Richard Rodney Bennett (1936-2012): Concerto for Orchestra (1973)
Richard Rodney Bennett (1936-2012): Sonnets to Orpheus (1978-9)
Richard Rodney Bennett (1936-2012): Diversions for Chamber Orchestra (1989)

As a composer, Richard Rodney Bennett (now 'Sir' Richard following his knighthood in 1998) had an eclectic array of styles, from jazz to serial classical compositions and several variations between. Other releases in this valuable series have shown his more romantic and jazzy approaches, including a concerto for Stan Getz, the great American jazz saxophonist. This volume, however, focuses more on his tougher classical methods, though not without some emotionally affecting results.

The release kicks off with maybe the one most obviously reflecting some of his serial composition tuition under Pierre Boulez, the 'Concerto for Orchestra'. A concerto for orchestra will generally be designed to display orchestral virtuosity, and that is so here, with some tremendously exciting and precise playing (and excellent Chandos recording) with many sonically intriguing results that keep the attention. It is clearly 'contemporary' in the sense this was used in the latter 20th century. On the face of it, less immediately emotionally engaging, but audibly fascinating. There are frequent virtuosic passages, both quiet and loud, across all the orchestra's families of instruments. The final movement is a swiftly changing set of variations, some very short (25 seconds for example), culminating in a maestoso finale providing a satisfying end to an intriguing work.

It is followed by a cello concerto, the 'Sonnets to Orpheus'. This immediately displays a more elegiac and disarming tone. There is some tremendous playing here by soloist Jonathan Aasgaard. The overall tone is still caustic, it's no Elgar Cello Concerto, but it does display a singing approach that reflects its inspiration of five of Rilke's 55 Sonnets to Orpheus, short quotes from which are helpfully shown in the booklet accompanying the release. The original sonnets were inspired by the death of the poet's daughter's close friend Wera Knoop, and the themes reflect sometimes an elegiac tone, beautifully played, for example in the short third movement arioso. It is still somewhat a tough work, but in my experience rewards multiple hearings and has several immediately beautiful moments.

The 'Diversions' that complete the album surprise with their folk song like charm, showing the breadth of the composer's techniques. It is based on two Scottish folk songs and is immediately appealing. It is written in the form of an initial tune, followed by 6 variations, and completed by an interlude and finale. 10 short and attractive pieces. It makes for a strangely appealing concert altogether, with the tarter aperitif and main ingredients, sweetened by a concluding dessert of consistently tuneful and attractively orchestrated composition. It is not without its emotional content either, the third variation, a Poco Lento, is thoughtful and more downbeat in tone, strings leading the gentle arc of the movement. The Con fuoco that follows disturbs the pensive slumber with snare drum attacks and shows some of the emotional range of this piece. The moods alternate from there on and provide more evidence of the composer's ear for orchestral sonority. It is a very satisfying way to finish the release.

As in previous releases, John Wilson and the BBC Scottish Symphony Orchestra provide very capable advocacy of these works and do the composer and the musical world a service by presenting the works in the best possible light. If you are already familiar with this composer or are prepared for the range of styles inherent in his approach, then this release takes its place with the other volumes in the series. As with the other volumes, the accompanying notes are thorough.