"If you know that feeling of expectancy, of vast potential energy, at the outset of a great symphony, you'll surely respond to Simpson's Ninth - and be wholly engrossed. You'll be led through shifting pedal-points and wedge-shaped themes encompassing a specific harmonic universe; through waves of energy pulsating fit to burst, until burst they do into a titanic scherzo; through slow, disembodied traceries of string lines, through awe-inspiring climaxes to a no less awe-inspiring hushed coda. And as rising scales pass through the coda's pedal-points into the final glacial sonority you'll know that you've heard one of the finest symphonies of the post war era" -
Gramophone
I thought I would begin with an authoritative view on the piece from the editors of the most popular world-wide music magazine, Gramophone, as published in The Classical Good CD and DVD Guide. Having been intrigued by such praise not just on this symphony but on the other symphonies of Robert Simpson, and having listened to attract samples over the internet, I decided to order the renowned box-set of his complete symphonies conducted by Vernon Handley (1 – 10) and Matthew Taylor (11). And I can say that I was not one bit disappointed, if not surprised by the amazing quality, thoughtfulness, power and remarkable originality that this music holds.
I cannot emphasis any further that I have found Robert Simpson the greatest composer since World War II. The underlying reason that his music has not been brought to public further than it has at this stage is because he is neither a conservative nor a modernist, and is therefore rejected by both of these major “camps”. I am yet to listen to No.3, No. 4, No. 8, No. 10 or No. 11 but I can say that out of the remaining 6 symphonies that I have listened to, No. 5, No. 6 and No. 9 have been the most extraordinary listening experience, with No. 2 and No.7 not far behind. No. 1 is a work of excellent quality, especially in the meditative, gorgeous Part 2, but I found it to be the least satisfying listening to date, mainly due to its oppressive brass overuse and somewhat lack of memorable motives or melodies.
Anyway, having listened to the entirety of Symphony No. 9 I can say that the gramophone review describes exactly the sensation of the music. The opening is remarkable, with the interval of a fourth playing a major part in its powerful construction and argument (as I discovered listening to the accompanying illustrated talk about the symphony by Simpson). The music develops with brilliance and the wedge-shaped Beethovenian chorale which is the main material of Part 1 is both memorable and fantastically embellished. The scherzo (Part 2) which follows shows a true innovator at work, with exciting build-ups to grand, forceful climaxes and catchy triplet rhythms. Part 3 is a fantastic, palindromic development to a huge climax, nearly matching that of No. 6. The symphony ends with a quiet, sweet coda, putting a close to a truly remarkable symphony.
This is absolutely essential listening for all who have a taste for modern-classical music, and is surely one of the finest symphonies of the century. I guarantee that you will not be disappointed, and will burn you a copy free of charge if you don’t have one for those interested.
