Bernstein is well-known
for a small handful of compositions.
It is surprising that more of his serious
symphonic repertoire is not heard more
frequently, for here is one of the most
truly original of American composers,
confident in his descent from the European
classical traditions, but in no way
cowed by that tradition. The first Symphony,
Jeremiah was completed while
the composer was still in his mid-twenties
and is thus, not surprisingly, young
man’s music. There is a desire to show
off his command of orchestral forces
and symphonic structure. He completed
the work in 1942, spurred on by a competition
sponsored by the New England Conservatory
of Music. It did not win, but the reception
of the work was almost certainly assured
by Bernstein’s famous conducting debut
with the New York Philharmonic on 14
November 1943, stepping in at short
notice for an ailing Bruno Walter. Overnight
Bernstein was the talk of the musical
world and performances of his symphony
followed soon after with many of the
major American orchestras. In 1944 the
work won the New York Music Critics
Circle Award. The opening two movements
are strongly characterised and fairly
traditional in form. The background
figure of Samuel Barber is frequently
apparent, although the passages of driving
rhythm are an early example of what
was to become one of Bernstein’s most
characteristic accents. The long finale
is really the centrepiece of the symphony,
setting words from the Ashkenazic Hebrew
version of the Book of Lamentations
(of Jeremiah the Prophet) in which
the prophet laments the fallen and abandoned
Jerusalem. This movement was composed
several years earlier, before the Second
World War, but its apocalyptic aura
gave strong resonance to audiences recently
made aware of the horrors of the Holocaust.
At the other end of
a long career, Jubilee Games
dates from 1986 and was composed for
the 50th anniversary of the
Israel Philharmonic Orchestra. This
comprises the first two movements of
what was to become the Concerto for
Orchestra. Opening Prayer, which
finally appeared at the end of the Concerto
as Benediction, was written for
the gala re-opening of Carnegie Hall
in the same year, and Bernstein added
the Seven Variations on an Octatonic
Theme in 1989. The completed Concerto
for Orchestra was premiered the following
year. Throughout the work, which involves
a greater degree of orchestral improvisation
than any other Bernstein score, players
underscore the significance of the number
seven by whispering or shouting the
number (shiva in Hebrew) seven
times. There are similar numeric references
throughout the work. It closes with
the famous blessing (Jewish in origin,
but not exclusively in use) May the
Lord bless you and keep you, May the
Lord make his face to shine upon you…
sung by the baritone.
Both of these works
involve a high degree of orchestral
virtuosity, the opening movement of
the Concerto for Orchestra in particular
being a vigorous showpiece of technical
panache, especially for the large percussion
section, in typically ebullient Bernstein
style. In this recording the New Zealand
Symphony Orchestra comes across as an
ensemble well versed in this colourful
approach and with the conviction to
perform some of the more over-the-top
passages (the shouted Hebrew numbers
included) with suitable élan
that they become convincing on every
level. Both scores are complicated and
the forces considerable. James Judd
marshals these with absolute clarity;
even in the brashest sections of the
Concerto and in the tremendous opening
of the Symphony there is a tautness
in the phrasing and a clarity of balance
that makes absolute sense of the density
of activity. The vocal soloists have
only minor roles in terms of length,
but both have a perorative aspect that
underlines the central meaning of each
work. Helen Medlyn, in particular, finely
judges the balance between despair and
exaltation and blends excellently with
the shimmering orchestra. Amongst the
players there are similarly many excellent
soloists, the viola/violin pairing in
the coda of the 2nd movement
of the concerto and the bass clarinet
and alto flute in the 6th
variation. Throughout the percussion
section is magnificent.
Naxos once again show
themselves to be on the ball in their
programming. There have been several
fine discs in the American Classics
series and this release brings a welcome
new look at Bernstein as a serious symphonic
composer. The New Zealand Symphony Orchestra
are undoubtedly a group to watch out
for if this performance is anything
to go by. Apparently further releases
under James Judd, on Naxos, are planned.
This is a pairing that is seriously
worth looking out for.
Peter Wells
Helen Medlyn, (mezzo-soprano); Nathan Gunn,
(baritone)