Customer Reviews

Chesky: Three Psalms For String Orchestra

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

In these beautiful, brooding, meditative pieces, much in the sound world of Gorecki (sans the almost unbearable sorrow), Schoenberg (particularly his "Transfigured Night") and Barber (the "Adagio"), yet with a tonal voice completely original and fresh, Chesky maintains a musical concentration that is powerfully hushed, revelatory and cathartic.

Psalm No. 1 features solo violin, reticent and sorrowful throughout, and is a work of immense reflective beauty that grows more luminous with each hearing. This is truly a haunting piece whose intensity lies in its perfect subtlety. Psalm No. 2 features solo cello, using the instrument to "voice" prayerful laments intermittently. The rugged, yet contemplative, nature of the cello's scoring, integrated within the undulating orchestra, is exquisitely effective and moving. Psalm No. 3, for string orchestra alone, seems the apotheosis of the trilogy and is, again, a work of magnificent tranquility and sustained composure.

These works, all written 1996-1997, prove that twentieth century music can be accessible, moving and beautiful without turning its back on the musical heritage from whence it stemmed. Kudos to Chesky for standing against the scourge of abrassive modernism and for composing with a real human heart.

[Running time: 51:50]

These three psalms are very dark neoromantic chromactic works

This was quite a surprise when it showed up: serious orchestral music by David Chesky. Yes, I knew this Chesky brother had written some jazz pieces that his label had recorded, but I did not realize that he had an interest in composing serious orchestral music. Lo and behold, though, this is really an enjoyable CD. Those expecting sweetness and light will have to listen elsewhere: all three Psalms are somber in tone; moving, but not morose. That Chesky characterizes his three Psalms as connoting death, reflection, and resurrection should give the listener an idea that there is some serious composing going on here, not just pretty melodizing.

The informative liner notes, by the way, are by Roger Dettmer, who used to write vigorous, challenging, and always entertaining music reviews for Fanfare back in the 1980s. It was certainly a pleasant surprise to run across his writing once again.

The sound quality is full and warm, befitting the music. This is an auspicious debut, and it will be interesting to see whether David Chesky continues along the path of serious orchestral composition. He is certainly off to a good start.