Richard Rodney Bennett - Concerto for Stan Gatz (1990)
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- Опубликовано: 2 авг 2024
- Sir Richard Rodney Bennett CBE (29 March 1936 - 24 December 2012) was an English composer of film, TV and concert music, and also a jazz pianist and occasional vocalist. He was based in New York City from 1979 until his death there in 2012.
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Concerto for Stan Gatz (1990) for tenor saxophone, timpani and strings.
Stan Getz (1927-1991)
1. Con fuoco (0:00)
2. Elegy. Lento (7:53)
3. Con brio (16:09)
John Harle, tenor saxophone and the BBC Concert Orchestra conducted by Barry Wordsworth
Bennett was a pupil at Leighton Park School. He later studied at the Royal Academy of Music with Howard Ferguson and Lennox Berkeley. Ferguson regarded him as extraordinarily brilliant, having perhaps the greatest talent of any British composer in his generation, though lacking in a personal style. During this time, Bennett attended some of the Darmstadt summer courses in 1955, where he was exposed to serialism. He later spent two years in Paris as a student of the prominent serialist Pierre Boulez between 1957 and 1959. He always used both his first names after finding another Richard Bennett active in music.
Bennett taught at the Royal Academy of Music between 1963 and 1965, at the Peabody Institute in Baltimore, United States from 1970 to 1971, and was later International Chair of Composition at the Royal Academy of Music between 1994 and the year 2000. He was appointed a Commander of the Order of the British Empire (CBE) in 1977, and was knighted in 1998.
Bennett produced over 200 works for the concert hall, and 50 scores for film and television. He was also a writer and performer of jazz songs for 50 years. Immersed in the techniques of the European avant-garde via his contact with Boulez, Bennett subsequently developed his own dramato-abstract style. In his later years, he adopted an increasingly tonal idiom.
Bennett regularly performed as a jazz pianist, with such singers as Cleo Laine, Marion Montgomery (until her death in 2002), Mary Cleere Haran (until her death in 2011), and more recently with Claire Martin, performing the Great American Songbook. Bennett and Martin performed at such venues as The Oak Room at the Algonquin Hotel in New York, and The Pheasantry and Ronnie Scott's Jazz Club in London.
Despite his early studies in modernist techniques, Bennett's tastes were eclectic. He wrote in a wide range of styles, including jazz, for which he had a particular fondness. Early on, he began to write music for feature films. He said that it was as if the different styles of music that he was writing went on 'in different rooms, albeit in the same house'. Later in his career the different aspects all became equally celebrated - for example in his 75th birthday year (2011), there were numerous concerts featuring all the different strands of his work. At the BBC Proms for example his Murder on the Orient Express Suite was performed in a concert of film music, and in the same season his Dream Dancing and Jazz Calendar were also featured. Also at the Wigmore Hall, London, on 23 March 2011 (a few days before his 75th birthday), a double concert took place in which his Debussy-inspired piece Sonata After Syrinx was performed in the first concert, and in the Late Night Jazz Event which followed, Bennett and Claire Martin performed his arrangements of the Great American Songbook (Cole Porter, George Gershwin, Rodgers and Hart and so on). See also Tom Service's appreciation of Bennett's music published in The Guardian in July 2012.
He wrote music for films and television; among his scores were the Doctor Who story The Aztecs (1964) for television, and the feature films Billion Dollar Brain (1967), Lady Caroline Lamb (1972) and Equus (1977). His scores for Far from the Madding Crowd (1967), Nicholas and Alexandra (1971), and Murder on the Orient Express (1974), each earned him Academy Award nominations, with Murder on the Orient Express gaining a BAFTA award. Later works include Enchanted April (1992), Four Weddings and a Funeral (1994), The Tale of Sweeney Todd (1999) and Gormenghast (2000). He was also a prolific composer of orchestral works, piano solos, choral works and operas. Despite this eclecticism, Bennett's music rarely involved stylistic crossover. 
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Excellent.....BRAVO from Acapulco!
Es ist meine erste Gelegenheit, dieses modernen und einzigartig konstruierten Konzert anzuhören. Erstaunlich fein komponiert und wunderschön interpretiert mit mildem doch brillantem Ton des Solo-Saxophons und trockenem doch schwergewichtigem Klang des Solo-Schlagzeugs sowie gut vereinigten und perfekt entsprechenden Tönen aller Streichinstrumente. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch beweglich. Wunderbar und atemberaubend zugleich!
I enjoyed listening to this, a lot. Beautiful melodies & first-rate scoring. It's really a film soundtrack suite (without a film) and not an actual concerto in the classical tradition. Many passages struck me as being cobbled together from boilerplate bits Bennett had saved to use on a film score some day. But the piece was still reat to listen to!
Love Richard Rodney Bennett. So versatile and interesting. Sermons and Devotions, which he wrote for the King’s Singers, is one of my favourite choral works.
Wonderful work!!
Thanks for sharing. I know of Stan getz from having listened to a recording he did in Stockholm with Chet Baker.
I love the Saxophone.
for Stan Getz (1927 - 1991)
That 2nd movement! Marvelous! Almost a tribute to Erik Satie and Erroll Garner.
I am performing this concerto for a recital this year, in my opinion, the recording with Howard McGill with the BBC Scottish Symphony is the best recording/interpretation. I find John Harle's interpretation to be too wild and to "show-offy". Even though Stan Getz passed away before he could perform it himself, one much channel his spirit. Getz had finesse and a specific tone, McGill's recording displays that. Harle adding crazy altissimo stuff, like the ending of mvt. 1, is something Getz would never do. This is a "Concerto FOR Stan Getz", not just a "Concerto for Tenor Sax". The hardest thing about this concerto is not the notes or the actual writing, but the atmosphere and having to think/play like Stan Getz. This is why I feel McGill's recording is the "gold standard" for this piece. Every other recording I have heard is either too wild/rambunctious or the other side of the spectrum, too refined/classical; like a classical saxophonist trying to play jazz for the first time.
Thank you for your feedback. I am interested in sharing great works with score. But I have simply not enough time to figure out who performs a work "the best". Harle works fine for me, he is a fantastic saxophonist, I love his "wild" approach. That there might be better performances out there comes with the territory for me. I get those comments quite often under my videos. Except when I use Ingrid Haebler, Arthur Grumiaux those stifle any criticism. BTW when people call great performers "show offs" I get red flags. You say that to your dentist when he/she does a great job? To your lawyer? LOL