Leonard BERNSTEIN (1918-1990)
Arias and Barcarolles (1988)* [31.38]
Samuel BARBER (1910-1981)
The school for scandal (1931) [8.08]
David DIAMOND (1915-2005)
Elegy in memory of Maurice Ravel (1937) [7.16]
*Jane Bunnell (mezzo); Dale Duesing (baritone)
Seattle Symphony Orchestra/Gerard Schwarz
rec. 18 March 1990 (Bernstein), 5 January 1991 (Barber), 3 January
1990 (Diamond), Seattle Opera House, Seattle, USA
NAXOS AMERICAN CLASSICS 8.559709 [47.02]
If one were to cite just one example of Gerard Schwarz’s
devotion to American music it must be his Howard Hanson cycle;
first released on Delos and now reissued by Naxos - as was this
review disc - it’s been favourably reviewed by me and
several others on this site. The playing of the Seattle orchestra
is nothing less than excellent, as is the sound quality, so
the Hanson box - which must surely follow soon - will be a mandatory
purchase for anyone interested in this repertoire.
Schwarz also gave the first performance of Bernstein’s
Arias and barcarolles in 1989; originally written for
two voices and piano it was subsequently orchestrated - under
the composer’s supervision - by composer Bright Sheng.
Regrettably - some might say thankfully - Bernstein’s
lyrics aren’t printed in the liner-notes or on the Naxos
website. Even the staunchest Lenny fans - and I’m one
of them - would have to admit that he’s not at his best
with his own words. These songs of love and marriage are no
exception, the muscular music of the Prelude - more than
a hint of West Side Story - somewhat undermined by the
charmless vocal writing.
Bunnell and Duesing make the best of it, but the real problem
here is that Bernstein is justtoo eclectic in his references;
for instance, he often resorts to the jovial patter of a Broadway
duet, but it tends to sound passionless without the pizzazz.
As for the more operatic peaks of Little Smary, they’re
just too overpowering. There are some tender songs - The
Love of my life and Greeting come to mind - but they
promise rather more than the score actually delivers. The disjuncts
don’t end there; the dark tones of At my wedding
find Duesing mired in a swamp of sentimentality, and I’m
not at all convinced by the soloists’ attempts at comedy
in the jaunty Mr and Mrs Webb say goodnight. That said,
Nachspiel has a certain charm, Bunnell and Duesing at
their entwined best.
After that rather pallid start it’s a relief to hear Barber’s
feisty overture, The school for scandal. As Paul
Schiavo points out in the booklet there’s no link to Sheridan’s
play or to the characters therein; what we get instead is a
lithe and propulsive little number, delivered with real panache
by Schwarz and his orchestra. The upfront recording is pretty
good too, the harp swirls, scything brass and bass-drum thuds
delivered with equal aplomb. Not quite as attractive in terms
of warmth and body as those Hanson issues, but certainly fit
for purpose.
David Diamond’s music isn’t as widely performed
as it should be, but until it is we have Schwarz’s Delos
recordings - reissued by Naxos - to enjoy. Diamond studied in
France in the 1930s and knew Ravel, for whom this elegy was
written. It’s a startling piece - bright and angular,
yet still very accessible - and the brass writing is very assured,
whether it’s big and brazen or disarmingly quiet. Indeed,
there’s plenty of the latter, with Schwarz coaxing nicely
nuanced playing from his band. A most satisfying conclusion
to an otherwise uneven programme.
Worth hearing for the Barber and Diamond; the Bernstein is eminently
forgettable.
Dan Morgan
http://twitter.com/mahlerei
see also review by Paul Corfield Godfrey
Worth hearing for the Barber and Diamond; the Bernstein is eminently
forgettable.