Simpson, Robert (1921-1997)

[teamsaint]

I think I see a pattern - the more musically-fluent and 'trained' of us find obstacles with Simpson's music and those more reliant on visceral responses are more satisfied. Or the more we consider Simpson's music in terms of it's pure composition, the more complication we have with it.

If this is the case, and I'm not disagreeing with you, seems a bit counter intuitive.

[ahinton]

I think I see a pattern - the more musically-fluent and 'trained' of us find obstacles with Simpson's music and those more reliant on visceral responses are more satisfied. Or the more we consider Simpson's music in terms of it's pure composition, the more complication we have with it.

That's a little over-simplistic, if I may say so; I, for example, don't have especially great problems with most of his work and I certainly believe tht much of it deserves more attention in the concert hall than it gets, but I just wouldn't quite put him on those "stellar magnitudes" (fhg's not yet bitten on that one, I note)...

[Serial_Apologist]

"staller magnitudes"

Does his music sell well in the market place, then?

[Richard Barrett]

I think I see a pattern - the more musically-fluent and 'trained' of us find obstacles with Simpson's music and those more reliant on visceral responses are more satisfied. Or the more we consider Simpson's music in terms of it's pure composition, the more complication we have with it.

That might be a pattern among the small number of people posting here, but I doubt it would reflect more general reactions to Simpson's music. Nor am I sure whether something like "in terms of its pure composition" can be defined clearly. Another reaction: while I have more orchestral music lined up for this evening, a little while ago (until I was interrupted by external events) I started on String Quartet no.14, and I was immediately struck by how its beginning, with a solo entry followed by solemn and fairly strict imitative counterpoint (this time using a theme reminiscent of Bartók in its chromatic turns), seems to be something of a default texture with Simpson. Obviously I don't know his work well enough to conclude that the range of its forms is quite limited (leaving aside the materials they're made of for the moment), but this would seem to be the case on the strength of the things I've been listening to in the last couple of days. I wonder if the different opinions here are the result of some people not being particularly bothered by this - the pathways which Simpson follows in developing his materials being so well-worn and seemingly habitual, as if he knows his musical territory like the back of his hand, rather than seeking out unfamiliar terrain at the risk of getting (excitingly) lost.

[BBMmk2]

I'm afraid to say that I find the music of Doctor Robert Simpson quite extraordinary, and place him among the greatest masters of twentieth century music (discuss...). As I have bubbled on rather boringly, I discovered a recording of the Clarinet Quintet and the first String Quartet in a second hand LP shop, I was completely hooked. As I started collecting his output as they came out on the excellent Hyperion label, I heard that the Philharmonia Orchestra (managing director my old music teacher) were to play Uncle Bob's Ninth Symphony at the RFH, conducted by Simon Rattle. I rushed to secure tickets, and as I already had Tod Handley's marvellous account on CD, I was well prepared. Unbelievable. And Simpson was there in person too, so I had a few words with him after the concert. Among the greatest days of my life.

I must confess that I find him musically inspirational. So different to all other composers. Maybe being a medical doctor, had something to do with the structure of his compositional uniqueness.

[ahinton]

Does his music sell well in the market place, then?

No; it's quite popular in A & E, though...

[edashtav]

YES! I think that this is the feature that most wore away my own initial enthusiasm for the Symphonies (and explains why I'm still enthusiastic about the Slow Movements, where they're less omnipresent). I feel - perhaps entirely incorrectly - that the intention is to create an orgiastic sense of power and ecstasy, but I found the relentless aggression increasingly repellent.

You're right about the contrasting slow movements which act as temporary analgesics, and I suspect other Boarders have a point that Simpson's aggressive Allegro attacks withered with age. I didn't keep up with him to the bitter end in Tralee

[Richard Barrett]

It still has a lot of the usual.... Simpson stuff..... but there are long stretches where that stuff seems to be discarded or become almost irrelevant, which is what makes me think he might have eventually moved on past the stylistic trademarks. No idea if you would like it.

Hmmm... not really. The first movement seemed to me somewhat inconsequential. Maybe there's a way in for me somewhere but I don't think this is it!

[ferneyhoughgeliebte]

Maybe being a medical doctor, had something to do with the structure of his compositional uniqueness.

But he wasn't, Bbm - he followed just two years of a Medical course (another four years' study before he could get his 2nd MB - the equivalent of dropping a Biology course after the second year: a bit more than "A"-level, but not yet a Degree) before moving to composition at Durham University, where he became a Doctor ... of Music.

[Beef Oven!]

Simpson's music has been variously described in this thread as hectoring, shouty etc. Of course we don't have to listen to it. There is indeed that pastoral cow looking over a gate British music for the timid among us. Butterworth gets my vote on this

[gurnemanz]

I don't know any of Simpson's music but do like Beefy's contributions on here.

[Beef Oven!]

I don't know any of Simpson's music but do like Beefy's contributions on here.

[Beef Oven!]

Atm, listening to symphony no.8. In over 28 years I'd never noticed this hectoring, hammering shouty idea that forumistas have been banging on about. I find the music amazing.

[Richard Barrett]

So last night I returned as promised to Simpson's 9th Symphony, finding a bit more in it this time, and also listened to his illustrated talk at the end of the CD which is quite interesting. It's clear from the music that he really is thinking in terms of fugues, chorale preludes, "rustling accompaniments", organising climaxes and so on, but hearing him talking about them is a bit like listening to a voice from a bygone age, as if all of the metamorphoses of musical thinking undergone by his generation simply hadn't taken place. Obviously this doesn't come from ignorance, since at the BBC he would have come across more cutting-edge music than most; it's a rejection of or indifference to the music of his own time during a period when that music was at its most vital and creative. This isn't Simpson-bashing, just musing on what I find a strange attitude.

[ferneyhoughgeliebte]

Simpson's music has been variously described in this thread as hectoring, shouty etc. Of course we don't have to listen to it. There is indeed that pastoral cow looking over a gate British music for the timid among us. Butterworth gets my vote on this

Which one?