There
are two things you need to know about American composer, Ned Rorem:
on 23 October 2003 he will celebrate his 80th birthday;
and he writes wonderful music. This Naxos disc, the third
they have issued of his music, is a splendid birthday tribute.
I
first got to know Rorem’s music through Susan Graham’s outstanding
Erato disc of his songs (a "must-buy" for anyone who
cares about art songs, if you can still find a copy). Since then
I’ve acquired a good number of other CDs of his music and with
each purchase my admiration has increased. In particular he seems
to me to be one of the very finest twentieth-century composers
of songs with a superb melodic gift allied to a discerning eye
for a text. He has published a large number of songs, including
perhaps his crowning achievement in the genre, Evidence of
Things not seen, a richly varied collection of 36 songs for
four singers and two pianists, designed to form an entire evening’s
entertainment. (There’s an excellent recording on New World Records
80575).
Despite
my interest in Rorem’s music two of the symphonies recorded here
were new to me. That’s not surprising since not only have the
first two symphonies not been recorded before but also, as we
learn in the notes, both have been largely neglected since their
first performances. The same is largely true of the Third but
at least there have been two recordings, one by Maurice Abravanel
on Vox (which I have not heard) and a recording of the first performance
by Bernstein and the New York Philharmonic (though that recording
is not easily accessible since it’s only available as part of
the NYPO’s substantial boxed set, "An American Celebration").
All praise, therefore, to José Serebrier and to Naxos for
rescuing these works from obscurity. How good, also, to find a
British orchestra involved and doing such a fine job.
Rorem
spent several years (1949-1958) living in France and a Gallic
cultivation and elegance informs much of his music. (I’m sure
I’m not being original in thinking of him as the American Poulenc.)
However, as is clear from the excellent notes accompanying this
CD, even though the symphonies date from the period of his French
sojourn quite a lot of the music was written in the USA, including
at least the first movement of Number 1 and the whole of Number
2.
The
three works share a number of characteristics. First, as will
be seen from the timings at the head of this review, none of them
is overlong. Rorem is a succinct writer who says what he has to
say, whether in music or in words, and moves on. Thus with the
exception of the first movement of the Second symphony (which
is just over 15 minutes long) no single movement lasts for longer
than about seven minutes and several are only two or three minutes
in duration. Secondly, Rorem’s music is emphatically tonal. His
harmonies are often piquant but a very strong melodic impulse
runs through all his music and is certainly well to the fore on
this disc. Thirdly, these three works are all highly approachable
and often very entertaining – though not for one minute superficial.
The
First symphony is in four movements and is a real charmer, representing
an extremely confident start to a symphonic career. I was bowled
over by the whole piece but I especially enjoyed the middle two
movements. The first of these, marked Andantino, is aptly
described by José Serebrier in his notes as a "pastoral
setting in the Fauré tradition." Strings and winds
are to the fore in this movement, which is graceful and lyrical
from start to finish. But the succeeding Largo is, if anything,
even finer. In it Rorem taps a rich seam of melody with prominent
and hugely rewarding lines for flute, oboe and strings. After
the lyrical repose of these movements the dancing finale is much
more extrovert but even here, when the music is moving much more
quickly, it still sings.
The
Second symphony opens with an unusually spacious movement, which
takes up no less than 15’22" of the whole work. There is
a very long introduction, dominated by a long-breathed, spacious
and expressive theme, which lasts for some 2 ½ minutes. It is
not until 6’24" that the tempo quickens into a vivacious,
playful allegro. Here lively rhythms underpin yet more fertile
melody. The whole movement is well laid out for the orchestra
(indeed, all three symphonies are resourcefully scored.) The brief
second movement, marked Tranquillo, is a song without words
in all but name. A lovely, simple theme opens on flute and then
passes to violins with clarinet. This movement is a little gem,
relaxed and at ease with itself. The equally short finale is another
dance-like episode in which percussion are prominent (an effect
enhanced by the inclusion at this point of a piano). It makes
a bright and breezy end to another very enjoyable symphony.
The
five-movement Third was the only one of the three that I’d heard
before, in a live recording of the first performance on 18 April
1959. This took place in Carnegie Hall under the characteristically
dynamic direction of Leonard Bernstein. Since Rorem is on record
as having been delighted by that performance this Bernstein account
must be regarded as a benchmark. In some ways I prefer it to the
newcomer but I’m pretty sure that, if he has heard it the composer
will be pretty happy with this Bournemouth performance too. It’s
a very public piece and is scored for a large orchestra including
a vast array of percussion.
The
first movement is a well-constructed passacaglia, much of which
is rather subdued in tone; one feels that energy is being held
back. Release comes in the brief second movement which follows
without a break and which Rorem has described elsewhere as "like
hot jazz." This movement was originally a two-piano piece
written some eight years earlier. It has a really percussive nature
with driving rhythms. It sounds to me like real New York City
music and it is very well played here though Bernstein is even
more daring at what sounds like a dizzying speed (though his performance
is only a mere 16 seconds quicker.) The short third movement is
a Largo and it is said to be Rorem’s favourite of the five.
It’s another piece that emphasises his credentials as a melodist
and songwriter. It’s followed by another slow movement, an andante
which Serebrier calls a "pensive pastoral setting."
It’s an oasis of tranquillity, scored with great subtlety and
refinement. An especially effective touch occurs when the xylophone
tops off the texture as the main climax builds (track 4, from
3’28"). In this movement Bernstein is a bit more urgent than
Serebrier, less the dreamer. On balance I prefer his approach
(though his rival is very fine) for I find that Bernstein’s speed
imparts a greater sense of flow. Also with him the central climax
is even stronger. The finale, described by Rorem as " a long
and fast Rondo, in itself a Concerto for Orchestra", is a
real tour de force and gets a sparkling performance from
the BSO even if they can’t quite rival the sheer gusto and panache
of Bernstein’s New Yorkers. Even here, amid the orchestral fireworks,
there’s room for another generous melody (track 5 from 4’43")
and at this point I think the slightly easier tempo adopted by
Serebrier pays dividends for he is able to make more of the big
tune. The work ends riotously.
These
are splendid works, full of good humour and rich in melodic invention.
I fear I haven’t begun to do justice to them in my descriptions
and I can only urge you to buy this CD and sample them for yourself.
The performances are winning and are presented in excellent sound.
The notes by Serebrier himself are first rate and include telling
comments on all three works by Ned Rorem.
In
the last few months Naxos have done Rorem proud with two other
first rate CDs, one of his chamber music and one of his songs
in which Rorem himself accompanies Carole Farley. I do hope they’ll
keep up this excellent work; some more songs would be great, as
would a disc of his fine choral music. In the meantime this excellent
CD is a first rate birthday tribute. As the year progresses I’m
slowly assembling a shortlist of recordings of the year and I’m
certain this disc will be one of them. I cannot recommend it highly
enough.
John
Quinn
see also review by Rob
Barnett and Paul
Shoemaker
Bournemouth Symphony Orchestra
conducted by José Serebrier