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Carson
COOMAN (b.1982) Symphony No.2 “Litanies of Love and Rain”, op.574
(2004) [10:26]
Partita, op. 526 for baroque flute (2003) [6:05]
Piano Concerto, op.649 (2005) [8:41]
Vision, op.646 for violin and organ (2005) [3:38]
Symphony No.3 “Ave Maris Stella”, op.650 (2005) [16:34]
Songlines, Sun Dreaming, op.307 for orchestra (2001) [6:53]
Sonata for Violin and Organ, op.573 (2004) [21:24]
Stephen Schultz (baroque flute),
Nora Skuta (piano), Rachel Gough (violin), Rupert
Gough (organ)
Bohuslav Martinu Philharmonic Orchestra (op. 307), Slovak Radio Symphony Orchestra
(opp. 574, 649, 650)/Kirk Trevor (opp. 307, 574, 649, 650)
rec. Slovak Radio Hall, Bratislava, 15 April 2005, 11 November 2005, 10 March
2006 (opp. 574, 649, 650); Kresge Recital Hall, Carnegie Mellon University, Pittsburgh,
24 September 2005 (op. 526); Philharmonic Hall, Zlin, Czech Republic, 12 December
2001 (op. 307); Chapel of the Royal Holloway, University of London, 12 January
2006 (opp. 573, 646); DDD NAXOS 8.559329 [73:40]
Here’s
a recording that will make you listen up: a musical sampler
of the output of that prolific 25 year old, Carson Cooman. This
is music that is unashamedly pleasant and presumably without
pretensions to greatness. His populist style (just) evades that
mind-boggling triteness that the tailored-to-please works of
the Rutters of this world usually exude. The result is a mix
of infectious rhythms, pleasing harmonies and melodies – without
the ear feeling sullied or guilty, afterwards. The Symphonies
are thankfully brief and don’t avoid dissonance.
A Partita for
baroque flute offers six minutes of pleasantry, but manages
to be utterly forgettable. Then comes the Piano Concerto op.649
(!) and this is a superb work. A brilliant little pastiche that
does not per se copy from Mozart and (lots of) Ravel,
but it, shall we say, rhymes with it. It offers a wild
ride and bout between the romantic piano part and the sometimes
insidiously invasive, sometimes supportive string part; a little
under ten minutes of fine inspiration and the highlight on this
disc.
Vision,
for violin and organ might have been found on the cutting room
floor of Messiaen – but the Sonata for Violin and Organ op.573,
at over 21 minutes the longest (and perhaps most substantial)
piece included, is strikingly original in the way it assembles
small, tuneful cells in the violin over a gradually developing
organ accompaniment. The third movement, “Keep on Shining!” moves
away from the ambiguous meandering toward a joyous, instantly
memorable Gospel tune. It’s catchy but not pandering – and lets
this disc concludes on another highpoint.
After hearing this
you might be tempted to get the Naxos recording of his piano
music. But I’d advise sampling before giving in to that temptation:
I didn’t find in them any of the quality that makes the better
works on the Symphony disc sparkle.
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