DAVID BEDFORD / デヴィッド・ベッドフォード / EARLY WORKS / CD

クラシック/現代音楽畑出身ながらも、Kevin Ayersソロ初期作への参加やバック・バンドTHE WHOLE WORLDでの活躍、更にMike Oldfieldの『TUBULLAR BELLS』のオーケストラ・アレンジを手掛けるなど70年代ブリティッシュ・ロック界にも多大な影響を与えた作曲家:David Bedford。彼がキャリア初期の1960~70年代に作曲/制作した楽曲をまとめたコンピレーション盤が英Gonzo Multimedia傘下Greyscaleから'26年リリース!

David Bedford (1937–2011) was an English composer born on August 4, 1937, in Hendon, London, into a notably musical family. His grandmother, Liza Lehmann, was a respected Edwardian-era composer and songwriter, while his mother, Lesley Duff, was a soprano who performed with the English Opera Group and participated in several Benjamin Britten premieres. His father, Leslie Bedford, worked as an engineer in the aerospace sector, but the household emphasised music from an early age. Bedford himself began composing at just seven years old. After attending Lancing College, where he received early musical instruction from teachers including Christopher Headington, he pursued formal studies at the Royal Academy of Music under the guidance of Lennox Berkeley. He later expanded his horizons with studies in Venice under the avant-garde Italian composer Luigi Nono, experiences that shaped his innovative approach, blending modernist techniques with expressive, often poetic elements.

In his early career during the 1960s, Bedford established himself as a distinctive voice in contemporary British music through experimental yet accessible works that frequently drew on literature and unconventional instrumentation. One landmark piece from this period is Music for Albion Moonlight (1965), a setting for soprano and a small ensemble including flute, piano, melodica, and percussion, based on texts by Kenneth Patchen. The work showcases Bedford's interest in atmospheric, surreal imagery and his skill in creating vivid sonic landscapes that enhance the poetry's dreamlike quality, reflecting influences from his studies with Nono while maintaining a lyrical British sensibility.

Another notable early choral work is Two Poems for Chorus on Words of Kenneth Patchen (1966), which sets two of the American poet's evocative pieces, "O Now the Drenched Land Wakes" and "The Great Birds", for unaccompanied choir. These settings highlight Bedford's sensitive handling of text, employing textural contrasts, cluster harmonies, and dynamic shifts to evoke nature's awakening and majestic imagery. Composed during a fertile period of experimentation, these pieces exemplify his early fusion of avant-garde choral writing with a poetic, almost pastoral expressiveness, helping to define his reputation before his later forays into popular music collaborations and educational roles.