Susan Milan and Andrew Ball at London’s Wigmore Hall,
reviewed by BILL NEWMAN
The knowledge that the gorgeous flautist Susan Milan was back in town to give another recital [21 January 2007, Wigmore Hall, London UK] undoubtedly caused even the most confirmed cynics to smile broadly, lower their heads and kneel in homage. She has only to saunter on stage with her demeanour of Old World Charm, turn to her partner — in this particular instance the completely musical and totally dependable Andrew Ball — do a final limber up (tuning, that is!), smile at her instrument, then at the audience (in that order), and away we go …
Part one consisted of four pieces: the second featured five — one more if you include the encore. A British Music extravaganza by then, up-and-coming composers born, with five exceptions, when I was still working in the record industry (1955-75). More importantly, the particular compositions represented here can be listened to as pure music and enjoyed for the composition techniques displayed. Needless to say, their communicative skills are enhanced by the performing gifts and insights of the two participants, who each enjoy fully the repertoire they perform, then pass it on to their many students. I cannot claim knowledge or liking for much written since the Millennium — my loss and many other younger music enthusiasts’ gains, but this has never prevented me from listening! Susan Milan, on the other hand, claims a much wider sympathy, knowledge and understanding. Her kinship and Art of Performance extends to some authoratative programme notes.
Winter Music (1950) by Richard Rodney Bennett (born 1936) is one of many works for flute. His talents and popularity feature writing music for well-loved films and composing orchestral, vocal and instrumental music for today’s leading performers. My loveable memory was listening to and witnessing his piano accompaniment to Eartha Kitt while she reclined on top of the piano lid. She was busy ruffling his hair! Melodic music within a tone row is a typically attractive RRB invention.
My joy of listening to the music of Arthur Butterworth (born 1923) came about as a regular taper of Matinées Musicales (now discontinued) on BBC Radio 3. Also an orchestral brass section player and conductor, his piece Aubade (1973) leans toward the Impressionists Debussy and Ravel.
Stardrift for solo flute, written in 1992 by Edwin Roxburgh (born 1937) for the London International Flute Convention, resembles the movement of the planets against fixed stars. Its astronomical-pictorial connotations combined with touches of virtuosity led to Milan suggesting it as a test piece, yet for Menuhin Music Guides, Roxburgh was preoccupied with his ‘other’ instrument — the oboe. Stardrift‘s five sections encompass the whole universe of stars. I was particularly impressed.
Sonata for flute and piano by Brian Lock (born 1967) was given its London première in 2004, but Susan premièred the work in Seoul, South Korea. Peruse the composer’s prolific catalogue with his publisher Faber Music, under the Brian Lock Ensemble, then plot his contributions to film music — especially in Poland and America, and television. The Sonata is in three contrasting movements.
Out of the Cool (1986) by Dave Heath (born 1956) is a free-style recitative, with responses from the piano. I first heard — and liked — Heath’s music when it was included in the Wigmore Hall’s John Dankworth Jazz series. Passionate and exciting, there is nothing of the ‘elitist’ about this composer, instead his love for the solo flute, together with the freedom of composing and involving the passionate growth of development in surging rhythms and visceral excitement.
The Colour of Pomegranates for alto flute and piano (1994) by Julian Anderson (born 1967) is conversational, smoky toned, featuring high register reeds. There is also a short nocturne reflecting a scene from the Armenian film of the same name, directed by Paradjanov (a Park Lane Group commission).
The composer Robert Saxton (born 1953) tells us that Krystallen (1973) was a Milan commission and was first performed by pianist Clifford Benson in a BBC Radio 3 broadcast concert. ‘I was writing a brief three-voice “invention” or study and attempting to organise a coherant and cohesive polyphony employing the total chromatic.’ This partially came from studying with Elisabeth Lutyens. It is another Susan Milan dedication.
Eleven (1999), originally for flute and harp, stands for ‘alive’ in Hungarian, and this piece by Cecilia McDowall (born 1951) is dedicated ‘to all those who are in danger of losing their cultural identity, in the hope that they can keep their voice alive’. The work is continuous and involves the use of slides and glissandi. The flute tone is the sound of the lamenting human voice.
Matthew Taylor (born 1964) dedicated Images in Spring (1993) to flautist Emily Beynon. It’s in four movements: exuberant with an energetic vivace and a lyrical middle section, a flowing andante, a lively presto and a serene adagio. Taylor was influenced by Robert Simpson and, on the latter’s death, composed an Adagio for String Quartet in tribute.
The encore was Richard Rodney Bennett’s Summer Music.
Throughout the evening I was aware of the stillness of both artists during the entire concert, with each piece leading onto the next in line and context. Courage and fortitude were obviously part of the overall plan between rehearsal and presentation, and the performances were outstanding.
Copyright © 10 March 2007 Bill Newman, Edgware UK