Many of the works included in this recording come from piano pieces which were later orchestrated by the composer. These are the jolliest, lightest portions of this program.
Kaleidoscope, Four Conceits, Cadet Rousselle Variations, and Two Nature Poems come from piano sources, and most have a program attached to their movements as well.
Kaleidoscope and Four Conceits sound similar to Debussy's Petite Suite or Children's Corner, at least Debussy through the orchestrations of Caplet and Büsser. Goossens offers light little ditties in each, using an array of percussion to make them sound extra colorful. Plus, with movement titles such as The Hurdy-Gurdy Man and The Gargoyle, they make for twee, vivid orchestral settings.
The Variations on 'Cadet Rousselle' is a short fantasy on a folk tune, while the Two Nature Poems are more substantive. Nature's lyrical Pastorale aside the wild abandon of the Bacchanal from the latter diptych, are pure orchestral showpieces from Goossens. I am surprised the two poems aren't used as a concert openers or closers, for they should produce a rousing response.
Not based on anything piano related is Tam o'Shanter, a brief Scherzo for Orchestra. True to its subtitle, it is indeed a colorful whirlwind of orchestral effects to accompany Robert Burns' ghost story.
Sir Eugene's serious musical voice comes out in the two larger works on the program. Three Greek Dances has no particular exotic flavor to it, but flows beautifully, even if it employs a modern musical voice compared to the lighter miniatures. The extra percussion, an addition of piano, and an abundance of wind and brass solos assure these symphonic dances contain an otherworldly quality throughout.
The meatiest composition is the Concert Piece for oboe, English horn, and two harps. Again, an advanced chromatic language is at hand, but never off-putting nor tough. The knocking in the first movement grabs the listener's attention and is an added bit of unusualness from the composer, while the second movement is lush and peaceful with a multitude of orchestral solos. The final movement's avant-garde use of paper in harp is a neat effect, although more curious are some quotes of famous works; despite being rather gruff, this third portion sends off the work in strong fashion. Goossens gets a lot of mileage out of his soloists, especially by doubling up the oboist on English horn, and the harps never sound cloying nor peripheral in this music.
If this recording wasn't fit-to-bursting already, an Intermezzo from Goossens' opera Don Juan de Mañara is included. There is a bit of Romantic glitz amongst its musical sensuousness. Hardly a breezy work, it is nonetheless a fitting conclusion to these performances.
There are a host of influences I hear in this music; from the previously mentioned sensuousness of Debussy and Ravel, to the modernism of Stravinsky and Scriabin, as well as aspects of Grainger and Copland, Goossens brings into his own compositions a wealth of styles and ideas. His applications can be craggy and angular, just as it can be lush and atmospheric. The composer uses the full resources of a symphony orchestra, offering the listener an array of colors and textures.
What a treasure to have these short works on record, nonetheless from the indefatigable Sir Andrew Davis leading the Melbourne Symphony Orchestra. The late Sir Andrew makes solid music out of these orchestral miniatures, and while there is a mixture of the light and the serious, Davis treats them all with beautiful musicality.
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Works
Kaleidoscope, op. 18 (9.49)
Tam O'Shanter, op. 17a (3.38)
Three Greek Dances, op. 44 (10.06)
Concert Piece, op. 65 (21.57)
Four Conceits, op. 20 (6.44)
Variations on Cadet Rousselle (3.47)
Two Nature Poems (11.19)
Don Juan de Mañara: Intermezzo (6.22)
Soloists
Jeff Crellin, oboe/English horn
Marshall Maguire, harp
Alannah Guthrie-Jones, harp
Performers
Melbourne Symphony Orchestra
Sir Andrew Davis, conductor
Label: Chandos
Year: 2013
Total Timing: 74.16
This would be an excellent place to begin if a listener wanted to try out the music of Eugene Goossens. That is why I begin with Volume 2 of Chandos' three volume series of the composer's orchestral music.
There is a mix of the light and serious, the latter of which could walk a listener towards his symphonies, concertos, and chamber music if they liked what they heard.
Moreso, this is not only a great survey of the composer's music, but a great recording from the late Sir Andrew Davis.
Find more Goossens recordings HERE!
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