Arnold ROSNER (1945–2013)
Piano Concerto No. 2, Op. 30 (1965) [19:26]
Gematria, Op. 93 (1991) [17:32]
Six Pastoral Dances, Op. 40 (1968) [12:11]
From the Diaries of Adam Czerniaków, Op. 82, for narrator and orchestra (1986) [26:49]
Peter Vinograde (piano); Peter Riegert (speaker)
London Philharmonic Orchestra/David Amos
rec. 19-20 Oct 2015, Abbey Road Studios, London
first recordings
TOCCATA CLASSICS TOCC0368 [76:10]
Right from the start Rosner's concise three-movement
Second Piano Concerto declares its allegiance to
Elizabethan feeling and this is evident in harmony and rhythm. The potent
brass writing may well have been modelled on that of the Venetian Gabrielis.
Rosner's music is neither precious nor does it feel antique-contrived.
It has a a touching quality as well as a thrumming robust and entirely modern
power and muscle tone. The second movement of the Concerto is over-arched
by the tragedy borne high in pomp in his The
Chronicle of Nine (an opera still unrecorded, I am sorry to say) but ends
in shimmering strings. The flighty finale with echoing euphoric brass ripples
with intricate and rhythmic dominance.
Gematria was written a quarter century later. It
starts in plangent unshowy majesty which with its dignified trumpet solos
would pair well with trumpet signature works of similar mien such as Hovhaness's
Avak The Healer. Its swarming rhythms and unglitzy majesty sustain
it over a single unbroken span not far short of the concerto. The superb English-only
notes by Walter
Simmons, who has been a most practical and inspired friend to Rosner and
his music, point out that this score was commissioned by the conductor here
and reflects the composer's absorption in the mysteries and numerology
of the Jewish Kabbalah. That is interesting to know but is not essential to
an enjoyment and appreciation of the music. Gematria ends in Rosner's
trademark magically poised writing for bells, gong and strings. It is an extremely
impressive piece.
Gematria is followed by a suite of Six Pastoral Dances
scored for woodwind quartet and strings. They are separately tracked and with
titles that include Pavana, Gigue, Sarabande and
Galliard the movements take the Elizabethan period as a point of
departure. There's some fantastically attractive writing here in moods
that move from irresistible toe-tapping dancing to joyous dignity. Each movement
is short and to the point.
From the Diaries of Adam Czerniaków is a melodrama
but I am sure that the orchestral score alone would work. Adam Czerniaków
headed the Jewish community in Warsaw from 1939 until 1942 when he took his
own life. He kept diaries from which these grim extracts are read by Peter
Riegert who is recorded in a different location from the orchestral part.
Czerniaków bore dutifully for as long as he could the onerous burden of being
a go-between for the Jewish community and the Nazi administration. The two
strands (voice and music) have been neatly blended by the engineers and producer.
The orchestra provides a telling counterpoint to the thoughtful and often
chilling narration. This is occupied with starvation, suicides, deportation,
excoriating crises of conscience and agonizing diplomacy and is rich in original
detail. Effects are achieved, as ever in Rosner's case, by restraint
rather than chest-beating. Sound quality and performances are vivid.
This is a key addition to the Rosner discography. Links to further reviews
on this site of this New York-based composer can be found here.
Rob Barnett
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