Frederick Paul Naftel (b. 1956)
Orchestral, chamber and instrumental works
Reviewed from a 16-bit/44 kHz download
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Frederick Paul Naftel’s new album showcases his eclectic compositional style through a diverse collection of works. This is his first CD release and it draws on his music composed over the last forty years.
His works take inspiration from many different sources such as landscapes, nature and historical events. His compositions span various styles and formats, creating distinct moods and atmospheres. His repertoire includes Concerti for Orchestra, Symphonies, chamber music, and vocal works. Notable works include the Double Concerto for Bass Tuba and Contrabass Tuba, the Bass Clarinet Concerto, Aubade Pastorale, and the Sanctus for female voices, strings, and piano. He received an award from the Paul Hamlyn Foundation in 2020 and was runner-up in the King Lear Arts Competition. Naftel is currently working on his Third Symphony, dedicated to Sir James MacMillan, and other orchestral works. His music has been praised for its eccentricity, individuality and distinctive voice in contemporary music.
Aphoristic Impressions, composed in 2023 for American pianist Haley Myles who plays the piece on this CD, captures the essence of various landscapes. In addition to performing core repertoire, she regularly collaborates with contemporary composers and has worked with over fifty composers to-date, proof playing, recording, and performing their works. Her YouTube channel boasts over 100 recordings resulting from these collaborations. This was recorded in Haley Myles’ own home studio.
The piece certainly shows how Naftel uses a wide range of ideas to create his music. It is made up of five short pieces of differing natures. The first movement Approaching Bell evokes images of the underwater church at Dunwich, Suffolk. The listener can clearly hear the piano notes sounding like a bell, becoming louder as it becomes closer, then it chimes and finishes with a softly played gentle melody. The second movement Mini Magma concerns the eruption of an Icelandic geyser; it begins with energetic and frenzied music and then the geyser finally erupts as we hear the music quickly fade away. The next movement, Roo Awakening, is inspired by the indigenous wildlife of the Australian outback and Uluru/Ayers Rock; a quick look at Google informed me that the indigenous wildlife of that area would include lizards, kangaroos, venomous snakes, saltwater crocodiles, dingoes and feral camels. It’s an interesting piece, with fragments of music suggesting the many and perhaps unusual creatures that would be found in that area. The fourth movement, Japanese Garden, is a peaceful night-time portrait of the garden; it has an “eastern” feel suggesting peace and serenity. There are two periods of louder more energetic music as the piece unfolds. The final movement, Whirlpool Rapids, as the name suggests, has taken its inspiration from the gorges on the Niagara River. It begins with a repetitive tune, then the tempo builds to create a feeling of turbulence which suggests water falling. The whole piece is rather intriguing and imaginative.
Naftel’s String Quartet No.2, composed during the initial Coronavirus pandemic, reflects the era’s tumultuous nature. In the CD liner he says” Once again, my String Quartet No.2 was composed during a very difficult time and pays homage to several friends and relations.” Unlike his first quartet, this single-movement piece is divided into five sections including an epilogue. On this CD it’s played by the Northern Film Orchestra String Quartet. It’s certainly a work of contrasts. The music oscillates between tranquil static passages and furious, violent sections, marked by intervals of a major 7th and minor 2nd.
The first movement is marked “lento tranquillo ma teso”; the music is certainly tranquil being slow, gentle almost eerie in feeling; however, towards the end it starts to become more frenzied, as if to prepare us for the second movement marked “allegro feroce” – a description that fits this movement well with its ferocious style, throwing the music around between the instruments creating a tense mood. As with the first movement it prepares the listener well for the next movement by becoming less frenzied and more reflective at the end. The third movement is designated “adagio sostenuto”; it’s slow, tuneful and soothing, reminiscent of plainsong. The fourth movement marked “allegro furioso” unmistakenly is that; the music is furious and unrelenting, as if running to escape something; finally, towards the end, the pace does relent, once again to prepare us for the fifth and final movement designated “Epilogue: poco piu mosso” featuring recorded cello pizzicato, which starts with a relentless beat; a melody on the cello which is then taken up by the violins and has a sad, mournful feeling to it.
