Dvořák: “American” String
Quartet; Copland: Two Pieces; Hoe-Down; Barber: String Quartet; Gershwin:
Lullaby; Brubeck: Regret. Brodsky Quartet (Daniel Rowland and Ian Belton,
violins; Paul Cassidy, viola; Jacqueline Thomas, cello). Chandos. $18.99.
Britten: The Ascent of F6; An
American in England; Roman Wall Blues; On the Frontier; Where do we go from
here? Samuel West, narrator; Mary Carewe and Jean Rigby, mezzo-sopranos;
Andrew Kennedy, tenor; Mervyn Cooke and Lucy Walker, pianists; Ex Cathedra
Choir conducted by Jeffrey Skidmore; Hallé conducted by Sir Mark Elder. NMC. $18.99.
Delius: Norwegian Bridal
Procession; Paa Vidderne (On the Mountains);Two Songs from the Norwegian;
Sleigh Ride (Winter Night); Folkeraadet (The People’s Parliament); On Hearing
the First Cuckoo in Spring; Eventyr (Once upon a Time). Ann-Helen Moen,
soprano; Bergen Philharmonic Orchestra conducted by Sir Andrew Davis. Chandos.
$19.99 (SACD).
Jason Vieaux: Play. Jason
Vieaux, guitar. Azica. $16.99.
In these times, when many
classical composers draw influences from all over the world and from all sorts
of music, it is worth remembering that composers of earlier days also sought to
capture the sounds of places outside their homeland. There are a few cases in
which this is well known: Mendelssohn’s “Italian” symphony and Mozart’s use of
“Turkish” sounds, for example. And of course there is Dvořák’s Symphony No. 9, “From the New
World.” But that symphony is in fact a very Bohemian work that just happens to
include various themes that Dvořák
picked up in the United States – and this points to the reality that composers
who travel bring their own musical conceptions and predilections along as
baggage. Dvořák is actually an
excellent example of this, as the Brodsky Quartet shows in its very fine
performance of the composer’s 1893 work in F, the “American” quartet. There is very
little that is overtly American in this, the composer’s 12th
quartet, even though Dvořák
said he would not have written the piece or his other American compositions
quite the same way had he not composed them in the United States. The work has
a simple, open, fresh feeling that the Brodsky Quartet communicates clearly,
and perhaps it is this refreshing element rather than anything specifically
thematic that makes the quartet “American.” The Chandos CD on which it appears
is entitled “New World Quartets,” and the remaining works on the disc are by
American composers – for whom whatever may be “American” comes naturally rather
than through a visit. Samuel Barber actually started writing his only quartet –
which is best known for the Adagio for
Strings that he created from its second movement – when he was in Austria,
but the work is neither especially European nor especially American. It is a lovely
piece that flowers in the Brodsky Quartet’s interpretation, in which the famous
central movement is clearly part of a larger whole. The remaining works on the
CD, all equally well played, are smaller: Gershwin’s rather extended and very
pretty 1920 Lullaby, Copland’s Two Pieces (1923-28), and two of the
Brodsky Quartet’s own arrangements – of Hoe-Down
from Rodeo (1942) and of Dave
Brubeck’s Regret (1999). Hoe-Down and Regret here receive their première recordings as quartets, and they work very well in the form; indeed,
they are the most consciously, perhaps even a trifle self-consciously,
“American-sounding” music here.
