The Arts Desk on Christopher Gunning Symphonies No.’s 2, 10 an 12

A new review from Graham Rickson at The Arts Desk for Christopher Gunning’s 2nd, 10th and 12th Symphonies with the BBC National Orchestra of Wales on Signum Records

Read the whole thing here.

Christopher Gunning: Symphonies 2, 10 & 12 BBC National Orchestra of Wales/Kenneth Woods (Signum)

You’ve probably heard Christopher Gunning’s music without realising it: he’s been a prolific film and television composer for decades. A pupil of both Edmund Rubbra and of Richard Rodney Bennett, he’s best known for the insidiously catchy theme for ITV’s long-running Poirot series. Three of Gunning’s 12 symphonies are included here, written between 2003 and 2018. Whereas many contemporary film composers specialise in short, colourful bursts of descriptive music, Gunning knows how to organise and structure his ideas. Think Herrmann rather than Elfman. You sense this within seconds of 2016’s single-movement Symphony No. 10 beginning, the expressive, wandering string melody surely a nod to the start of Mahler’s final symphony. Waiting for this slow theme to land, to find its feet, is thrilling, and hearing how Gunning develops it over 21 minutes is both moving and entertaining. He clearly knows his Sibelius 7th (check out the closing bars), and he’s mastered the art of the seamless transition, the symphony’s various sections perfectly knitted together. It’s a real find, Gunning’s broadly tonal style both distinctive and appealing. Kenneth Woods and the BBC National Orchestra of Wales audibly believe in the work: the performance is excellent.

Symphony No. 2 is a brooding three-movement work. Again, there’s a superb opening, the stygian bass clarinet theme forcing the music into life. The theme’s loud reprise at the end of the symphony is one of those moments where you feel like cheering with delight. Yes, it’s borderline corny, but managed so well. In Gunning’s words, No. 12 came from his desire “to write something more direct, even melodic… the textures are mostly clear and uncomplicated.” There’s a poignant second movement inspired by a friend’s funeral, tubular bells tolling as the symphony ebbs away. It’s beautiful, the nods to Walton and Arnold never obscuring Gunning’s own voice. Do investigate.