Radio 3 has featured a glut of premières recently, from a mixture of established and less well-known names. One such new name (to me, at least) is Gary Carpenter, whose new orchestral piece Fred and Ginger received its first performance on 17 February, broadcast a week later. A little over five minutes in duration, the work draws its inspiration from the characters of the title, Astaire and Rogers—or, more specifically, the ambivalent nature of their relationship in front of (elegant; suave) and away from (argumentative; turbulent) the camera.
It doesn’t start terribly promisingly; the opening gestures suggest the generic, empty kind of material that litters many contemporary scores (particularly those affiliated with Faber). But it quickly becomes evident that there’s more going on here than mere posturing: rhythmic convulsions that already hint at something dance-like; sustained tones that may or may not aspire to melody; spasmodic eruptions—initiated by the timpani—that are clearly going to be problematic as things continue. Despite seeming to be present merely to disrupt things, the percussion actually provide the impetus for a greater sense of both stability and direction, laying down the gauntlet, so to speak, by preparing a clear, consistent pulse. Before things really swing, however, the sharp angular shapes cast by the orchestra gradually assume a more lyrical demeanour—first on the strings, later on a trombone—and the work finally attains the epithets conductor Daniel Harding asserted beforehand, “wit and charm and elegance”. All the while, the underscore (most clearly in the clarinets) has been building, and at the last, all merry hell breaks loose in a swirling, climactic cavalcade of spins and twirls that are irresistably thrilling; it becomes clear that the previous four minutes of wildness were simply pent-up anticipation of this moment. The coda—bringing back the opening material—kills the mood a bit, particularly in the rather hollow final wallop that’s designed merely to elicit chuckles all round, but these weaker moments of Fred and Ginger are far overshadowed by its central premise, a rather gripping celebration of fluidity and friction.
The audio has been removed as a commercial recording is now available.