Before completing his
first acknowledged symphony in 1941,
Diamond had already composed two earlier
symphonies, long since discarded. Thus,
his first mature symphony was completed
after the composer had to leave France
after spending two years with Nadia
Boulanger (who else?). This is a fairly
typical American symphony. The first
movement bustles with a highly communicative,
forward-driving energy effortlessly
sustained throughout. It nevertheless
ends on a quiet note (a softly reverberating
bell) preparing the way for the meditative,
warmly lyrical second movement, one
of this composer’s finest inventions.
The finale opens with a solemn brass
motif, aptly described by Steven Lowe
as a kind of Alleluia. This is
briefly developed before the forceful
entry of the vigorously energetic concluding
Allegro. Diamond’s First Symphony,
which was new to me, could – and, indeed,
should – be as popular as Harris’ celebrated
Third Symphony, with which it compares
most favourably. Good to have this magnificent
work and superb reading back in the
catalogue.
The fate of the Second
Violin Concerto, composed for Dorotha
Powers who gave the first (and apparently
last) performance in Vancouver, is by
no means a rare thing. Actually, difficulties
with the Percival Estate prevented any
further performances until Schwarz arranged
for its US premiere on 6th
May 1991. It is a fine work, more overtly
Neo-classical than either the First
Symphony or the orchestral fantasia
The Enormous Room. It
actually brings Vaughan Williams’ own
violin concerto to mind (particularly
so in the beautiful slow movement).
The orchestral fantasia
The Enormous Room is partly
inspired by E.E. Cummings’ eponymous
book relating some of his World War
I experiences in France, particularly
when he was incarcerated, his loyalty
having been questioned when serving
as an ambulance driver. As Diamond also
mentions, the book is also about the
human spirit, about the individual and
his private garden of Love. Diamond’s
music makes it a dignified and restrained
elegy for all those who suffer from
the ruthless absurdities of war. This
poignant piece of music, in spite of
its rather diminutive sub-title, is
a deeply moving masterpiece, which –
alone – would make this most welcome
release indispensable.
Schwarz and his Seattle
orchestra have served Diamond’s music
well with a number of discs entirely
devoted to his music. I hope that NAXOS
will soon re-release the other Diamond
discs in Delos’s back catalogue, especially
DE 3103 (including the beautiful Kaddish
for cello and orchestra and the Third
Symphony), DE 3141 (including the Eighth
Symphony) and DE 3093 (Symphonies No.2
and No.4, a .o.), for Diamond’s music
unquestionably deserves consideration.
Recommended.
Hubert Culot
Ilkka Talvi (violin); 