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ROBERT SIMPSON (b. 1921) 'There is nothing quite like the Simpsonian meditation, or the sound of Simpson in full cry, to be found anywhere else in music.' (THE INDEPENDENT, 1991) Profundity of thought, always executed with the utmost integrity, informs the music of this internationally revered composer. As a boy, Simpson, played the cornet from the age of eight in a Salvation Army band, and enjoyed exploring music via the family wireless (which introduced him to Bruckner). Simpson commenced the study of medicine but soon succumbed to the power of music which was taking over his life. After studies with Herbert Howells, he spent some years as a freelance lecturer and writer, during which he formed the Exploratory Concert Society which introduced many to composers sparsely represented in concert programmes or records. Then he joined the BBC music staff in 1951 and that same year received the DMus from Durham University for his 'First' Symphony, which was actually his fifth, four earlier symphonies, one of which employed serial techniques, having been destroyed previously. Since that time all Simpson's output of 11 symphonies, 15 string quartets, concerti and Chamber works has been firmly based in tonality, the dynamic treatment of which, according to Simpson, 'made the symphony (as we know it) possible' (preface, THE SYMPHONY, Pelican). Experimentation and the latest fashion held no appeal for him. The authorship of important books which appeared later in his life on Bruckner, Nielsen, Sibelius, writings on Beethoven, as well as the editorship of the two-volume THE SYMPHONY, reveal the man as first and foremost a symphonist, and a symphonist on a grand scale. Like Beethoven, Simpson seeks organic unity through close thematic and tonal organisation. Each symphony has its own distinctive character and form. Simpson believes in 'trying to express human force by means of positive musical development.' ('Symphonies', THE LISTENER, lxxxix, 1973, p. 521). There is an affinity between Simpson and Nielsen: both may construct symphonies or movements round more than one tonal centre; dramatic tension may be created by uncertainty as to which tonality predominates, if any; the key established early on may not still be central at the end; there are sometimes programmes behind symphonies or movements, often drawn from biological or astronomical associations (he is a fellow of the Royal Astronomical Society); orchestration aids construction rather than providing colour. There is also an affinity between Simpson and Sibelius in terms of style and often in scoring. Countrapuntal interest provides the flow. During Robert Simpson's distinguished career with the BBC, which spanned nearly 30 years, he championed composers such as Bruckner, Nielsen, Havergal Brian and a few of Lengnick's house composers, such as Rubbra and Stevens, using his canny vision to root out neglected talent and works. Without Simpson it is possible that talents such as Brian's would not have been recognised. His 'Innocent Ear' programmes were enthusiastically followed by discerning listeners and his penetrating analyses of Sibelius symphonies, Beethoven quartets, etc. enlivened the BBC television music programmes. Typically, Simpson used his time at the BBC to promulgate his cause of worthy music through sincere, independently-minded, and hard-earned endeavours on the behalf of other composers. When he left through disagreement and disappointment with that corporation, the sincere, independently-minded, and hard-earned endeavours finally became exclusive to his own end of composing. In some ways, it is a pity this were not possible sooner. Dr. Simpson is particularly proud to have been awarded the Bruckner Medal of Honor and the Carl Nielsen Medal of Denmark. Nothing could ever distil the seriousness and energy of Robert Simpson's creative output. A fitting tribute is Hyperion's commitment to recording all of his string quartets and all of his symphonies. 'Simpson's music will live and its significance will be increasingly perceived, if only mankind does not destroy itself. If the graph of modern history, from its trough of despond, can take an upward turn, his music will come into its own.' (Ronald Stevenson, written on an Australian concert tour, June 1980) SOME
WORKS Cello
Concerto 'If programme-planners are prepared to take the risk,
they will find themselves with an appealing alternative to a rather
more famous English cello concerto..' |
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