Elcock has a strong sense of melody. But it's a singular one. Elcock's compositions are tonal, and in some cases traditionally structured. But they sound like no one else.
His Symphony No. 7, Op. 33 evolves from its opening six-note motif. Or rather, devolves. According to Elcock, the motif is a simple tune that the symphony eventually presents.
Whether progression or regression, the work has an organic feel to it. And one that makes the listener's journey satisfyingly symphonic.
Symphony No. 6, Op. 30 is one of the few with a subtitle. "Tyrants Destroyed" expresses the disquiet of the oppressed before eventually breaking free. Perhaps it was the subtitle that suggested Shostakovich to me. Both end with a frantic hammering with the full orchestra. Not that they use the same material -- but the effect seems to be the same.
Toccata Classics called Maniac Dancing, Op. 25 "Martinu on speed." There is some truth to that. This highly syncopated work does have rhythms resembling Martinu's. And the way the piano and orchestra interact also reminded me of Martinu.
But those similarities were only in brief flashes. Elcock delivers on the promise of the title. This is a fast-paced, hyperactive work. I would love to see this choreographed. There's a lot of material to work with!
Pianist Marina Kosterina navigates Elcock's forest of notes with aplomb. Her energy never falters. And her performance is nuanced. It isn't all fast and loud. Her phrasing provides emotional contrast and even moments of contemplation.
The Siberian Symphony Orchestra directed by Dmitry Vasiliev turns in some fine performances. All three works are world premiere recordings, so this material is new to the musicians. No matter. Vasiliev gives us the heart of these scores, and the orchestra delivers.
Steve Elcock: Orchestral Music, Volume Three
Symphonies 6 and 7; Maniac Dancing
Marina Kosterina, piano
Siberian Symphony Orchestra; Dmitry Vasiliev, conductor
Toccata Classics TOCC0616
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