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Frank Bridge - Oration, H. 180
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Frank Bridge - Oration, H. 180

Frank Bridge (1879 - 1941) - Oration, concerto elegiaco for cello and orchestra, H. 180 (1930) Alban Gerhardt, cello BBC National Orchestra of Wales, Richard Hickox (2003) Frank Bridge's Oration is a work for cello and orchestra in a single movement, typically lasting around 30 minutes. It is often considered one of his greatest and most personal works. "All [Bridge's] convictions and emotions about the First World War were enshrined in this cello concerto, which he completed on 29 June 1930, nearly twelve years after the Armistice. According to Florence Hooton, the cellist in the first performance (17 January 1936), Bridge changed the title from Concerto elegiaco to Oration because he wanted to make clear that the work was an outcry against the futility of war. Memories of personal loss and of a way of life wiped out had not diminished since the years of the Piano Sonata. However, with the passing of time and the radical transformation of his musical language Bridge was now ready to convey the depths of his feelings with music of appropriate richness and power. As soon as the work was completed he wrote to [Elizabeth Sprague] Coolidge, hoping that she would be able to stage the premiere in Chicago with his old friend Felix Salmond as the soloist. That event did not materialise, and left to his own devices at home Bridge experienced great difficulty in persuading an orchestra to promote a performance, or another cellist to learn the demanding solo part. Eventually the BBC agreed to a broadcast, but problems with soloists delayed matters further. In the end Bridge found an interested soloist in Florence Hooton, a young cellist not long out of College, who two years previously had impressed him with her performance of the cello part of the Second Piano Trio. For the first time since Felix Salmond’s premiere of the Cello Sonata in 1917, all the press notices were favourable. One of the most considered came from Ernest Newman (The Sunday Times, 19 January 1936): 'Frank Bridge’s new concerto… is not the kind of work we can expect to grasp in anything like its totality at first hearing; it may even be that, lacking an inside knowledge of the ‘mental images’, we shall never be able to see it exactly as the composer saw it, for its abrupt, sometimes spasmodic changes of mood cannot be accounted for on the lines of so-called ‘pure music’. But even at a first hearing it is evident that the work comes from a fine mind, that its departures from the current obvious are not mere pose or eccentricity, but the natural expression of a personal way of thinking.' The musical landscape of Oration is haunted by ‘mental images’ of the War. Bridge cast the concerto in a broad single movement, adopting a variant of the ‘phantasy’ form which he had exploited with conspicuous success in his youthful Cobbett prize ‘Phantasies’ and then made very much his own in some of his later chamber works. The soloist (the orator) establishes the thematic content and the elegiac mood in the opening orchestrally accompanied recitative. In his short score sketch Bridge describes the slow processional that follows as ‘like a funeral march’. The cellist’s response to this vivid orchestral evocation is two-fold: first an impassioned outburst, angular in contour and full of anger in expression, the anger then giving way to grief – a simple but haunting lyrical episode. At the heart of the work is a second march, this time a grotesque parody of a funeral cortège. One might imagine here the relentless advance of wave upon wave of young soldiers, ordered out of the trenches on the battlefield only to be mown down by enemy guns. A version of ‘The Last Post’ – with the main fanfare interval distorted from a perfect fifth to a tritone – sounds at the climax. Bridge then reviews the material of the first half of the work, but after the searing return of the parody march the music is reprised in a different order and works towards a resolution. A few bars of the lyrical lament give way to the Cadenza. Then, in a moment of sheer genius, Bridge the master merges the angular impassioned music with a further reprise of the lyrical lament: his vision has embraced the horror, the futility, and the grief or war. After a final reappearance of the funeral march Bridge offers a brief, slow Epilogue: a kind of pavan in which the angular succession of chromatic intervals becomes modal, the bleak harmonic language – centred on C and E – finding resolution in the peace of D major. Perhaps this is Bridge’s evocation of, or expression of hope for, a world without the horrors of war." (source: Chandos)

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