Simpson, Robert (1921-1997)

[Richard Barrett]

C'mon!

OK, I'll listen to one of his symphonies this evening - for some reason I do have a copy of the Hyperion box of them. I'd be very pleased to be able to change my mind.

[Stanfordian]

I wouldn't go that far, but the persistent neglect of him other than in recordings is wholly inexcusable. For such an evaluation, he'd have to be put up against his near contemporary Malcolm Arnold and earlier ones born in the same century including Richard Arnell, John Gardner, Alans Rawsthorne and Bush and Rubbra as well as the better known Britten and Tippett. He could certainly hold his own well in such company, but he's not the only British 20th century composer of great gifts who has been so sidelined. That said, it really is high time for a proper re-evaluation - nay, evaluation - of his work. ONe thing is certain - and it cannot be said of all of his compatriot colleagues; he rarely wrote below his very considerable best.

I've only listened to Simpson's Ninth Symphony once, on a recording and in the company of David Matthews (who also now has nine symphonies to his credit). I was near speechless; it's a work of tremendous power, even for Simpson, although how the overworked brass players contrived not to run out of lung power in their long notes in its overtly Beethovenian scherzo remains a mystery to me.

Hiya AH,

I'm not sure Tippett's music is too well known. I believe it is very much out of fashion these days.

[ahinton]

Hiya AH,

I'm not sure Tippett's music is too well known. I believe it is very much out of fashion these days.

It's true that Tippett's work seems to have fallen on some hard times since his death but he nevertheless remains a "household name" like Britten, I think; the others whom I mention are rpresented on disc to varying degrees but not often heard in the concert hall.

[richardfinegold]

Whenever I think of Simpson it's about the video of him analyzing the first movement of Nielsen 5 while Horenstein conducts in the background. I have an album of string quartets by him that are labeled Razumovsky, apparently of sorts to the works of LvB.
I've been exploring some 20th Century British Music, thus my interest in Alwyn, so Simpson seems worth some investigation. So, BeefO, where do you recommend I start?

[Serial_Apologist]

I'm not fond of Simpson's music, finding the harmonic language with its rhetorical gestures too forced. He championed Nielsen for perpetuating the Beethovenian spirit, but, like Nielsen in the 1920s, had to capitulate in his later years to some of the modernism he claimed to see as being too subjective or pessimistic from a humanistic pov. This sense of solid anchorage should make him interesting, but too much advance is omitted from the interim. But we do have to thank him for his "discovering" of Havergal Brian's music, in the 1950s* - and apparently he was never without his CND lapel badge.

*Well, I do!

[LeMartinPecheur]

I'm finding this thread reassuring, in an odd sort of way. Bought an LP of Simpson's chamber music as a student (Clarinet 5tet and str 4tet #1). 'Worthy' but no more. Later was enthralled by his study of the Nielsen symphonies: musical analysis I could follow as one knowing sweet FA about the technicalities! Tried the 9th symphony when it got rave reviews: still just 'worthy' (going on 'boring')

No doubt my unspeakable ignorance (still), but good to find I'm not alone!

Sorry Beefo

[EdgeleyRob]

I'm strongly with Beefy here. Drawing direct inspiration from composers such as Haydn, Beethoven, Bruckner & Nielsen, welding this into a striking personal style unlike that of any other post-war composer. The most impressive aspect of Simpson's writing is his total command of form, both at the thematic and tonal levels, everything in a work is interconnected in some way or other, nothing is wasted. In his orchestration he largely dispenses with the enlarged percussion sections that tend to characterize a lot of post-war orchestral music. The orchestration he uses is there to present the argument and to keep it in focus throughout the work, something many contemporary composers could learn from.

One can argue that such concentration on structure can lead to a certain 'severity' of style that can make for very demanding listening especially in his Chamber Music, where total concentration is almost demanded. But this isn't this the case with many chamber works throughout musical history?

