The Enchanted Loom: Orchestral Works by Carl Vine
Melbourne Symphony Orchestra
Sir Andrew Davis (Conductor)
ABC Classics (ABCL0021)
With an impressive list of works (including 8 symphonies and 13 concertos), Carl Vine AO is soundly considered one of Australia’s most significant living composers. This new recording presents the world premiere recording of his most recent symphony (No 8), The Enchanted Loom.
Vine has explained the subject matter and inspiration for this symphony: “The term Enchanted Loom was coined in the 1930’s by British neuroscientist Sir Charles Sherrington to depict the function of the human brain as it weaves together our personal impression of the outside world and constructs, from raw sensory data, our internal sense of location, identity, and “mind”. This poetic reference to the Jacquard loom reflects only certain aspects of brain function yet has resonated with generations of neurologists since then.”
The five “movements” of this symphony are titled:
- the loom awakens
- the social fabric
- sheer invention
- euphoria
- imagining infinity
Whilst it might seem like this work is cerebral or vastly academic, it is far from it, with a sound world which shows a rich orchestral palette of beautiful melodious shapes, swirls and gestures. Masterly orchestral colours and interactions make this an especially pleasing symphonic exercise to stimulate not only the senses, but also the brain.
The work was commissioned by the Melbourne Symphony Orchestra during Vine’s tenure as the orchestra’s Resident Composer in 2018.
Not only is this album present the world premiere recording of Vine’s 8th Symphony, it also comprises premiere recordings of the 2002 work V, and the Concerto for Orchestra written in 2014.
The short 5-minute work, “V” (Roman numeral for 5), opens with a sharp, snappy and bold fanfare, followed by wondrous orchestral exchanges and the occasional violin, clarinet and flute solo.
Throw out all preconceived notions of what the concerto might mean in structural terms as you listen to Vine’s Concerto for Orchestra. Never conforming to the classical notion of concerto form, it is a web of evolving musical elements which spin into a network of larger ideas. These ideas are always captivating in their beauty and originality.
A four-note motif underpins the MicroSymphony (Vine’s first symphony). It is the way in which Vine can both contain and expand this micro theme through a continuous strand (without movements) that makes it especially exciting. Its melodic and harmonic direction never wanes, culminating in a mighty climax for full orchestra.
Compiled of live concert recordings in Melbourne’s Hamer Hall by the Melbourne Symphony Orchestra under the baton of its then Chief Conductor, Sir Andrew Davis, it is a significant addition to the symphonic genre. These are all works which should be on any international orchestra’s programme.
This review will appear in the next issue of The Studio (MTA of NSW).