Reviews
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Mouvements for oboe and piano. Geoffrey Grey
When Bartok transformed the familiar intervallic relationships of diatonic musical language into an axis system, unique to himself, several masterpieces resulted. In Geoffrey Grey’s Mouvements we find a similar transformation of diatonic harmony into a language full of chromatic diversions which are constantly surprising. The original version is for orchestra and solo oboe, with a great deal of intensive string writing as the main colour in the orchestral texture. There is a close relationship in the material relating to the soloist and the orchestra/piano with no suggestion of an accompaniment intruding into the dialogue. This is a very important feature in the piano version, which encapsulates the varying motivic material of the orchestral version in a vivid display. The variety of mood and gesture in the work make it an ideal closing item for a recital. There are profound moments, display sections and moments of light-hearted fun. Such a variety of characteristics is not easy to encapsulate in a single composition, but Grey has succeeded in making this imaginative kaleidoscope into a work which is suitable for all occasions. One or two tough moments technically do not put it out of reach of an able Grade 8 candidate. But most of all it is an attractive and skilfully composed work which would grace any concert programme. Edwin Roxburgh British Double Reed Society, Spring 2005 Winter Gardens, Bournemouth. Bournemouth Symphony Orchestra, cond. George Hurst, 1972
Dance Game This was one of those very special concerts where music semed to grow throughout the evening ......It all began happily and easily enough with Geoffrey Grey's jolly, bustling, likeable "Dance Games". Evening Post Hounslow SO 1971 An interesting last-minute addition to the programme was Geoffrey Grey's "Dance Game". Mr. Grey has written ballet music for Sadlers Wells Theatre and it is easy to see that this very clever and ingenious piece would be at its best with action behind it. The audience warmly applauded it. Musical Opinion |
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South Bank, London. 1974 Rosemarie Hardie/Mercury Ensemble cond. Colin Metters.
A Dream of Dying Geoffrey Grey's extended setting of seven bizarre Beddoes poems are a good deal more nteresting instrumentally than vocally, the composer seeming to think naturally and fluently in instrumental terms. Textures, rhythms, lively tunes and ostinatos brought ot mind at different times Prokofiev, Walton & Poulenc. A busy, jazzy setting of a song from "Death's Jestbook" about monsters of various sorts showed considerable power of keeping interest alive over a long stretch of time, and of writing good tunes that keep one guessing as to the way they are likely to take the next corner. The Guardian. South Bank, London. 1969 Grosvenor Ensemble cond. Harry Legge
John Gilpin There was a certain humour and dramatic impetus to Geoffrey Grey's "John Gilpin" in which the busy, at times breathless, instrumental accompaniment provided an illustrated background to a straightforward account of this famous story. South Bank, London 1971 Mouth of Hermes
A Mirror for Cassandra Written for violin, 'cello, oboe, horn & piano it had plenty of life and enjoyable colour. The invention, except in the rather conventional piano chords, was extensive; there was plenty of contrast and the honest feeling was fed by true musical instinct often jazz-like in its intuitive flow. Musical Opinion |
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South Bank, London 1972 Mouth of Hermes
Songs for Instruments As usual, Geoffrey Grey provided the most substantial item of all in his well-constructed "Songs for Instruments". The music here has charm, vivid textures and intelligent rhythms. It also has a hard core of real substance together with worth-while melodic explorations. Musical Opinion I found the music astonishingly apt and stylish. News Chronicle Equally welcome were the "Songs for Instruments" by Geoffrey Grey, the group's violinist. This was a brilliantly written septet; I would gladly hear again. Full of incident between its opening flute solo and unusual ending. Sunday Times .... a captivating piece by the ensemble's violinist. This, at least, was one title which justified itself, since the work, as well as being rhythmically and texturally alive, also contained real tunes. |
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Sadlers Wells Theatre 1964
Saraband. Patterns. Only one of the new works, "Patterns", with choreography by Philippe Perrottet and music by Geoffrey Grey, showed an original approach. |
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Phillips Forefront Series, released 1969
Inconsequenza for Four Percussionists.
If Geoffrey Grey's "Inconseqenza" has a weakness it is its title. The only thing inconsequent, irrelevant, illogical or disconnected about it is the little story told by the movement headings: 'Did you hear? Little Willy's dead, What did he die of? Died of a Wednesday, What was the complaint? No complaint, everyone was very happy'. As music "Inconsequenza" is thoroughly logical, full of ingenuity and with many deft touches.
Audio Record Review
Geoffrey Grey's "Inconsequenza" is almost equally impressive, even if its title suggests otherwise. This is, in fact, a score of considerable impact, full of dark tone colours.
The Gramophone
Inconsequenza for Four Percussionists.
If Geoffrey Grey's "Inconseqenza" has a weakness it is its title. The only thing inconsequent, irrelevant, illogical or disconnected about it is the little story told by the movement headings: 'Did you hear? Little Willy's dead, What did he die of? Died of a Wednesday, What was the complaint? No complaint, everyone was very happy'. As music "Inconsequenza" is thoroughly logical, full of ingenuity and with many deft touches.
Audio Record Review
Geoffrey Grey's "Inconsequenza" is almost equally impressive, even if its title suggests otherwise. This is, in fact, a score of considerable impact, full of dark tone colours.
The Gramophone
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Bluecoats Hall, Liverpool1970
Flowers of the Night Geoffrey Grey's "Flowers of the Night" given its first performance by the composer and Sally Mays, disclosed a Baudelairean sensibility. At times the piano part, set against the singing violin, has a rippling delicacy. There are some very beautiful contrasts, with bursts of passion melting into reflectivity. Liverpool Echo St. Johns Waterloo, London 2008
Aubade for Oboe & Piano A piece about morning, dedicated to the French oboist Dominique Enon, Aubade does not fail to draw to mind inages of dawn, nature awakening and the sounds of a new day. Rhuti Carr's playing took to new heights, with bird-like twitters accompanied by lilting figures and fresh harmonies in the piano. Italian Dance by Madeleine Dring was a great choice for the nest piece, brilliantly complementing the Aubade............ |
The English Trumpeter
Simon Cheney
The Audio Concept TAC003
In between is a jewel that should become a classic addition to players and listeners. It is Geoffrey Grey’s ‘Partita’. Here is strong writing, patient in its evolving form, brilliant in its glowing textures and powerful in its effects. The adagio is initially fragmentary but these particles coalesce into constantly changing views throughout the four movements. Pianist Sebastian Wybrew dazzles with his strong rhythmic sense and neat finger work and provides Simon Cheney with a worthy companion. There are thunderous moments, wonderful freedoms of expression and splendid displays of technique. The French-like layers of tone at the end float away in a lovely impressionistic gesture, leaving the listener in a state of regret when it is over.
Sally Mays
Simon Cheney
The Audio Concept TAC003
In between is a jewel that should become a classic addition to players and listeners. It is Geoffrey Grey’s ‘Partita’. Here is strong writing, patient in its evolving form, brilliant in its glowing textures and powerful in its effects. The adagio is initially fragmentary but these particles coalesce into constantly changing views throughout the four movements. Pianist Sebastian Wybrew dazzles with his strong rhythmic sense and neat finger work and provides Simon Cheney with a worthy companion. There are thunderous moments, wonderful freedoms of expression and splendid displays of technique. The French-like layers of tone at the end float away in a lovely impressionistic gesture, leaving the listener in a state of regret when it is over.
Sally Mays