There is also humour a plenty, though this may not immediately be apparent, familiarity with the composer's music soon throws up moments of musical wit. Try both the Flute & Piano Concertos, (if you can find recordings of course!), with the former the wit is immediately apparent.

Personally I do think this 9th Symphony one of the greatest of all 20th century symphonies, to sustain an utterly convincing & gripping musical argument without break, in one tempo, for a full 50 minutes is an awe inspiring achievement.

Regarding Simpson's music on R3; 6 pieces/chunks in 9 years, nothing since 2014. Total number of complete symphonies broadcast since 2011 - 1 in 2013!

Makes a lot of sense to me sc



And thanks BeefO for the thread.
I find Simmo's music gripping and very rewarding.
I would say that there is interconnection between all his works,as if they are all chapters of the same story,although I can't prove this with any sort of analysis.

Favourites ?

Symphonies 5 & 9,Quartets 3 & 9

[Beef Oven!]

OK, I'll listen to one of his symphonies this evening - for some reason I do have a copy of the Hyperion box of them. I'd be very pleased to be able to change my mind.

[Beef Oven!]

I'm not fond of Simpson's music, finding the harmonic language with its rhetorical gestures too forced. He championed Nielsen for perpetuating the Beethovenian spirit, but, like Nielsen in the 1920s, had to capitulate in his later years to some of the modernism he claimed to see as being too subjective or pessimistic from a humanistic pov. This sense of solid anchorage should make him interesting, but too much advance is omitted from the interim. But we do have to thank him for his "discovering" of Havergal Brian's music, in the 1950s* - and apparently he was never without his CND lapel badge.

*Well, I do!

Fair comment - he was politically misguided.

But you shouldn't judge him on that - look to the music.

[Beef Oven!]

I would say that there is interconnection between all his works,as if they are all chapters of the same story,although I can't prove this with any sort of analysis.

Great observation

[Beef Oven!]

I'm finding this thread reassuring ..................

but good to find I'm not alone!

Please see the group-think re-enforcement thread - you need to be posting there, not here .....

[Beef Oven!]

Whenever I think of Simpson it's about the video of him analyzing the first movement of Nielsen 5 while Horenstein conducts in the background. I have an album of string quartets by him that are labeled Razumovsky, apparently of sorts to the works of LvB.
I've been exploring some 20th Century British Music, thus my interest in Alwyn, so Simpson seems worth some investigation.

So, BeefO, where do you recommend I start?

Symphonies 3, 4, 5, 7 & 9
String Quartets 3, 6, 7, 9, 10 & 12

N.B. The start. First day. Then, the whole catalogue must be surveyed

[seabright]

I don't know how many broadcasts still exist of Simpson conducting his own music, or that of other composers, but CRQ Editions came out with a terrific discovery a while ago. It was Simpson conducting a chamber orchestra performance in 1968 of the "Eroica." In this, he observed the original instrumentation and metronome marks long before the likes of Norrington came along and announced them as new discoveries. You can hear Simpson introducing his performance on the CRQ CD as well as on You Tube. The coupling to the "Eroica" is one of his studio productions: the first performance of Havergal Brian's "Sinfonia Tragica." Here's the You Tube 'sampler' clip ...

https://www.youtube.com/watch?v=c-cnCOz-iNY

Here is the CRQ website for more details of their releases ...

http://crqeditions.co.uk/

[BBMmk2]

Don't forget his music for brass band!

[Richard Barrett]

Don't forget his music for brass band!

I'm sure you won't allow that to happen.

So I did listen to his 9th Symphony, and I thought yes indeed, this is all about making an argument and following it somewhat doggedly for a very long time, and that isn't a thing I find particularly attractive in music, especially when it's as rhythmically monotonous as this. I don't agree that "nothing is wasted", I felt that a great deal of time is wasted making sure every point in the "argument" is fully explained so that nobody's in any doubt about what's going on before the next item on the agenda is introduced. There seems to me no room for a listener to use his/her imagination.