Rorem is probably best-known for his numerous songs,
song cycles and other vocal music, but he has also composed –
and still does compose – much orchestral and chamber music. The
present release focuses on three chamber works for various instrumental
forces, of which Book of Hours for flute and harp,
completed in 1975, is the earliest represented here. The title
of the piece and that of the eight movements refer to the canonical
times of the day for Christian prayer. It thus opens with Matins
and ends with Compline thus rounding off a whole liturgical
day. The outer movements are roughly similar in their contemplative
mood whereas the other movements proceed in roughly symmetrical
arch form. The music displays a remarkable unity, while at the
same time revealing new aspects of the initial material stated
at the outset of Matins. To a certain extent, Book
of Hours may be heard as a set of variations.
End of Summer written in 1985 for
the Verdehr Trio who recorded it some time ago (Crystal CD 742)
is a work full of often whimsical fantasy, particularly so in
the first movement Capriccio. Here brief allusions to Satie,
to Brahms and other musical sources surface from time to time.
The Brahms quotation is particularly clear but I am not quite
sure about all the others. The first movement is a fanciful kaleidoscope,
although much of the music is also based on the opening theme
stated by the violin in the first bars. The second movement Fantasy
similarly develops material stated by violin and clarinet with
which it opens. Mazurka, a Rondo in all but the name, alludes
to the old Polish dance rather than to what Chopin or Szymanowski
made of it.
Bright Music for a rather unusual
quintet consisting of flute, two violins, cello and piano. It
is more in the nature of a suite or a divertimento in five contrasted
movements. There are two dance-like outer movements and a central
Scherzo framed by two slower sections. Chopin’s so-called ‘Funeral
March’ Sonata acts as a unifying force. The piece is another
example of Rorem’s imaginative handling of his basic material
(his own or that by other musicians). The music is full of surprises,
unexpected harmonic twists and capricious rhythmic devices.
Rorem’s approach is entirely his own. It may
often take you by surprise, delight or irritate, but the composer’s
sureness of touch is never in doubt. The young players of the
Fibonacci Sequence obviously enjoy the music and respond with
zestful, committed readings of these sometimes enigmatic works.
Hubert Culot
The Fibonacci Sequence