Paul Reade (1943-1997)
A Celebration of Paul Reade
Pumeza Matshikiza (soprano); Philippa Davies (flute); Helen Tunstall (harp); Laurence Perkins (bassoon)
London Winds
English Chamber Orchestra/Robin O’Neill
rec. 2022, London, UK
Signum Classics SIGCD758 [74]
This souvenir of the Liverpudlian composer Paul Reade represents one of a generation after generation of melody-smiths. Reade died at the age of 54. The disc spreads before us leading examples of his kindly lyricism. It’s music that is easily assimilated and easily enjoyed. Reade died a quarter of a century ago and had a certain low-key celebrity in the world of television music (Play School, Antiques Road Show and The Victorian Kitchen Garden) and of modern soft-contoured ballet scores. It’s the same genre as Lanchbery’s Tales of Beatrix Potter, just a more classically English sound.
The Victorian Kitchen Garden is here represented by an effortlessly enchanting suite in an arrangement by Jan William Nelleke. A string orchestra accompanies Philippa Davies’ flute and Helen Tunstall’s harp. In five movements, we are taken through the realms of heart’s-ease treading the line between beauty and sadness and with lissom themes that trip along lines evocative of Malcolm Arnold and Edvard Grieg. There are quiet meanders and secret gardens (à la Ma Mère l’Oye) not devoid of a certain chill as well as elfin dances. It all ends in a harp pulse over which the flute disports itself in a reprise of that delight-strewn melody from the first movement.
The Chants du Roussillon song-cycle is clearly a most attractive work very redolent of Canteloube’s Chants d’Auvergne. That said, the effect is compromised by the choice of soprano whose operatic style would have been deeply impressive in grand opera but whose impressive technique and volume rather pulps these sweet songs flat. What is needed here, to catch the pastoral freshness of these songs, is a sweetly responsive voice like that of Netania Davrath rather than a supercharged voice comparable with Jessye Norman. Do not get me wrong though: the orchestral ‘dressing’ is a delight with its sighs from the solo violin. The best of this set is in the final song which is spritely and bright as a shiny button. El Cant Dels Ocells (much associated with Casals) is in much same manner and functions as a sort of appendix to the Roussillon songs.
Catalonia for bassoon and orchestra has been orchestrated by Tim Gibson. Laurence Perkins is the soloist in this little terpsichorean essay. He is a practised hand and mind and has already recorded superb bassoon discs for Hyperion including The Playful Pachyderm and bejewelled variety of unusual pieces recorded on a 2-CD set from the same label. As for the music, it is sunnily unassertive like the work of a modestly confident apprentice finding his or her voice.
The Serenata for wind sextet is in three movements. The slow section is like Grieg’s ‘Morning’ with mists rising from the mountain slopes. The Allegretto Pastorale inhabits the same world as Harty’s A Soft Day and is followed by an Allegro where
all reserve is cast aside for the sort of jollity you find in Poulenc’s Suite Française. Very engaging sound distinguishes this recording, as is the case throughout the CD. There’s a nice richly abrasive burr to the French horns.
The Flute Concerto is for strings and for the solo played by the always fluent Philippa Davies. It’s the biggest instrumental work here. Its Andante Lirico harks back (or forward) to the jejune innocence of The Victorian Kitchen Garden. Once again, the Englishry is moderated and freshened by a trace of a French accent. Reade finds room for some Arnoldian vinegar and a lump in the throat. The Nocturne is autumnal and auburn-toned. The strings muse along, playing second fiddle, supportively subordinate to the flute. A final Allegro Spirito flaunts joyously and jazzily. The revels all are ended with pirouetting panache and an explosion of feathers.
The Signum booklet includes the sung words, artist notes and composer and work profiles. The appetite is whetted to hear one of Reade’s magnum opuses: The Ballad of Judas Iscariot. How’s that for a ‘left field’ subject.
Rob Barnett
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Contents
Suite from The Victorian Kitchen Garden for solo flute, harp and strings (adapted by Jan Willem Nelleke)
Philippa Davies – flute, Helen Tunstall – harp, English Chamber Orchestra/Robin O’Neill
1 – Prelude: Andante pastorale
2 – Spring: Allegretto
3 – Mists: Lento melancolico
4 – Exotica: Allegro ritmico
5 – Summer: Flowing
Chants du Roussillon, Five Catalan folksongs arranged by Paul Reade for soprano and orchestra
6 – Are vé lo mes de maig
7 – De matinet me vaig llevar
8 – Tot anit som caminat
9 – El pare m’ha casada
10 – Rossinyol, que vas en França
—-
11 El cant dels ocells (Song of the Birds)
Pumeza Matshikiza – soprano, English Chamber Orchestra/Robin O’Neill
12 Catalonia for bassoon and orchestra (orch. Tim Gibson)
Laurence Perkins – bassoon, English Chamber Orchestra/Robin O’Neill
Serenata for wind sextet
Peter Sparks and Katie Lockhart – clarinet, Robin O’Neill and Laurence Perkins – bassoon, Richard Watkins and Alexei Watkins – horn
13 – Slow – Allegretto pastorale
14 – Moderato
15 – Allegro
Concerto for Flute and String Orchestra
Philippa Davies – flute, English Chamber Orchestra/Robin O’Neill
16 – Andante lirico
17 – Nocturne
18 – Allegro con spirito
