Robert Simpson: Symphony No. 9

One of Simpson's abiding interests - obsessions, even - was the nature of "symphonism", and what exactly constitutes a "symphony". He wrote a large number of musicological articles on the subject, and indeed edited the two-volume Pelican compendium on "The Symphony". In his lifetime, Simpson was a man on a mission: although by no means an out-and-out reactionary, he felt that post-war classical music had come dangerously close to completely alienating its audience by its rigid adherence to "politically correct" total serialism (by Boulez out of Webern), and the abandonment of the symphonic ideals of Beethoven and Nielsen. It is interesting that the rediscovery of tonality, and fresh interest in composing symphonies, that seems to have been a feature of the classical music of the new century may well now be proving him right (think of Jimmy McMillan). But what exactly is a "symphony"? Why is, say, Nielsen's 5th "symphonic" when "Petrushka" isn't?

This disc is arguably Simpson's final word on the matter - his finest symphony, coupled with a fascinating 15-minute bonus of Bob Simpson's own analysis of the work, narrated by the man himself. It is an overwhelming piece of music, growing from a tiny, expanding-wedge germ of melody into a powering juggernaut of sound, collapsing into a long, meditative slow movement, then building again into one of the biggest symphonic climaxes since Beethoven. Think Bruckner; think cathedrals; think Himalayas... it's awesome stuff.

Sorry if this sounds over the top; just listen to it and I think you'll see what I mean.

The performance does justice to the whole. Vernon Handley (surely long overdue for knighthood) believes in the cause of Simpson, whose time of full recognition should surely come, and conducts with fire and passion. Lovers of the symphonic form should study this work.

Simpson's ninth symphony is a monumental thing of beauty. It is like scaling the sheer face of a majestic mountain. This one movement masterpiece builds slowly with an intrinsic intensity. It then keeps on building. Then it builds some more. The climax is breathtaking.

Then what after the climax? Is this piece just an extended nerve-racking thrill ride?

No. It is not. It is much more. To return to the previous mountain scaling metaphor...The real treat of this symphony, at least as far as I am concerned, is the sense of release, the sense of exasperated wonder that is expressed in the fading, echoing, post-climactic ending to the piece.

Some folks, including Mr. Simpson himself, compare this symphony to Bruckner's sixth. I can see why. It does share a lot of characteristics with that symphony. I would also add that there are parts reminiscent of Bruckner's ninth as well. Yet, while I am a great admirer of Bruckner (actually, I am a Brucknerian to the core), I would have to say that this piece transcends both symphonies; and I can pinpoint the exact spot where it occurs-the moment Simpson attains his peak and then reverses his way down into the ecstasy of the ending. I know of few moments in the vast span of twentieth century classical music that could even compare, much less measure up.

Isaiah 40:31 says: "Yet those who wait for the LORD Will gain new strength; They will mount up with wings like eagles, They will run and not get tired, They will walk and not become weary." The same could be said (In a little less spiritual way) about this symphony. Those who are brave of heart and sound of mind enough to endure the climb, will see the view from the top. What a view it is.

I recommend this recording very highly. Get it today and enjoy it for yourself.