Customer Reviews

Creston: Symphonies 1-3

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I have yet to be disappointed by any entry in the Naxos series of American Classics and the latest, Paul Creston's <Symphonies Nos 1-3> (8.559034), is no exception and yet exceptional. Creston had considerable experience writing scores for radio and TV shows and this background shows in some of the movements on this program. Perhaps the word "symphony" will mislead some purchasers, but I assure them that they are in for a treat no matter which noun is applied to these three works.

"Symphony No. 1" (1940) is in the expected four movements, here called "With Majesty, With Humor, With Serenity, With Gaiety" as if to rid us of all European preconceptions. The accompanying booklet gives a nice description of what lies within.

"Symphony No. 2" (1944) is unique in that it consists of only two movements, one dedicated to Song and the other to Dance. The self-imposed challenge here is to present all the material for the entire two movements in the opening bars of the first one!

"Symphony No. 3" (1950) is really a tone poem depicting "The Nativity, The Crucifixion, The Resurrection" in its three movements; and it is here that one cannot help but recall Berlioz' "L'enfance du Christ" and (not by any means a derogatory association) Rozsa's score to the film "Ben Hur."

Theodore Kuchar conducts the National Symphony Orchestra of Ukraine with feeling and to great effect. A very unusual and highly recommended offering from Naxos.

People should not scoff at the Naxos label because it is either too cheap or the New York Philharmonic is not the orchestra playing. How can you not be tempted by a trilogy of essential American symphonic work with a great young conductor on the rise at the baton, 40-year-old Theodore Kuchar? Paul Creston by far established himself as the greatest self-taught composer in recent memory, with his lush and lyrical melodies coupled with dance rhythms that have been described as "savagely difficult" to play. His first three symphonies aren't as severe in the latter regard as his Symphony No. 5 or Toccata, for that matter, but they remain great challenges and are delightfully accessible to the ear. The National Symphony Orchestra of the Ukraine has a definite grasp of the feel of Creston's work; his fast, rhythmic passages bounce along, his slower passages treated with sensivity and tenderness. His first symphony is one such example and is the only recording available of the work(!). Although I remain partial to Gerry Schwarz and the Seattle Symphony's interpretation of the "Three Mysteries," Kuchar's doesn't lag too far behind. Those who detest the experimental, twelve-tone, minimalist muck of our modern era need to expose themselves to the greatness of Paul Creston. The performances have tremendous quality of sound that Naxos prides itself on, and there's nothing wrong with the overall performances by the orchestra. If you find faults, you try playing Creston's music. And for pocket change? You can't miss!

Based on this very good recording, they know a lot in the Ukraine about being an American. American Theodore Kuchar and the National Symphony Orchestra of the Ukraine turn in very good work on three symphonies by 20th century American Paul Creston, a composer of romantic sensibilities whose influences include Grofe, Hanson and possibly Piston.

His Symphony No. 2, composed in two movements, is the most substantial work herein. In composition, style and sound it is a mate for Walter Piston's Symphony No. 2 and the Symphony No. 3 of William Schuman. The opus is just as original as the two more famous and accomplished symphonies, in part because it covers much of the same philosophically dramatic ground.

Creston's rambunctious Symphony No. 1 is a roller coaster ride of a symphony full of infectious rhythm, big catchy tunes, stops, starts and twists. At the risk of sounding disingenuous, it seems like it must have been a great deal of fun for the composer to write this work, especially that dipsy doodle first movement. The Ukraine brass players all get quite a workout in this wonderful music.

The final piece on the CD, Creston's Symphony No. 3, subtitled "Three Mysteries", is a Gregorian chant-inspired portrait of the birth, crucifixion and ressurection of Christ. The liner notes say Creston wrote the work to project his own beliefs and that Ormandy premiered the work in 1950.

In my view this is the weak sister of the three. As religious drama it pales when compared to the thousands of musical compositions written about Christ and the ressurection including everyone's Stabat Mater and passions. This opaque music doesn't do anything for me, a true believer that recently performed Bach's St. Matthew Passion.

But with one of Naxos's better recordings and the always reliable Kuchar and Ukraine symphony carrying the day, this CD will be a welcome respite to most fans of orchestral music, especially those that want to expand their understanding of American music.

These Creston symphonies are utterly engaging works, lyrical throughout with sweeping, convincingly inventive orchestral gestures. Symphony No. 1, in four movements, delights by its sheer emotional breadth; No. 2, in two movements, and the most "active" of the three symphonies, pulses exotically with hints of Villa-Lobos and Ravel. Symphony No. 3, though, "The Three Mysteries," is the apex. The almost sacred concentration and fertility of this work rivets with intensity and shimmering splendor. Theodore Kuchar leads the National Symphony Orchestra of Ukraine with admirable panache, sensitivity and keen attention to idiomatic detail. The recorded sound is no less impressive.

[Running time: 72:39]

Paul Creston is generally regarded as one of the 20th century's great American composers who came from virtually nothing, but through the help of other composers and conductors, achieved merit on his talent in composing. Although he wrote in many genres, this disk features his first three symphonies written between 1940 and 1950.

