By my reckoning the Naxos Balada series now runs well into the mid-teens.
This latest release includes two world première recordings and
The Steel
Symphony, that found a worthy advocate in Lorin Maazel no less. He
recorded it with the Pittsburgh Symphony Orchestra in the nineteen-eighties
on New World Records 80348. Several years ago I bought the CD containing
Guernica and the Symphony No. 4 (8.557342) after reading several positive
reviews. An immensely engaging listen, I wasn’t disappointed. I have never
explored any others in the series until this one, released several months
ago. Would it live up to my expectations?
Balada was born in Barcelona in 1933. His musical studies began with the
piano at the Conservatori Superior de Música del Liceu in his home city. In
1956 he decided to emigrate to the States to pursue studies at the Juilliard
School in New York, from which he graduated in 1960. His composition
teachers were Vincent Persichetti, Alexandre Tansman and Aaron Copland, and
conducting with Igor Markevitch. Since 1970, he has taught composition at
Carnegie Mellon University in Pittsburgh, Pennsylvania.
The composer states in his booklet notes that he is inspired by historical
events when writing his music. The Symphony No. 6
Symphony of
Sorrows is a one-movement work, dedicated to the innocent victims of
the Spanish Civil War. It was composed in 2005 and premièred a year later.
Balada views the ‘brother-against-brother in-fighting’ as an onlooker, not
from a partisan stance. Incorporated into the work are elements of two
hymns;
The Himno de Riegno, which was the flag song of the
Republican forces, and
Cara al Sol associated with the opposing
Franco forces. Notable throughout are themes with a military bearing. Of the
three works on the disc, I found this one the most melodic, though elements
of avant-gardism lace the score. Recorded live, the Galicia Symphony
Orchestra under Jesus Lopez-Cobos deliver a riveting performance. The
audience is unobtrusive and applause is retained.
In Concerto for 3 cellos
A German Concerto (2006), again
historical events underpin the thinking behind the composition. Balada
states in his notes his inspiration: ‘… the resurrection and subsequent
recovery of the German people after two catastrophic world wars’. It takes
the form of a single movement, divided into three sections. The score is
based on the German song Die Moorsoldaten (The Peat-Bog Soldiers),
attributed to an anonymous soldier in a German concentration camp. It was
later adopted by the Spanish fighting against Franco in the Civil War. I
found its motoric rhythms reminiscent of the composer’s
Homage to
Sarasate (1975). Throughout the Concerto, each of the soloists is given
an opportunity to shine, both in terms of lyricism and virtuosity. Balada
proves himself an extremely accomplished orchestrator. The work is dedicated
to the three soloists. All concerned give a deeply committed
performance.
Dedicated to the steel workers of the world,
The Steel Symphony
reflects the fascination the factories around Pittsburgh held for the
composer. Written in 1972, it was given its première in 1973. It’s an
abstract work intended to ‘reflect the drama and poetry of the sonorities of
the steel foundries in a sophisticated way’. I would imagine it being great
fun for orchestral players to perform, with motoric rhythms and instrumental
flourishes, evoking an atmosphere of great industry, all set within a
framework of polyrhythms and dissonance. The Barcelona Symphony Orchestra
and Jesus Lopez-Cobos do it proud.
These are works that benefit from top of the range sound, and they are
well-served here. All three venues provide spacious acoustics, allowing the
composer’s masterly orchestration to be heard in all its glory. Balada has
provided annotations which are both enlightening and viewed from the
composer’s perspective.
For those who feel adventurous, and have a particular affinity for Varèse,
Lutoslawski and Charles Ives, I strongly urge you to give this music a
try.
Stephen Greenbank
Previous review:
Paul Corfield Godfrey
