Monday, September 29, 2014
Orchestral Works, Vol. 1
Andrew Manze, conductor
Swedish composer Lars-Erik Larsson is not well-known outside of his native country, but this new series from CPO may change that. Larsson is part of the generation immediately following Sibelius, and follows him stylistically as well.
Larsson's works are decidedly neo-romantic, with rich harmonies and expansive melodies. His Symphony No. 2, written in 1927, is the centerpiece of the album. This four-movement symphony is a youthful work, full of excitement and high spirits. And yet it's also tightly constructed, with clear-cut melodies and masterful (albeit straight-forward) orchestration. To my ears, the overall sound resembles the symphonies of Nielsen, with a more lyrical bent.
The other works help present a more rounded portrait of the composer. The Music for Orchestra, written two decades (and world war) after the Symphony, has a sparer, more somber sound. Larsson stretches the limits of tonality, and imbues a restless energy into the work.
Four Vignettes to Shakespeare's "The Winter's Tale" is an attractive, tuneful work, reminding me Larsson's colleague, Dag Wiren, in its beautiful simplicity.
Andrew Manze leads the Helsingborg Symphony Orchestra with authority. He's made a deep study of Larsson's music, and that understanding ensures that these works receive sympathetic readings. This is a strong start to what should prove to be an important series. Larsson's music deserves a place alongside that of his more famous Scandinavian colleagues.
Monday, September 22, 2014
Voices from the Heartland; Sun and Shadow
Ann Crumb, soprano; Marcantonio Barone, piano; Patrick Mason, baritone; Orchestra 2001; James Freeman, conductor
Bridge Records' sixteenth(!) installment of George Crumb's compositions feature two works that are both similar and different. Sun and Shadow is another collection of songs based on the poetry of Federico García Lorca. Lorca's work has inspired several Crumb compositions, including the Ancient Voices of Children. This set, subtitled Spanish Songbook II is classic Crumb. In this case, he uses just an amplified piano to create his unique soundscapes, making this a somewhat intimate composition
Voices from the Heartland (American Songbook VII), presents Crumb's arrangements of some traditional American songs. Baritone Patrick Mason and soprano Ann Crumb perform, along with the James Freeman and the Orchestra 2001. Actually, these songs are more re-imaginings than arrangements.
While the melodies of such tunes as "Softly and Tenderly (Jesus is coming)" and "On Top of Old Smokey" are easy to pick out, they've been transformed by Crumb's imagination. Triadic harmonies are replaced with clouds of sound; phrases are broken up and folded back upon themselves; melody and accompaniment veer off in different directions. And yet, rather than obscuring these simple songs, Crumb brings out the deeper emotional themes that, in retrospect, were there all along.
Ann Crumb has extensive experience singing in Broadway shows. While she sings Sun and Shadow in a clear, classical tone, she lets her musical theater roots show in the American Songbook. Which somehow makes these transformed American folk songs sound even more authentic.
Wednesday, September 17, 2014
Michael Brown, piano
Every composer should have a champion. For George Perle, that champion is pianist Michael Brown. As a teenaged virtuoso, Brown fell in love with Perle's music and had an opportunity to meet the composer. That developed into a close personal and professional relationship over the years, culminating in this release.
Brown collects not only Perle's published works for solo piano, but some earlier works still unperformed at the time of Perle's death. Brown has a deep understanding of Perle's music, and that makes this collection so exciting to listen to. The eight works span Perle's creative output. The earliest work, the 1938 "Classical Suite" receives it's world premier recording here.
In many ways, it's similar to Prokofiev's "Classical Symphony." While using traditional forms and mostly tonal harmonies, Perle continually plays against expectations as his melodies veer off into unexpected directions.
The "Six Celebratory Inventions" (1989-1997) is the collection that Brown played for Perle as a teenager. Each invention honors a different composer by imitating his style. And while one can hear the dedicatee in each movement -- Leonard Bernstein, Gunther Schuller, Ernst Krenek, et al -- it's all filtered through Perle's inventive imagination, giving this set an overarching sense of cohesion.
Michael Brown has lived with some of these works for a while, and he plays with authority and sensitivity. Perle isn't primarily known for his keyboard compositions. Brown's performances suggest they should be reassessed.