David DIAMOND (1915-2005)
Rounds for String Orchestra (1944) [15:28]
Music for Shakespeare's Romeo and Juliet (1947) [22:20]
Symphony No. 6 (1951-4) [27:10]
Indiana University Chamber Orchestra, Indiana University Philharmonic Orchestra/Arthur Fagen
rec. 2015/16, Indiana University Jacobs School of Music, Bloomington, USA.
NAXOS AMERICAN CLASSICS 8.559842 [65:00]
I first got to know and admire the music of David Diamond through the recordings by Gerard Schwarz and the Seattle Symphony which I acquired in the 1990s. First issued by Delos, the symphonies have now reappeared courtesy of Naxos (review ~ review ~ review ~ review) There was also Bernstein’s pioneering recording of the Fourth Symphony (review). The Schwarz series was invaluable but incomplete: he only set down the first four symphonies, the Eighth and a number of concertos and other orchestral works plus one movement, the substantial Adagio, from Diamond’s last symphony, the Eleventh (1991). However, to the best of my knowledge, the remaining six symphonies, including the complete Eleventh, remained unrecorded. However, we can now take the Sixth off the unrecorded list, thanks to this premiere recording by the Indiana University Philharmonic and Arthur Fagen.
The symphony was the only work on this CD that was new to me: I am familiar with the other two through Gerard Schwarz’s recordings. In his notes, Robert Lintott relates that early critical reaction was unfavourable when the symphony was first heard in 1957 and he quotes one particularly disobliging review. To be honest, I’m not entirely surprised the critics were lukewarm because I did not find the music ingratiating. There are three movements. The first is prefaced by a short Adagio introduction, after which the main body of the movement is marked Allegro, fortemente mosso (from 2:01). Here, Diamond’s writing is decisive and purposeful and much use is made of sharply pointed rhythms. As I hear it, much of the music is assertive and the harmonic language is dissonant and at times strident. This punchy music is not a comfortable listen. There follows an Adagio. The material in this movement – and in the third – is derived from the first movement, we are told. The slow movement is serious of purpose and unsettled. Just after the six-minute mark the pace briefly increases for a short, forceful passage before relapsing into a slow tempo once again. The finale carries the marking Deciso, poco allegro. In this movement the music is strong, fast and often percussive in nature. As in the first movement, the rhythms are strongly profiled to the point of being jagged and some episodes have a martial air. This finale is taut and energetic.
I confess I did not greatly warm to this symphony, though I hasten to add that’s a purely subjective reaction and not a judgement on the quality of the musical invention. I detected little warmth in the music and that disappointed me, though perhaps Diamond was expressing the troubled times that the USA and the world was experiencing at the time of composition. I confess that pressure of listening time has meant that it’s been a while since I listened to any of my Diamond discs and I went back to them to see if I had misremembered the music. I don’t think I had: some swift sampling reminded me that here is a serious but approachable composer. The Sixth symphony, however, seems a tough nut to crack. That’s no reflection, though, on a spirited, committed performance by the Indiana University Philharmonic Orchestra.
The other two works show a much more accessible side of David Diamond. Rounds for String Orchestra is a three-movement composition intended to be played without a break. The opening Allegro, molto vivace is lithe, spirited and direct of expression. The music is athletic and approachable and it dances along infectiously. The strings of the Indiana University Chamber Orchestra display fine precision in their playing. Of the central Adagio Robert Lintott writes that it is “nearly impossible” to avoid a comparison with Samuel Barber’s celebrated Adagio for Strings. In fact, Barber’s music is much more emotional in tone. Diamond’s writing is certainly not without feeling but he writes with greater reserve; his heart is definitely not on his sleeve. This is eloquent music but it’s rather more contained than Barber’s utterance. The last movement is marked Allegro vigoroso and it certainly lives up to the ‘vigoroso’ part of that injunction with plenty of energetic contrapuntal writing. Rounds is a fine and attractive work and it’s very well done here.
The title ‘Music for Shakespeare's Romeo and Juliet’ might imply incidental music for a theatrical production but, in fact, that’s not the case. Diamond wrote the score as an independent orchestral work and it was recorded in 1947, fairly soon after its premiere. In the booklet for the Delos release of Gerard Schwarz’s Seattle recording, the composer relates that the actress Olivia de Havilland had heard that recording and when she was booked to take part in a Broadway production of Shakespeare’s play in 1951 she pressed for Diamond’s music to be used. He was happy to oblige but when he met the producers it became clear they needed to make cuts in his music. Diamond thereupon withdrew his consent but, instead, wrote them a completely separate
Romeo and Juliet suite which, at least in 1991 when the Delos notes were compiled, was unpublished but which, Diamond said, “is sometimes rented out to accompany productions of the play.”
It is the original independent orchestral work that Arthur Fagen has recorded here. There are five movements, most of them short. ‘Overture’ seems to me to convey the bustle and colour of Renaissance Verona; it’s played here with panache and vigour. ‘Balcony Scene’ is far removed from the yearning of Prokofiev’s great ballet score. Diamond’s approach is more restrained than Prokofiev’s ardent scene, yet the American’s music still has passion and it’s founded on lovely melodies. Near the start we hear a solo violin and viola play intertwining lines: do these, I wonder, represent the two lovers? ‘Romeo and Friar Laurence’ has simple dignity after which we hear ‘Juliet and her Nurse’, a light, nimble and innocent little piece. The last movement, ‘The Death of Romeo and Juliet’ is the longest section. You won’t hear the searing intensity that one experiences with Prokofiev. Instead, Diamond’s vision - equally valid – is very melancholic, of course, but more restrained. There’s no lack of feeling, however; it’s another way to present tragedy. The delicately scored ending, which includes a gently tolling bel, is very beautiful. This Romeo and Juliet music is exceptionally attractive and a fine response to aspects of Shakespeare’s’ play.
Admirers of David Diamond’s music need to hear this release, not least because it offers the only chance to hear a recording of the Sixth symphony. I’m sure that many who are well versed in the composer’s music will respond more warmly to the Sixth than I have so far done. The other two works are as approachable as they are fine. All the performances are excellent and have been presented in good sound. Naxos have already restored the valuable Gerard Schwarz recordings to circulation. Dare we hope that this new release will lead the label to go on to issue discs of the other unrecorded symphonies by this important American composer?
John Quinn
Previous review: Rob Barnett
