Customer Reviews

Simpson: Symphony No. 9

5 star:		(3)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

All of Simpson's symphonies possess a sort of organic structure which seems to bestow upon them an almost living quality. Some have compared his symphonies to astronomical phenomena such as a quasar, a nebula, or a galaxy -- arcane entities which exist mysteriously, beyond the range of human experience, indifferent and eerily transcendent. Whether this is the effect Simpson strove to attain is hard to say. However, this symphony, along with others (notably the Fifth) produce such an impression in the listener.

This symphony, written in 1987, is one of the most awesome symphonic works of our time. The entire one-movement work is built around one three-note triplet pulse, which gradually grows and evolves into what Simpson calls a "wedge" structure. Fanning outwards from the central germinal pulse, the upper part of this wedge of sound rises and the lower part drops by equal intervals. This wedge-shaped motif is developed throughout the work, resulting in a great monolithic structure being built up majestically around the basic three-note pulse. The tone is ominous and dark, uncompromising and relentless in its development; it will grab hold of the listener, and not let go until the very end.

I would strongly recommend this to anyone who enjoys the symphonies of Shostakovich or Penderecki.

It is autumn again; and for me, that means it is high time to listen to some music composed by Robert Simpson. The late Mr. Simpson was, in my humble opinion, the greatest composer of the second half of the twentieth century. I also find that there is no better music to listen to on a chilly fall evening than something composed by Mr. Simpson.

Simpson's ninth symphony is a monumental thing of beauty. It is like scaling the sheer face of a majestic mountain. This one movement masterpiece builds slowly with an intrinsic intensity. It then keeps on building. Then it builds some more. The climax is breathtaking.

Then what after the climax? Is this piece just an extended nerve-racking thrill ride?

No. It is not. It is much more. To return to the previous mountain scaling metaphor...The real treat of this symphony, at least as far as I am concerned, is the sense of release, the sense of exasperated wonder that is expressed in the fading, echoing, post-climactic ending to the piece.

Some folks, including Mr. Simpson himself, compare this symphony to Bruckner's sixth. I can see why. It does share a lot of characteristics with that symphony. I would also add that there are parts reminiscent of Bruckner's ninth as well. Yet, while I am a great admirer of Bruckner (actually, I am a Brucknerian to the core), I would have to say that this piece transcends both symphonies; and I can pinpoint the exact spot where it occurs-the moment Simpson attains his peak and then reverses his way down into the ecstasy of the ending. I know of few moments in the vast span of twentieth century classical music that could even compare, much less measure up.

Isaiah 40:31 says: "Yet those who wait for the LORD Will gain new strength; They will mount up with wings like eagles, They will run and not get tired, They will walk and not become weary." The same could be said (In a little less spiritual way) about this symphony. Those who are brave of heart and sound of mind enough to endure the climb, will see the view from the top. What a view it is.

I recommend this recording very highly. Get it today and enjoy it for yourself.

The creation of this symphony is akin to the invention of the light bulb. Just under an hour...one single pulse...it's a bit like observing the entire life span of a star...from humble beginnings to brilliant radience to the sadness and solemness of dying out...This work is like some unexplained astrological phenomena. It takes the enormity of Bruckner's adagios and expands on them...it takes the scherzi of Beethoven and twists them violently while remaining the single most original piece of art to emerge in the last 100 years. Simpson's collection is absolutly essential, but this one stands alone as the jewel in the crown.

Not only is the Simpson 9th Symphony an amazing piece of music--gripping, powerful, and compelling--and not only is the sound quality simply splendid, as we have come to expect from the production team of Andrew Keener and Mike Hatch: this CD features an absolutely wonderful innovation--he composer himself speaking about the work and how he put it together. My goodness, this disc is a must-hear experience for every lover of orchestral music! If you enjoy Bruckner or Shostakovitch, you will likely enjoy the Simpson 9th, but you will never get a chance to hear Bruckner or Shostakovitch talk about one of their symphonies.

OK, I admit to some ambivalence. First, the sound and production quality: Excellent. I notice that the recording was produced by Mr. Simpson himself, in line with his profession. Everything is wonderfully done.

Next, the music itself: As others have stated, the whole work is closely argued and the structure carefully plotted and effective. But in the end, what is said? Perhaps a reasonable comparison would be with Shostakovich's 10th Symphony, which is about the same scale. The Shostakovich work is no doubt more "sprawling," perhaps more discursive. But its popularity really arises from the fact that Shostakovich makes us *care* about what is happening. Frankly, I find this a bit lacking in Simpson's symphony. It is, deep down, a very intellectual work, with emotional content running a poor second. Some, of course may prefer this.

But I will give it five stars here, easily. There's no doubt that it's a "great" work in terms of its time. You may or may not care for Simpson's approach to large-scale music. But you won't be bored, and you certainly won't feel that your money was poorly spent. My reservations may be specific to my own tastes, and they certainly don't weigh much when compared with Simpson's accomplishment here.