Like Dvořák, Benjamin Britten had a American
period, and the NMC disc called “Britten to America” focuses on the radio and
theater music he wrote during or in connection with his travels in Canada and
the United States from 1939 to 1942. Very little of this music has been heard
since its original performances during World War II, although the “Blues”
number “Stop All the Clocks” from The
Ascent of F6 was later arranged as a cabaret song that enjoyed some
popularity. There is no particularly profound music here, but all the works are
vigorous and accessible, betraying their origin as incidental music to plays or
radio shows and being, for that very reason, attractive in their lack of
“serious” ambition and pretension. This is not to say that the music is overly
simple: it is in fact both elaborate and dramatic, and looks ahead in some
respects to the opera Peter Grimes
and the Serenade for Tenor, Horn and
Strings, in the latter case because Britten at this time first met the
superb French horn player Dennis Brain, then principal horn of the RAF
Orchestra, and wrote the horn parts with him in mind. The specific wartime
topics of these works are dated now, but it is interesting to note the high
quality of some of the creative teams brought together to produce the plays:
W.H. Auden and Christopher Isherwood wrote the text for The Ascent of F6 and On the
Frontier, and Auden’s words provide the text for the short song called Roman Wall Blues. The performances are
all sincere and thoughtful, with Samuel West an impressive narrator and Mary
Carewe a particularly expressive mezzo-soprano. This is not “major” Britten,
but it is affecting and well-crafted music that still has impact even though
the occasions for which it was created are long past.
Another British composer’s
travels – in a different direction – are the subject of an SACD from Chandos
with the title “Delius in Norway.” This is a generous helping of British music
featuring a top British conductor and first-rate Norwegian orchestra – under
the circumstances, a particularly happy combination. Norway gained its
independence in 1905, and the works here span the period from before that event
to a decade after it. They all have
Delius’ immediately recognizable combination of impressionism and delicacy,
almost wispiness, of orchestration. A little of Delius tends to go a long way,
and non-enthusiasts may find this disc a bit much to sit through from start to
finish, especially since the shorter works come off best. Norwegian Bridal Procession (1889) is a gentle rather than raucous
celebration; Two Songs from the Norwegian
(1889-1908) offer pleasant and forthright folk melodies; and the most-familiar
piece here, On Hearing the First Cuckoo
in Spring (1912), weaves its usual languorous charm. Sleigh
Ride (1887-89) is effective and pleasant, too, although it exists in a
world quite different from Leroy Anderson’s. The three longer pieces are
altogether less successful. Paa Vidderne
(1888-92) is suitably redolent of mountain air, but goes on rather too long at
the same height. And two suites edited by Sir Thomas Beecham – a longtime
champion of Delius’ music – are even more tiresome. Eventyr (1915-17) lasts just 15 minutes but seems much longer, and Folkeraadet (1897), a 25-minute suite
taken from a play satirizing Norwegian politics, seems pointless as well as
long outdated. Delius aficionados will welcome this (+++) CD for the excellent
performances and substantial selection of the composer’s works, but other
listeners will likely find themselves realizing all too clearly how fine a line
there is between Delius at his best and worst – whether in Norway, which the
composer considered his spiritual home, or anywhere else.
Another (+++) CD is also
played very well but also offers music of varying quality and interest. This is
guitarist Jason Vieaux’ Azica disc simply entitled Play. Not a recording based on a single composer’s travels but one
celebrating Vieaux’ own worldwide wanderings and interests, the CD includes 17
short pieces by composers who in most cases are virtually unknown outside their countries or, in some cases,
their regions: Brazil, Argentina, United Kingdom, Spain, Cuba, France,
Paraguay, Venezuela, Mexico and the United States. The works here range from
Stanley Myers’ Cavatina from The Deer Hunter to Vieaux’ own
arrangements of Duke Ellington’s In a
Sentimental Mood and Andrew York’s Sunburst,
and from traditional folk music to works redolent of the South American
countries where the guitar is deeply embedded in the social fabric. Among the
highlights are Andrés Segovia’s
Estudio Sin Luz, Manuel Ponce’s
arrangement of Por Ti Mi Corazón,
Francisco Tárrega’s Capricho Arabe, and Leo Brouwer’s Danza Caracteristica from Cuba. Vieaux
is not only a virtuoso but also an artist of considerable expressiveness,
bringing his finely honed technique to showpieces and lesser music alike. There
is a certain sameness to some of the works, for all that Vieaux does his best
to highlight their differences and produce a sound with both clarity and
rhythmic vitality. The CD will be a great pleasure, if scarcely a revelatory
one, for fans of classical guitar music and of its top performers; for others,
it, like the Delius disc, may be more enjoyable if heard in small sections than
if listened to from start to finish.
No comments:
Post a Comment