Howard Ferguson, one of Richard Rodney Bennett's teachers, once said he had more talent than any other British composer of his generation, but that he had no personal style. An uncharitable observer might say that the tendency persisted through his mature career, but that is for the individual listener to decide, and Chandos is not the only organization to bet on a revival in the music of this British-American composer whose talents extended from serialism to film scores, and to a flourishing career as a jazz pianist ...
Read More
Howard Ferguson, one of Richard Rodney Bennett's teachers, once said he had more talent than any other British composer of his generation, but that he had no personal style. An uncharitable observer might say that the tendency persisted through his mature career, but that is for the individual listener to decide, and Chandos is not the only organization to bet on a revival in the music of this British-American composer whose talents extended from serialism to film scores, and to a flourishing career as a jazz pianist besides. Volume 3 in Chandos' ongoing series of Bennett's orchestral music is a good pick for those interested in a single album, for it gives an idea of Bennett's stylistic range. Jazz influences come to the fore in the song set A History of the Thé Dansant, setting poems by the composer's sister Meg Peacocke and enthusiastically sung by Dame Sarah Connolly, and it hovers interestingly over the Symphony No. 1 as well. Reflections on a 16th Century Tune, dedicated to the conductor of the...
Read Less