The Folksong Suite for String Orchestra and Timpani draws on six English and Scottish folksongs, including John Peel, Early One Morning, Ca’the Yowes, Loch Lomond, Dashing Away With The Smoothing Iron, and Lincolnshire Poacher. The orchestra on the recording is the Northern Film Orchestra conducted by Melvyn Tay. The first movement is a Rondo; it’s a jaunty piece and, just like through the whole of the suite, the use of timpani gives it an unusual dynamic; there’s a short section in the middle where we can hear interplay between the drums and the low strings of the orchestra. Throughout we can hear the flavour of the folk songs used, towards the end the music quietens and slows as if to prepare us for the next movement which is marked lament. It begins with an ominous beat, the music becomes softer, but we can hear a lovely rendition of Loch Lomond and the music slowly fades away at the end. The final movement, entitled Country Dance,is brisk and the orchestra is certainly dashing away with the smoothing iron. It’s a lively, well played piece.
Pascal’s Victim for Tuba Quartet, composed for the North West-based Tubalaté who play it on this recording, features three movements and is a play on words based on the Gregorian Chant Victamae Paschali. The piece has three short movements, each of which uniquely fragments the theme. The first movement begins with a rapid decrescendo leading to changes in dynamics for the rest of the movement. In the slow second movement, where a short melodic motive is varied by gently shifting harmonies, we can hear a more peaceful melody particularly with the warm tones that brass instruments can bring; the last part of the movement creates a “spooky” mysterious feeling. The third movement is more like the first with contrasting almost competing music played by the different instruments. This was recorded in the studio belonging to the late Roy Newsome.
Song of Songs: Rhapsody for String Orchestra and Harp is played by the Campion Orchestra who are made up of session musicians and led by violinist Jim Davies, conducted on this occasion by the composer and arranger Nick Ingman. Ingman has an interesting CV, composing as he did the theme tune to the sitcom Keeping Up Appearances and working with many famous names such as Elton John, Oasis, Annie Lennox and Eric Clapton et al. The quality of musicianship and recording is excellent and it makes for a charming piece. The composer describes it as “an ethnic flavoured rhapsody based on Hebraic chants and original material, featuring melodies like “Yigdal” and “Hatikvah.” This piece evokes imagery suited for films set in Biblical times or perhaps documentaries about the Middle East.” I would certainly agree with him; it starts slow with an “eastern” feeling, reminiscent of a film score. The middle section becomes livelier but retains a mystic atmosphere; the music then adopts a slower pace for a short while before speeding up again, creating a great atmospheric flavour; finally, it slows down again and finishes with a lovely flourish on the harp. It’s a very enjoyable piece.
Aubade Pastorale for Strings also played by the Campion Orchestra and conducted by Nick Ingram sounds as if it is based on English Folk Songs, but it isn’t; it is all original Naftel music who says that his major influences are Vaughan Williams and Shostakovich. Of this piece he says, “Aubade Pastorale for String Orchestra is a short tone poem depicting a hazy day in the English countryside, using original themes inspired by the English Pastoral School, particularly Ralph Vaughan Williams”. It is a beautiful slow piece, evocative of a rural scene and at times reminds me of FS Kelly’s Elegy in “Memoriam Brooke”. The quality of the musicianship and recording are also excellent.
Villancico for Guitar and Small Orchestra is a pastiche whichbridges the music of the Spanish Renaissance and Joaquin Rodrigo in a charming and lyrical Rondo form. It’s refreshing, the interplay between the guitar and the wind section is delightful and the whole piece is kept going at a brisk, but not too brisk, pace by the whole orchestra.
This is a completely fascinating CD; the music is entertaining and skilfully composed in varied styles. I am really pleased that I have had the opportunity to get to know it better.
Ken Talbot
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Contents
Pascal’s Victim (1999)
Tubalaté
Aphoristic Impressions (2023)*
Hayley Miles (piano)
String Quartet No.2 (2020)*
Northern Film Orchestra Quartet
Aubade Pastorale (1985 rev.2016)
Song of Songs (1985 rev. 2021)
Campion Orchestra/Nick Ingram
Folksong Suite (2021)*
Northern Film Orchestra/Melvin Tay
Villancico (1984 rev. 2017)
Campion Orchestra/Nick Ingram
*First recordings
Recording details
2000, Macclesfield, UK (Pascal’s Victim)
2023, Lyon, France (Aphoristic Impressions)
2022 (String Quartet No.2 ), 2023 (Folksong Suite ), Hallé St Peters, Ancoats, Manchester, UK
1984, Pebble Mill Studios, Birmingham, UK (Aubade Pastorale, Song of Songs, Villancico)
