Editorial Reviews

Ever so gradually, the music of British serialist Elisabeth Lutyens is becoming better known, thanks in large part to the periodic release of revelatory recordings on NMC. This body of work is fascinating to explore, not only because of Lutyens' historical position as an innovative (and sometimes controversial) twelve-tone composer among a bevy of tonal traditionalists, but more importantly because the high level of craft in her music is impressive and frequently awe-inspiring. Lutyens knew better than most that serial music needs to sound well, not merely look good on paper, and her skill in creating clear and accessible pieces is readily apparent on this 2006 collection of choral and chamber works. It almost doesn't matter that this is sophisticated dodecaphonic music, and that such technical devices as palindromes and other symmetrical structures are involved; Lutyens' ear was unfailing, and her counterpoint was as transparent and understandable as her harmonies were rich and evocative. The choral works -- "Motet (Excerpta Tractati Logico-Philosophici), Op. 27" (1953), "Magnificat and Nunc Dimittis" (1965), "Verses of Love" (1970), and "The Country of the Stars" (1963) -- are perhaps the most approachable selections of this album for their clarity of line and harmonic depth, and Exaudi, led by James Weeks, delivers sensitive performances that are deeply felt and moving. The "Wind Trio for flute, clarinet, and bassoon, Op. 52" (1963), the "String Trio, Op. 57" (1964), and the "Fantasie Trio, Op. 55" (1963), may leave less of an emotional impact because their angularity and pointillism make them seem rather cerebral; but each is a model of lucidity and precision, and all three come off well in these crisp performances by the chamber group Endymion. The oboe solo, "Présages, Op. 53," is possibly the most haunting composition here, and Melinda Maxwell's performance of this moody set of variations is a fine introduction to Lutyens' work, as well as an effective opener for the program. NMC's recording is clean and well-balanced. Blair Sanderson, All Music Guide

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