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British Music Society

When a composer is described, as in Anthony Burn’s extensive and personal booklet essay, as ‘ploughing his own furrow’ it generally means, as I know from personal experience, that he/she has become ignored and has decided to go on his own sweet way. What choice is there and what does it matter? You must be true to yourself.

This incredibly well filled CD (weighing in at over 83 minutes) has seven works, three of which were recorded in 1986 by Hyperion and formed a now deleted LP that is Clifford’s Tower, Pastoral and the String Trio. The rest of the CD has been especially recorded by friends of the composer who have a strong instinct for his language and belief in his life’s work. For example cellist Nicholas Trygstad is accompanied by Janet Simpson in Prelude and Dance, a memorable piece composed as a tribute to Jacqueline du Pré.

Another such is the indefatigable recorder player John Turner who features in Naboth’s Vineyard, Interplay and Lipkin’s last piece, the unaccompanied and gently melancholic The Journey, written in memory of John McCabe. Interplay is in two contrasting movements and was commissioned by Carl Dolmetsch. It is scored, unusually, to include harpsichord, cello (originally gamba) and a colourful array of percussion owned by the first performer, James Blades. The first piece tells the biblical narrative found in the 1st Book of Kings. Lipkin characterises the instruments to represent Naboth (cello) the scheming Jezebel (harpsichord) and Ahab (three different recorders). 

For myself I failed to discover the musical logic or drama of either piece but Clifford’s Tower is more engaging. Dating from 1977 it tells of the brutality of the murder of York’s Jews in 1190. Falling into three connected movements (Into Darkness-Threnody-Hymn of Peace) it is surely Lipkin’s most powerful work.

The pensive Pastoral is heard here in a version for horn and string quintet. Its fleeting five minutes duration casts a distinct spell.

Lastly, there is the four-movement String Trio of 1964. This is a singularly challenging format for composers. It has a sonata form opening movement a quirky Brittenesque Scherzo, an intense largo and a theme with six variations as a finale. It is a very fine work and should be well known and played regularly. Like the Pastoral the Trio was composed at the home of his close friends the Finzis in Hampshire. So, a welcome back to the catalogue for three of these fine works.