Michael Tippett (1905-1998): Piano Concerto (1955)
Michael Tippett (1905-1998): Symphony No. 2 (1957)

British composer Michael Tippett's music has always been perceived as thorny, overly complex and out of step with some of his celebrated 20th century compatriots like Ralph Vaughan Williams, Benjamin Britten, Malcolm Arnold and William Walton. As Ian Orbell pointed out in his recent review of this composer's oratorio A Child of Our Time, "a composer capable of the most radiantly melodious music on the one hand, yet thornily difficult on the other." And that's exactly what you hear within this composer's Piano Concerto. Highly melodic and fluid lines set against hectic orchestral textures. For example, the concerto opens with the piano playing a highly infectious 5-note motif that once latched onto, will easily guide you all the way to the end of the first movement. If that's a sign of a composer out of touch with his audience, then something's amiss.

The booklet notes explain that at the time Tippett was working on this concerto, "he felt an overwhelming urge to affirm, to express joy and wonder at the elemental beauty and mystery of life - to offer an alternative, dream-world in which hope and the courage to endure might be rediscovered." It's not your typical concerto where the soloist sits alone in the foreground on full display showing off some pyrotechnician skill. Most of the time the piano is part and parcel of the orchestral fabric to great effect. There's a type of synergy of these two elements throughout that makes for a highly cohesive work. The whole affair ends in a highly jubilant fashion.

On the other hand, the Symphony No. 2 is a tougher nut to crack. Angular, at times full of wrathful impulses and rhythmic energy, it requires constant attention on the listener's part to remain focused. It seems more of a personal statement from the composer with a message not meant for public consumption, although its central Adagio molto e tranquillo movement levels the playing field. With a piano part within the orchestration, it lends the symphony a highly mysterious and evocative character.

This new recording in which both soloist and conductor work hand in hand to fully convey the composer's intent, could easily be an initial point of entry for anyone unfamiliar with Tippett's music.