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Fanfare

John Carmichael (b. 1930) is an Australian composer who describes himself as “a Romantic.” His music is tonal and conservative, strongly influenced by the French Impressionists, with touches of Rachmaninoff as well. In his introductory notes, Carmichael says, “Because it is quite accessible, my music is sometimes labelled ‘light music’; I would simply like to quote Stravinsky – ‘There is no such thing as light music – only good or bad music.’” Actually, I know of no such quote by Stravinsky, and could not find one through an internet search. The closest approximation is a quote often attributed to Duke Ellington: “There are two kinds of music. Good music, and the other kind.”

This disc was my introduction to Carmichael’s music. Paul Snook gave an enthusiastic review to his Trumpet Concerto (Fanfare 29:6), writing “this is simply one of the most coherent and effective works in its genre.” I share Snook’s enthusiasm for some but not all of the works on this disc. The most effective pieces are the two for viola and piano, Ariaand Contrasts, particularly the latter. Morgan Goff and Antony Gray dive into the music, playing with tonal beauty and flair. The last movement of Contrasts, titled “Flamenco,” is lively but also tinged with a bittersweet mood.

Short Cuts, which is subtitled “Divertimento for flute, oboe, clarinet, and piano,” is a suite of eight short pieces. All four instruments come together only in the finale; in the first seven movements we hear the piano and one or two of the other instruments. Short Cuts was written to be performed by faculty members of the Camden School for Girls in London. The music is charming and witty. On the Green was composed for a wind ensemble called Octanphonie, and its three movements recall the enjoyment of parks and green spaces. The influence of jazz is present in the enjoyable first movement, “Summer’s Day on the Green.” Inspiration flags in “Nocturne,” which is the longest and the most aimless movement, but the final “Funfair on the Green” is a delightful romp.

The 17-minute Piano Concerto that opens the disc is the biggest disappointment. Its gestures don’t add up to a persuasive whole; the thematic material isthreadbare, and the composer resorts to a good deal of repetition. The following Piano Trio, “Toward the Light,” has the strongest French influence, but it too seems to have no real direction.

The performances are all committed and skillful, and the recorded sound is natural. In the end, I find it hard to give an enthusiastic recommendation to this release except to those with an insatiable curiosity.