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Here you are on safe ground: we are in the presence of a Masterpiece, perhaps forgotten, certainly not reviewed, at least until now; but surely a Masterpiece that it is time to do justice to!
Written collaboratively by Harry Williamson and Anthony Phillips in 1975, it experienced a long and troubled gestation, being released only in 1988. Originally "Tarka" was intended to represent the soundtrack for the film "Tarka the Otter" based on the homonymous and award-winning novel by Williamson's father, Henry, who published it in 1927; its protagonist is the otter "Tarka", described in its habits and habitat among the rivers of North Devon (GB). For economic reasons, nothing came of it in reality, and the film with the likable protagonist was released with another soundtrack, which is a pity!
Of the two authors, undoubtedly the most famous is Anthony, the guitarist, founder of Genesis, and co-author of the group's first two albums, who suddenly left during the production of "Nursery Crime" towards the end of 1970, when "The Musical Box" was already composed. In the same year, he met Harry Williamson, with whom he began a fruitful collaboration enriched over the years with the composition of other works such as "Gypsy Suite" in 1976. Both later developed their compositional genius and, why not, performance abilities, with numerous collaborations, but "Tarka" remains a peak barely reachable for the two authors: at the time, Williamson was just over or slightly under twenty years old........
The work was conceived with significant means, given its initial purpose, and recorded with the National Philharmonic Orchestra; it consists of four movements with a total duration of 50 minutes and represents almost a unique piece in the genre, although large groups and authors had already taken advantage of orchestral contribution. Particularly coming to mind is "The Orchestral Tubular Bells", which, moreover, saw the light in the same year and even earlier the early works of Rick Wakeman, aimed at highlighting the executive skills of the famous Yes keyboardist. In the case of Mike Oldfield, it is instead a kind of "orchestral deformation" of the famous monorecord composition, while here we have a work directly conceived for it, although here and there the contributions of the two composers, excellent interpreters of classical and non-classical guitar, as well as illustrious guests, emerge. Another Italian masterpiece, very dear to me, that came to light in those years and comparable to "Tarka" is ".....di Terra" (BMS), of which I will never tire of singing the praises.
What mainly strikes in this symphonic work is the compositional breadth and harmony, here and there softened by delicate descriptive interludes; without a repetitive moment, "Tarka" flows pleasantly and never dares to tire the listener, not even the one less used to this musical genre. During its development, the work alternates epic moments with moving phrases such as the finale: "The Anthem", a true "Hymn" to the beauty and harmony of Mother Nature in which the protagonist moves undisturbed.
I conclude by highlighting the renowned and significant collaborations of Van der Graaf's drummer: Guy Evans and Gong's flautist: Didier Malherbe...........and of course, that "Tarka" cannot be missing from your record collection. A noteworthy digital recording, unsurprising judgment.
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