Ruth Gipps in Cheltenham

There is more good news regarding Ruth Gipps, the hitherto unjustly-neglected British composer.  Her Second Symphony will be performed as part of the Cheltenham Festival on Saturday 6th July, 2019, at 7 p.m.  It will be conducted in the Town Hall there by Mirga Gražinytė-Tyla and played by the City of Birmingham Symphony Orchestra — a later incarnation of the same orchestra in which Ruth Gipps played the oboe early in her career.  More details here: https://www.cheltenhamfestivals.com/music/whats-on/2019/cbso-and-alison-balsom/

It is wonderful that Ruth Gipps is now receiving the attention she deserves, and that her decision to stick to a traditional musical idiom, which cost her so much in her own lifetime, has now been vindicated, as a new generation of listeners discovers and delights in her music.  I am almost confident enough to start a wish list — a recording of the third and fifth symphonies, the première of her oboe and viola concertos, or a major London performance, such as her piano concerto at the Proms…

Here is the second symphony’s grand finale, from this year’s new recording of the symphony by the BBC National Orchestra of Wales under Rumon Gamba:

Update: Unfortunately Mirga Gražinytė-Tyla had to withdraw from the concert due to illness: Edward Gardner deputised, and Ruth Gipps’ symphony was replaced with Walton’s suite from ‘Troilus and Cressida’.  Never mind — another time!  Wishing Mirga Gražinytė-Tyla a swift recovery.

Update no. 2: Ruth Gipps’ second symphony is now due to be performed in  Birmingham’s Symphony Hall at 7.30 p.m. on Wednesday 2nd October (https://cbso.co.uk/event/alison-balsom-plays-musgrave).

Ruth Gipps’ birthday

Today (20th February) is the ninety-eighth anniversary of Ruth Gipps’ birth.  It seems a good moment to record some developments of the past year which, excitingly, seem to be reviving the reputation of this hitherto-undersung composer.

Firstly there was the United States première of her second Symphony, which the Seattle Philharmonic Orchestra gave on the the 31st March last year:

Then there is the new recording of both the second and the fourth symphony, along with two other unrecorded pieces, by Rumon Gamba and the National Orchestra of Wales, issued by the Chandos label in December.

Her music seems to have appeared in several concerts in various places, as well.

It’s very exciting that more and more people are discovering and enjoying her music — I think it is proof that hers was a distinctive, authentic voice, and that her music was real music, wrought to last.  Her unashamed rootedness in the tonal musical tradition cost her dearly during her lifetime, but it has meant that her music has survived the tribulations of fashion and emerged fresh and sparkling for new generations to enjoy.  I am really hopeful that her approaching centenary will bring us opportunities to hear even more of her music.

Hear the U.S. Première of Gipps’ Symphony No. 2!

As reported previously (here, here and here) the first performance in the United States of Ruth Gipps’ second symphony was given on the 31st March this year by the Seattle Philharmonic Orchestra under the baton of Adam Stern.  Now Mr. Stern has kindly written with the news that video recording of their rendition is now available on YouTube.  Here it is, capturing a contrast of flavour that I think is characteristic of Gipps’ music: that between romantic tenderness on one hand, and a light-footed liveliness, almost spikiness, on the other:

Many thanks to the Seattle Philharmonic Orchestra for this performance!  It is wonderful to know that this music is being played and enjoyed on the other side of the Atlantic.  In fact, it is wonderful to hear it being performed like this at all, given the neglect in which Ruth Gipps’ music has been languishing, and from which it seems at last to be emerging.

And this is not the only good news about Ruth Gipps’ music.  In September a new disc was released on the Chandos label of recordings of this same work, the second symphony, along with Gipps’ fourth symphony and two other early works, ‘Knight in Armour’ and the Song for Orchestra.  It is the National Orchestra of Wales under Rumon Gamba who have rectified a long-lasting injustice: the almost total absence of proper commercial recordings of this under-performed and overlooked composer’s music.  The recording and the rendition are of the quality that Ruth Gipps deserves, I feel, and would certainly recommend them.  The fourth symphony is perhaps less accessible than the other works, but is pervaded by an otherworldly, rather nocturnal atmosphere, and repays listening.

It is fantastic that this recording has been made.  The only improvement I can think to suggest is to record the other symphonies, especially the third and fifth, to complement it!