This disc covers almost the entirety of Copland’s output.
In the Short Symphony we see him moving from the then-modernism
of the Piano Variations to his best-known, “Americanist”
period. The Emily Dickinson songs are one of the best fruits
of this same period. Dance Panels dates from 1959
when Copland was about to resume experimentation with the twelve
tone method - see Piano Quartet and Piano Fantasy - while writing
other works that were still pretty much in the American vein.
The Short Symphony has never been as popular as it should be.
Indeed it once won the vote in a symposium in Modern Music
as the American work most suffering unjust neglect. Perhaps
because of this the composer rearranged it as a Sextet for Clarinet,
Piano and String Quartet in 1937. In the version we have here
Dennis Russell Davies has reduced the original orchestral complement
by about half. This was done in the late 1970s with the approval
of the composer. The work is in three continuous movements and
already evinces the American accent by which Copland is best-known.
There is also some influence of Stravinsky. What is most interesting
is the amount of charm that seems to have gone unnoticed by
early audiences in their concern with its metrical irregularities.
The first movement is perky and rhythmically complex while the
second has a wonderful slow, sad, theme with a lighter middle
section. The ending is intense before dying away. The last movement
is the most dissonant showing Copland’s movement into
another compositional phase.
Dance Panels was Copland’s last ballet, written
many years after the three classics - Billy the Kid,
Rodeo and Appalachian Spring. It differs from
them in being abstract: there is no set story. The work consists
of seven varying movements, containing elements of both styles:
pastoral and dissonant. The introduction is interesting in that
it shows a new use of his usual harmonic procedures against
a background of varying complexity. The next two movements,
an allegretto and a scherzando, are gentle, but
with darker moments, especially the allegretto. The highlight
is the central Pas de trois. This starts in a noble mood,
succeeded by a pastoral section reminiscent of Billy the
Kid, which develops to a fine ending. The fifth section
is perhaps the least interesting. The sixth is quite mysterious
harmonically, giving way to the Molto ritmico - an expansive
development of earlier material. While this piece contains some
fine music, it cannot be considered one of the composer’s
best works. It may one of the first examples of Copland losing
interest in composition - a trend that was to appear gradually
through the 1960s.
The Dickinson Songs comprise the majority of Copland’s
contribution to the original song repertoire. There were originally
twelve, written for voice and piano. About twenty years later,
the composer orchestrated two-thirds of them and in doing so
created one of his most searching works. Some critics have maintained
that the songs are too much like lieder in construction and
effect. In fact they stand as a summation of the many tendencies
found in Copland’s work as well as showing a variety in
the treatment of the texts that is rare in modern American song.
Without going through each one, The Chariot, Dear
March, come in and Heart, we will forget him must
all be mentioned for their exploration of different aspects
of Emily Dickinson territory.
No actual venue is listed for the recording, so one must assume
that it was in the orchestra’s home-base, the Church of
St. Luke in Manhattan. Wherever it is the venue has the somewhat
dead sound that recordings made there sometimes have. However,
the recording was made in 1992 by MusicMasters and is being
re-released by Nimbus, so it is hard to guess. Helene Schneiderman
is in good form vocally, although some listeners may find Dawn
Upshaw’s rendition (see
review) with Hugh Wolff on Koch more penetrating.
I first heard Dennis Russell Davies conduct Dance Panels
at Copland’s seventy-fifth Birthday concert at Juilliard
and I think it is safe to say that he has this piece completely
under his belt. But his performance of the Short Symphony is
the gem of the disc and it definitely can compete with those
of Alsop (see
review) or Tilson Thomas.
William Kreindler
see also Review
by Nick Barnard (August Bargain
of the Month)
Tracklisting:
Dance Panels (1959) [29:06]
1) Introduction: moderato [4:46]
2) Allegro con tenerezza [5:06]
3) Scherzando [3:16]
4) Pas de trios [5:12]
5) Con brio [3:32]
6) Con moto [1:55]
7) Molto ritmico [5:13]
Eight Poems of Emily Dickenson (1948-1950; orch. late
1960's) [21:39]
8) Nature, the gentlest mother [4:16]
9) There came a wind like a bugle [1:31]
10) The world feels dusty [1:51]
11) Heart, we will forget him [2:19]
12) Dear march, come in! [2:18]
13) Sleep is supposed to be [2:40]
14) Going to Heaven! [3:00]
15) The Chariot [3:18]
Helen Schneiderman
(mezzo) (in Dickinson Poems) 
