recognised as a serious composer. Far from being alone, Doreen Carwithen for example suffered the same fate.
One overriding aspect of Gipps music I love and find so interesting is orchestration, of which I think her a master. Out of nowhere a brass band will appear or a solo instrument in an unexpected setting. Even during moments of less inspiration her music always holds my attention due to the colours she brings to her orchestra.
Quote from: Irons on May 06, 2025, 11:47:14 PMOne overriding aspect of Gipps music I love and find so interesting is orchestration, of which I think her a master. Out of nowhere a brass band will appear or a solo instrument in an unexpected setting. Even during moments of less inspiration her music always holds my attention due to the colours she brings to her orchestra.
Excellently put, her instrumentation is indeed exceptionally good. For that reason alone, I cannot understand why some people say they find the music 'boring'. Every second vibrates with original ideas. :)
Quote from: Christo on May 07, 2025, 01:44:35 AMExcellently put, her instrumentation is indeed exceptionally good. For that reason alone, I cannot understand why some people say they find the music 'boring'. Every second vibrates with original ideas. :)
What Hurwitz said is it is a bunch of attractive episodes, but he didn't get a sense Gipps knew where it was going but still considers her a talented composer albeit lacking in inspiration.
Quote from: Christo on April 29, 2025, 12:08:58 AMI have made a different sound here before, and will continue to do so. In recent months I had the rare opportunity to play both her five symphonies and George Lloyd's twelve - which I had also skipped for decades. They are compared by more people here, but for me the outcome is clear: Gipps wins on all fronts. It's a real question for me why some -- here including the highly respected Cesar, who already reacted so much differently to what I think is her masterpiece so far, her Third, but similar sounds I saw in a video of the always forminadable Hurwitzer -- find her modal tonality so "boring" and repetitive, where to me, on the contrary, it is exciting, contrasting and extremely creative. Indeed: I admire many British symphonic cycles, from Vaughan Williams to Alwyn, Arnold, Brian, Bate, Rubbra and so many more, but she is at the top for me. Does it have something to do with her modality? On that point, otherwise I find her quite different, there are similarities with Vaughan Williams. Or with the late Respighi or with Barber's Knoxville: Summer of 1915, the one work by Barber that the forlorn Hurwitzer finds unbearably boring, while I find it his best and most exciting work. Anyway: I am happy to be among the minority here who find Gipps a discovery of the first order. Glad there are now such good performances. And always special to discover how differently we can react to some music. I fully comply with Jill Halstead, writing on her centenary: >Stylistically her work parallels the other British composers of her generation who were influenced by the folk song revival and the new Franco-Russian movement. Her style is easily accessible and rich in character, marked by use of highly melodic tonal-modal themes and vibrant orchestration; harmonically her work can be chromatically complex yet never fully leaves the realms of tonality.< :)
I normally agree with you, Johan, but I'll take Lloyd over Gipps any day. ;) I enjoy Gipps' music - in particular her beautiful, luminous orchestration - but it doesn't quite have "staying power" for me. By contrast, Lloyd's infectious melodies and powerful climaxes linger long in my mind after listening (and he was also an excellent orchestrator). That said, I look forward to hearing the new Chandos disc of her 5th Symphony and VC, which seems quite promising.
Prompted by this thread, I gave her newly-released Fifth Symphony (1982) a listen:
(https://m.media-amazon.com/images/I/71VpaS-pAZL._SY355_.jpg)
I stand somewhere between those who think Gipps is a neglected master and those who think her music is insubstantial and unremarkable (though overall I'm more on the positive side of the fence). I would say she was a very good composer who had a quietly individual voice, especially regarding her beautifully luminous orchestration and harmonic language. Rather like George Lloyd, it seems she developed a fondness later in life for including a prominent role for tuned percussion (marimba, glockenspiel, etc.) in her orchestral works. The Fifth Symphony is definitely "conservative" for 1982, but of course that shouldn't matter to us today. The opening of the work immediately grabbed me with its magical, kaleidoscopic aura and a subtle tension between consonance and more piquant harmonies. However, I felt as the work progresses, that tension is mostly lost and the music becomes a bit too "samey" emotionally and harmonically. I just wished for a bit more development and variety overall, unfailingly pleasing though the music is. I did find the construction of the finale as an instrumental "Missa Brevis" to be quite interesting and original. So overall, I wouldn't call Gipps' 5th a lost masterpiece, but it's certainly worthy of revival and I enjoyed making its acquaintance. The first movement, in particular, is quite special and would compel me to return to the work. I look forward to hearing the VC next!
