Bruce Broughton (b. 1945)
And on the Sixth Day (Oboe Concerto)
String Theory for string orchestra
Olivier Stankiewicz (oboe)
London Symphony Orchestra/Jonathan Bloxham
rec. 2022, Henry Wood Hall, London, UK
Naxos 8.559958 [51]
As the composer biography for this new Naxos “American Classics” disc states, Bruce Broughton is best known for his film and television work. In cinema, he has written many excellent scores – I first became aware of his name when the themes to the Oscar-nominated Silverado appeared in a blazing performance on a Telarc disc called “Round-Up” conducted by Eric Kunzel. In the world of television, he has a record 10 Emmy Awards where he provided incidental music as far back as 1973 for iconic series such as Hawaii Five-O, Dallas and How the West was Won.
However, this disc showcases a parallel career – as for many similar composers – in the concert hall producing abstract scores. With the London Symphony Orchestra in excellent form, ripely recorded in London’s Henry Wood Hall, this proves to quite a showcase and one I am sure Broughton is delighted with. There is one issue with this specific release that needs addressing/acknowledging before further discussion: as it currently stands, the UK Autumn 2024 release features two works totalling just shy of 51 minutes. The original version of the disc – same cover but different catalogue number – all recorded at the same sessions, included Broughton’s Horn Concerto. Since those 2022 sessions, the soloist in the horn concerto has resigned from various teaching and performing posts due to allegations of inappropriate behaviour. Clearly, Naxos and, I imagine, Broughton have taken the difficult and frustrating decision to remove that performance from the original disc. I would not mention that. except for the curious fact that the original ‘complete’ recording remains available to download from various major UK sites as of my writing this review in September 2024. I have heard the complete collection and while making no moral judgement, the Horn Concerto is an impressive work and will hopefully find other advocates soon.
As offered on this CD, there are two works opening with And on the Sixth Day – a concertante work for Oboe and Orchestra lasting 22:52. The soloist here is the LSO’s own excellent principal, Olivier Stankiewicz. The “Six Day” of the title of course refers to the creation of the world in the Bible when on the sixth day God created “everything that creepeth upon the earth”. Written in three movements, this can be perceived as following traditional concerto form although in a more illustrative manner perhaps than truly abstract music – especially when considering the movement titles; Prologue: In the beginning, Evening and Morning. In the very (too?) brief liner note, Broughton explains that the work was “not intended as a religious work” but was rather “a musical description of the Creation story. The work begins; “free of any theme or musical motive, and the overall impression is one of chaos” with the soloist entering almost immediately after what Broughton calls “the God chord” in the strings. Not having read the liner before my first listen, my note said “luminous”. Indeed throughout the disc, I was powerfully aware of just how skilfully and with real understanding for texture and sonority Broughton orchestrates. Of course, this is a key requirement for any composer successful in the field of film and TV composition – the ability to capture a mood or aural image quickly and succinctly. On this disc Broughton is unquestionably helped by the brilliance of the whole orchestra and especially Stankiewicz’s gloriously warm and beautiful playing – but credit, too, must go to the production and engineering team who to my ear have found a near-ideal balance for the soloist within the orchestral body. This is a very demanding work for the soloist with a showpiece cadenza to boot, but somehow the feeling is more of a concertante piece than a traditional ‘display’ concerto.
Broughton’s musical vocabulary is post-modern luxuriant with a rich warmth that is very attractive and engaging. This is particularly true in the central/slow movement titled Evening. Broughton writes a string opening of iridescent beauty from which emerges a gently pensive oboe melody with the textures and harmonies becoming richer – which Broughton describes as representing the “earth’s lushness and beauty”. There is a cinematic sweep and atmosphere to this movement but of course in a concert work such as this the composer is beholden to nothing but his own vision and inspiration. The closing Morning has a springing compound time energy over which the oboe dances with nimble abandon. Again, Stankiewicz‘s playing impresses by its effortless precision and tonal beauty. The whole work is attractive and beautifully crafted and proportioned. The conductor Jonathan Bloxham directs what can only be described as authoritative performances aided by the excellence of the playing and engineering.
The other work offered here is called String Theory. That slightly austere title hides another impressive and enjoyable work which is in a prelude, theme, seventeen variations and finale for strings alone. Again, to quote the composer; “Each variation, including the theme itself, represents either a technique of string performance or a specific combination of string instruments.” In total the work lasts a substantial 28:05 here played without a break. Naxos have divided the work into three tracks; Prelude, Theme, Variations 1-7 / Variations 8-13 / Variations 14 – 17 and finale. Nothing in the liner indicates whether these represents larger groupings within the whole work although clearly the variations that open the second and third parts of the work strongly contrast with the music that immediately precedes them. Again, the fluency and intelligent understanding of Broughton’s writing for strings is very clear. That said the demands on all the string sections and section principals is high but of course the LSO can be relied on to deliver this tricky but rewarding score with aplomb. The manner in which this works ‘shows off’ string technique reminded in part of Britten’s Variations on a theme of Frank Bridge Op.10 and there are other moments that raise the shades of other famous works for strings – Bernard Herrmann’s score for Psycho being just one such passing echo. Broughton manages the tricky balance between writing a serious and technically demanding score that is also attractive and interesting. The liner offers no context for the how or why either work came to be written or indeed when, but both are of a quality that suggests they deserve to be widely performed and heard.
Nick Barnard
Previous review: Terry McSweeney (September 2024)
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