His first symphony, at 23 minutes, is in four movements, each with descriptions (majesty, humor, serenity, and gaiety). The opening majesty pits strings against brass with a stately theme. The humor has whimsical woodwinds and brass commentary, set in a clumsy-sort of dance. The lush middle section contrasts the whimsy with sweeping Romanticism before the opening returns. Serenity is portrayed by a gently lilting rhythmic feel, first by strings alone, brass, and woodwinds, and the entire ensemble has a gentle serenade, with pastoral elements of lyrical woodwind solos, and deep, lush string and brass sonorities rising and falling. The lightning quick final movement, the showcase of the work, shows Creston at his most energetic, with use of perpetual motion, jazzy syncopations, and catchy melodic writing. Highly dramatic, the work ends in a rousing conclusion.

The second symphony has only two movements (Introduction & Song, and Interlude & Dance). The scoring in the symphony, aside from a fair bit of percussion, also has a role for piano. The Introduction has some counterpoint for strings, gives way to the winds, and eventually unison full ensemble, before the song. The actual song portion is kind of cinematic; it builds in intensity with a charming and somewhat expansive theme. Undulating winds, brass fare, and sweeping strings builds to a climax before settling in a calm. The following interlude has a craggy and angular melody in unison which leads to the final dance. The final portion has such unbridled passion, it reminds me of Bernstein. A flashy showcase for the ensemble, it is jazzy, with an almost Spanish rhythmical feel; flourishes and cinematic string melodies give a grand conclusion.

Symphony No. 3, subtitled Three Mysteries, is an orchestral symphony with a religious theme, uncommon even today. The three movements are each titled (The Nativity, The Crucifixion, and the Resurrection). The opening Nativity, after some brief shimmering strings and harp glissandi, has such an innately innocent and joyous melody, put into such varied and imaginative orchestrations, the pure joy makes the listener smile. The buoyant rhythms and boundless energy contribute to the gaiety. A painfully throbbing bass line under plaintive melodies takes up most of the Crucifixion. Eventually, the great orchestra hits musically depict the scene, and it concludes somewhat peacefully with thick double-basses and violin harmonics; extraordinarily inventive colors. Although Gregorian chant is used in each of the movements, it is the third in which it is the most apparent. An ancient quality, with modal harmonies, permeates much of the beginning. The noble ending caps the symphony, not in your face virtuosity or bombasticity, but a stately affirmation of the Resurrection.

The three symphonies of Paul Creston each have their own taste and atmosphere, although Creston's love of rhythmic vitality, modest and enjoyable melodies, inventive colors and ideas, sometimes dissonant modernism included, are all positive qualities present in the works. Theodore Kuchar gives importance to melody and rhythm, along with a feeling of forward movement. You can't even find all of his symphonies on one disk, but even if you piece together various Schwarz performances on Delos, these by far surpass those performances. That being said, the National Symphony Orchestra of Ukraine is not perfect on this recording, occasional inconsistencies; but it is bristling with energy and enthusiasm, where this disk succeeds. Plus having all three symphonies on one disk at budget price can't be beat. Interesting American music, worth a try.

Some 10 years ago I bought two discs with Creston symphonies on Delos with Gerard Schwarz. I liked them but after some time I didn't play them anymore, probably because I missed something.

A friend called me and said `buy this, it's very well done'. I was skeptical at first but what the heck for a few dollars/guilders I could give it a try. And it overwhelmed me so much that I instantly sold Schwarz records. That's because Naxos has taught me how these symphonies can sound in a very good, very well rehearsed en very well recorded way.

Again and again this record label proves me that great music can be bought almost for nothing and give me more joy than overpriced discs with overpriced artists. Please, Naxos, go on forever with this series.

This is approachable New Deal Era music from a serious self-taught New York composer, whose later career was in TV show music. The symphonies feature motif development in a modern cyclic and mildly dissonant idom, predating the post-WWII brutalist excursion. Remarkably, this is the first recording of prize-winning Symphony 1 (1940) (another victim of the war years and the post-war modernist European invasion?). The three short symphonies are highly varied in structure, primarily at a mezzoforte dynamic, more lyrical than not, while not particularly tuneful. Creston's music is US in its light and accessible feeling rather than by devices like folk tunes or jazz rhythms. Whatever his origins, Theodore Kuchar is an American-trained conductor working out of Colorado and leads a fine orchestra. The music is enjoyable, if not especially memorable to my ears.