Her great strength, as I wrote earlier, lies in the 'personal' character, the heart of the music that you only gradually discover. I too was not particularly touched on first hearing, and found especially the slow movements unremarkable, until I started to discover the inside, the hidden lyricism and inner strength. Now I can't imagine not hearing it before as I do now. So yes, for me she is one of the masters. :)
Quote from: Christo on May 10, 2025, 08:59:13 AMHer great strength, as I wrote earlier, lies in the 'personal' character, the heart of the music that you only gradually discover. I too was not particularly touched on first hearing, and found especially the slow movements unremarkable, until I started to discover the inside, the hidden lyricism and inner strength. Now I can't imagine not hearing it before as I do now. So yes, for me she is one of the masters. :)
And for me too!
I'm on my sixth play of Symphony #3, but have to confess that I haven't found the same sustained interest as I have in #1 and #2. This may be little more than a personal preference over the ranking of each work, however.
I push on!
Having recently spent a fair bit of time with the symphonies only, I do think that Gipps is immensely listenable. I'm still not sold on her as a 'great' symphonist, but multiple hearings of each symphony suggest that I will revisit her work now that she is on my radar.
Lots more beyond the symphonies, it seems.
Now listening Gipps latest release I had very positive impressions both from the violin concerto and the symphony. The latter shows original instrumentation and development, so it is not surprising that the refusal of the BBC to broadcast it irritated the composer. Finally, I would like to recall the music of another unjustly neglected composer G. Tailleferre.
In case you thought that Ruth Gipps was getting too much praise here, the current (June) issue of Gramophone gives the new Chandos CD a totally negative review. Here are some comments from the review by Geraint Lewis:
'[The Symphony No,5]...aspires to so much more than it actually achieves'...The work as a whole lacks structural logic'...the slow movement is far too short for its context and the Scherzo is too long and unvaried'...the emergence of fast movement takes us immediately on an Ealing-style bicycle ride with all that entails' etcetc but you get the idea.
I look forward to hearing the work soon!
Quote from: vandermolen on May 19, 2025, 01:22:31 PMIn case you thought that Ruth Gipps was getting too much praise here, the current (June) issue of Gramophone gives the new Chandos CD a totally negative review. Here are some comments from the review by Geraint Lewis:
'[The Symphony No,5]...aspires to so much more than it actually achieves'...The work as a whole lacks structural logic'...the slow movement is far too short for its context and the Scherzo is too long and unvaried'...the emergence of fast movement takes us immediately on an Ealing-style bicycle ride with all that entails' etcetc but you get the idea.
I look forward to hearing the work soon!
"its slow material is queasily ecclesiastical"
What does that even mean? Easier to just stream the release than try to parse this review.
I'm sure everyone knows the sound world of an Ealing bicycle ride! ::)
Quote from: Daverz on May 19, 2025, 02:17:39 PM"its slow material is queasily ecclesiastical"
What does that even mean? Easier to just stream the release than try to parse this review.
Probably referring to the symphony's last movement, titled
Missa Brevis for Orchestra, and structured as a mass albeit nothing is sung.
But "queasily ecclesiastical" would make me think someone used the wrong kind of incense, and nothing more.
Quote from: JBS on May 19, 2025, 07:04:41 PMProbably referring to the symphony's last movement, titled Missa Brevis for Orchestra, and structured as a mass albeit nothing is sung.
But "queasily ecclesiastical" would make me think someone used the wrong kind of incense, and nothing more.
I didn't get any sense of a "liturgical" sound in the "Missia Brevis" music on a first pass.
Is Geraint Lewis the Welsh composer of that name? Perhaps no one wants to play his music any more so he is working out his frustrations on the work of others whom he perceives are unworthily occupying the limelight that should be his?
As we all know on this forum there is a very broad spectrum of opinion and taste on this forum and to debate qualities (or not) in performances and music is valid and interesting. But a critic writing in a major review journal really should not use terms that - as Brian and Daverz point out - have no specific/valid meaning (but sound a bit "clever" or "put-down-smart") is foolish at best. Also - you are not writing a review for a wider/global audience of any generation. I suspect you need to be over 50 and British to get the "Ealing" reference. Is most of Bruckner's music "queasily ecclesisastical"?
Quote from: Roasted Swan on May 19, 2025, 10:28:26 PMIs Geraint Lewis the Welsh composer of that name? Perhaps no one wants to play his music any more so he is working out his frustrations on the work of others whom he perceives are unworthily occupying the limelight that should be his?
As we all know on this forum there is a very broad spectrum of opinion and taste on this forum and to debate qualities (or not) in performances and music is valid and interesting. But a critic writing in a major review journal really should not use terms that - as Brian and Daverz point out - have no specific/valid meaning (but sound a bit "clever" or "put-down-smart") is foolish at best. Also - you are not writing a review for a wider/global audience of any generation. I suspect you need to be over 50 and British to get the "Ealing" reference. Is most of Bruckner's music "queasily ecclesisastical"?
I don't know about the Welsh composer but your comments ring true to me.
Quote from: vandermolen on May 19, 2025, 01:22:31 PMIn case you thought that Ruth Gipps was getting too much praise here...
No, who would think that? :laugh: