London, 2024

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English musician and composer Frederick Paul Naftel considers himself an autodidact and eclectic composer able to write in many styles and formats. His latest release, Orchestral, Chamber & Instrumental Works is an illustration of this versatility, with works ranging from solo instruments to string quartets, chamber ensembles and small orchestras, as well as skimming through tradition and modernism, through this selection of works, Naftel illustrates his influences, whether they are natural landscapes or historical and contemporary events. Moods and atmospheres are central to his approach to composing, and this is well illustrated in this most recent project too. 

 

There are indeed a lot of different atmospheres and styles in Orchestral, Chamber & Instrumental Works — in fact there seems to be two interwoven sides to this project. A first one which depicts one of the most important influences for Naftel; nature and the (English) countryside. This is exposed well in his Aubade Pastoral for Strings and his Folksong Suite for instance. What one can perceive as a more traditional approach to composing is also well exposed in Song of Songs Rhapsody for Strings and Harp or Villancico for Guitar and Small Orchestra. Although the perspective might be more conventional at times, the diversity of choices in instrumentations and formats should not be left unnoticed. 

The second side of the project contains three of the most interesting works. The composer’s Aphoristic Impressions for solo piano, composed for American pianist Haley Myles, reveal the intentions of covering as much ground as is possible, within a very short time frame. The musical devices used to create these impressions include repetition and alternating ranges as well as gradual changes of dynamics for “Approaching Bell”, aggressive climbing runs for “Mini Magma”, bird-esque melodic fragments for “Roo Awakening”, orientalism for “Japanese Garden” and the build-up of a frantic pace for “Whirlpool Rapids”. Pascal’s Victim in three parts and for tuba quartet is another interesting work; it contains a definite dark quality due to the choice of instrumentation, the range in which Naftel decides the instruments must remain and the obvious subject. The result is sumptuous. Finally, the composer's String Quartet No. 2, composed of five movements, is at times eerie and dissonant, at others violent, aggressive and percussive, and at others sweet and delicate. It exposes the most intimate side of the composer, and pays tribute to his relatives and friends who passed away during the pandemic years. It is the pinnacle of Orchestral, Chamber & Instrumental Works. This quartet announces another somber theme – a work in progress – his third symphony inspired by and commemorating the Holocaust. 

 

One thing is sure, Naftel’s Orchestral, Chamber & Instrumental Works is a project rich in diversity and ideas. If autodidact, the English composer has definitely mastered the art of composing, and the array of formats and ensembles with which he can comfortably engage with is impressive. If there might be more exciting interest in the more musically advanced works, the other narrative with which the project has been structured allows the music to flow for delightful lighter pieces, to more engaging and challenging works. The String Quartet No. 2 and Aphoristic Impressions are definitely two of the highlights of the project, not to be missed.