Paul Creston (1906-1985) belongs to the mid-century, largely New York based "school" of American composers of Italian ancestry who contributed significantly to the efflorescence of the symphonic art in the decades 1930 to 1960, but who fell into eclipse as serialism became the sine qua non of musical correctness in the academy and the auditorium alike. Others of the same "school" (I use the term loosely) were Peter Menin, Walter Piston, Vittorio Giannini, and Nicholas Flagello. Gian-Carlo Menotti came from the same milieu but wrote for the stage predominantly rather than for the concert-hall. Creston enjoyed a few sporadic recordings in his own lifetime, but did not appear in the discography in a meaningful way until after his death. Gerard Schwarz took up his cause for Delos, with the Third and Fifth Symphonies; and David Amos and Neeme Järvi led readings of the Second for Koch and Chandos. This new issue from Naxos makes sense, not only because the small investment should prove attractive to those who don't yet know about Creston and might seek acquaintance, but because it collects fully half of the composer's symphonic output on a single disc. (A second disc, presumably with Nos. 4-6, will no doubt appear.) The biographical sources call Creston self-taught. If so, it is a remarkable case of the autodidact who surpasses the usual mark of academic achievement. The masterpiece here is the two-movement Second Symphony (1944), in which Creston sets out to illustrate, in their distinction and in their fusion, the two basic impulses of music, the lyric and the choreographic. The result is unmistakably American in sound, full of jazz-rhythms and soaring melodic lines, expertly orchestrated and given here a robust performance under Theodor Kuchar and the National Orchestra of Ukraine. Ukraine? Never mind; they know what they're doing. Symphony No. 3 (1950) carries the subtitle "The Three Mysteries" and testifies to Creston's Roman Catholicism. Much of the material comes from Gregorian chant. The "Three Mysteries" are: The Nativity, the Crucifixion, and the Resurrection. This too is an impressive and beautiful essay in symphonic form. The First Symphony, while less memorable than Nos. 2 and 3, is nevertheless a useful addition to the catalogue. This is part of Naxos' uneven, but welcome and ongoing "American Classics" series. Check out the works for solo violin and orchestra by Piston in the same series.

Add a serving spoon of Copland, a serving spoon of Howard Hanson, a tea spoon of Barber, pinches of Bernstein and a sprinkles of Ives & Respighi & we therefore have the essence of the (earlier) music of Paul Creston (1906-1985). The first three Symphonies on this CD are essentially early modern works, somewhat neo-romantic in the expression & idiom they expouse. They inherit the American lyricism of Hanson & Barber (and to some extent Copland) while the Third Symphony has a sense of Respighi in its' nostalgic feeling, most especially in the Finale (and Creston's parents were Sicilian immigrants & so his heritage is detectable). The wartime Second Symphony (1944) is the most lyrical, epic, and somewhat melancholic of the three while the First has the vigorism & exuberence of Bernstein, Ives & even Walton.

Creston's orchestration is imaginative, his melodies catching, memorable, and even personal (despite of the above-mentioned influences) and these attributes were well-captured by Theodore Kuchar & the National Symphony Orchestra of Ukraine (yes, the NSOU). Over the years, the National Symphony Orchestra of Ukraine has truly became an impressive body (the same body who gave us excellent Lyatoshinsky & Prokofiev cycles). The performances on this disc has a great deal of affinity towards the music and nothing but vividness, warmth, and advocacy are at presence here. If they lack the ultimate sense of conviction & polish of the Seattle & the Detroit Symphony Orchestras in Creston's works (under Schwarz & Jarvi, respectively), the lackage is very maginal indeed. This disc is highly enjoyable, as well as a bargain and I look forward to more installments from Naxos, most especially of the American Classic series, and especially under the performance of Kuchar & his well-toned orchestra.

Recommendable!

This is splendid music, and I find it hard to understand why it hasn't received wider circulation. Fortunately this disc does much to remedy the situation, providing us with fresh, crisp performances of all the necessary swagger and spirit. The first symphony is a world premiere recording (as far as I know), and is in many ways a typical American neo-classical piece, smoothly elegant, lyrical, somewhat (but not very) French sounding but full of wit and verve. Perhaps not quite a masterwork but still a thoroughly fine work which deserves a life in the concert halls.

The second symphony is even better. Cast in two movement, the first (Introduction and song) starts with a long, introspective introduction from which unfolds a stirring and effectively developed song. It is, I'd say, one of the most striking American symphony movements out there. The dynamic, vivacious second movement isn't quite as good as the first, but is still splendidly imaginative and resourceful. The third symphony, entitled `Three Mysteries', is almost in the league of the second. It is an interesting approach; the work is generally solemn and wistful, with a magical tinsel sheen to it - `solemn' in the sense that even the faster music is very lyrical and reflective, even despite the rhythmically invigorating foundation for the choral like themes; there is a sense of calmness over the whole work, not quite like anything else I can think of, but making for a remarkable and quite memorable effect.

In short, this is really good music that deserved to be more widely known. Fortunately the performances are quite excellent; if the National Symphony Orchestra of Ukraine lacks anything in tonal depth or opulence, they make up for it in terms of color and spirit. They appear to be thoroughly at home in the idiom, and Theodor Kuchar makes what sounds to me like the right choices throughout - although the only alternative performance I've heard is Schwarz in no.3 (which is sleeker and more streamlined, but I cannot say I find it either superior or inferior). The sound quality is generally very good. This really is a disc to treasure.