Depsite having written quite a large number of concert works, most of them are only heard by those lucky enough to see Williams in concert. I was fortunate enough to see him perform his Tuba Concerto (which was extremely good, apart from the tuba, an instrument I still don't care for a great deal I must confess). Perhaps the most famous of Williams' concert works (aside from his various fanfares and celebration works) are a concerto for flute and a concerto for violin, which was written in the mid 1970's and is not really to my liking - something of a vaguely naff modern orchestral work.
The bassoon is not an instrument that can be heard a great deal in most orchestral writing since it is both low and relatively quiet (when compared to similar range instruments such as the trombone or 'cellos). Essentially, it can only be heard as part of a smaller wind ensemble or when it is actually allowed to play almost completely on its own, so that it isn't swamped by the rest of the orchestra. Williams' job was therefore to allow the instrument to be heard, as well as mix within the rest of the orchestra, as the way a concerto is written dictates. For the most part, this means keeping the orchestral accompaniment to a minimum as well as having the bassoon play strongly counterpointed melodies, so that it stands out as clearly as possible. The first, third and final movements are all relatively sombre affairs, with a feeling that nicely conjurs up the mystique of the ancient trees that inspired the piece. The second movement is a sprightly danse macabre, not totally dissimlar in style to the Dance of the Witches from Witches of Eastwick, although Williams does not quote any material from that score. It would certainly be my favourite movement, simply because it is such good fun, albeit with a devillish edge and some sprightly playing by soloist Judith Leclair. The fourth movement is the only one that distinctly recalls some of Williams' film music, in this case the Magic Tree sequence from The Empire Strikes Back. The movement is punctuated by eerie dissonence and brief orchestral outbursts, along with somewhat creepy skitterings from the rest of the orchestra.
Although the album is primarily for the premier recording of Williams' piece, it was apparently decided to put on other music that was something related to the outdoors, rather than any more of Williams' other concert music. A shame, perhaps, but the other works are certainly no less impressive. Perhaps the most outstanding is Alan Hoveness' Mysterious Mountain Symphony which is very much in the style of Ralph Vaughn-Williams, although the two composers were apparently working quite seperately. Hoveness has a distinct fondness for modal, possibly hynmal harmonies - not unlike the First Contact music from Goldsmith's Trek score of the same name. The first movement is thickly orchestrated and where the music is at its most modal, harmonies shifting in somewhat unexpected, but always pleasing directions. The central movement is a thrilling double fugue, that hurtles along toward a very bold climax, but one that lacks the true sense of completion; entirely appropriate for a middle movement of course. The final movement takes up the chordal writing of the first, but injects small more animated and occasionally dissonent phrases, which make an interesting counterpoint to the gentleness.
The Takemitsu is a meandering piece that comes across as an almost improvised set of little ideas. I am sure there are plenty of people who would take great pleasure from this more avant garde approach, but sadly I am not one of them and this left me completely unmoved and uninpsired. Ironically, perhaps the most filmic piece is the finale, Old and Lost Rivers by Tobias Picker. I can just imagine it being a main title in an introspective family drama; gentle string passages counterpoint with high string notes, everything with an air of gentle whimsy, but building up slightly toward the end, but then relaxing for a gentle coda.
Of course, anyone expected a big and brassy Williams extraveganza will likely come away sorely disappointed as Five Sacred Trees is by and large a very gentle and subtle work that needs careful attention. I suspect that, like me, most film music fans will actually find most interest in the Hoveness. It has a grand and expansive feeling that is really quite inspiring and has a more uplifting edge that the introvert nature of the Williams. The London Symphony Orchestra's performance is good, if not exceptional, although Leclair's bassoon playing is quite wonderful; by turns filled with mystery, but turning balletic and with a lightness of touch when necessary. The recording is fine, although a little on the quiet side, but everything is clear at the correct volume.
Rating ~ 
Total Time ~ 57:18