Most Helpful Customer Reviews
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11 of 11 people found the following review helpful:
5.0 out of 5 stars
WOW!, May 23, 2003
I first heard this recording of the Walton "Feast" on a local classical station, and rushed out the next day to purchase it. It has been one of my "4 Favorite Pieces", and I have been blessed to have performed it twice. It is horrendously difficult to perform for both choir and orchestra, which makes me appreciate the Shaw recording even more. But for the listener, this is still a thrilling recording. I like to think of Shaw's interpretation as relentless: he never lets you go from the opening horn fanfare. The diction of the chorus never suffers from tempo, and the brass is spectacular. What is even more thrilling is to realize that Shaw set up his chorus and orchestra as the score demands: 2 seperate choruses and 2 seperate brass choirs. It is loud, it is bellicose, and it is gentle. The choir whispers the section "The trumpeters and pipers" all the way to the end of that section "shall shine no more." Married with this wonderful recording is the Bernstein "Chichester Psalms", a seldom heard but worthy piece of music. It is rousing, robust, and tender.
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Outstanding Outlandish Choral Works, March 31, 2006
Leonard Bernstein and William Walton were diverse composers, utilizing a variety of techniques, not only of their own time, but also from the past. Their most famous large-scale choral works are represented on this disk, works masterfully displaying their individualized styles: Walton's Belshazzar's Feast and Bernstein's Chichester Psalms and Missa Brevis.
Walton's 37-minute oratorio, Belshazzar's Feast, is scored for large orchestra, including saxophone, two additional brass bands, a multitude of percussion (slapstick, anvil, castanets, xylophone, etc.), piano, organ, as well as a double chorus and baritone soloist. The text conveys the story of the Babylonian captivity and King Belshazzar/Nebuchadnezzar. The work features stunning choral writing, seen at the outstart for a cappella choir which first sets the scene and mood. The action moves to the pagan feast of King Belshazzar and their worshipping of heathen idols, an orgiastic musical setting of great invention. The famous "handwriting on the wall" is proclaimed by the baritone soloist, before a joyous exaltation of Alleluia's directed to the end of Israel's captivity. A great variety of choral writing is implemented throughout, including both orchestral and a cappella settings; lush chorales, grand fugues, and everything inbetween; all very difficult to perform, occasional colorings of dissonance, polytonality, and "English"-isms, and colorful, dramatic, music. Of interest, is the orgiastic feast praising the various metallurgical gods (featuring the outlandish orchestration) and the unashamedly English sounding, joyous conclusion. My love of this oratorio is unparalleled, intimate musical settings vs. extroverted, and is well programmed with the Bernstein compositions.
Commissioned for the Cathedral of Chichester, the Dean asked for something which would bring the spirit of West Side Story to a religious perspective. Chichester Psalms is just that and more. The text is from Psalms, but sung in Hebrew, and unusual choice for an English cathedral. After a forceful, angular, dissonant introduction, a whimsical dance is taken up in 7/4 time, sometimes forceful, other times light, altogether it is a riot. The second movement features, on this recording, a solo counter-tenor; a beautiful and emotional musical rendering, the simplicity of the harmonic movement and subtle jazz inflections, and scoring for women's voices is breathtaking. A frantic patter song takes over and eventually the two contrasting textures overlap. A re-orchestrated version of the opening begins the 3rd movement, angular and dissonant. But a peacefully flowing melody, first heard in men's voices with not-so subtle chromatic shifting of harmonies, brings the work to an uplifting close. Scored for large orchestra, Bernstein also dramatically shifts between outlandishly grandiose to simple intimate settings of orchestra and voice; a master of drama, this choral work is a sentimental and moving choral work. The unusual Missa Brevis, "Short Mass", also by Bernstein, was music originally written for a drama about Joan of Arc. The music is ancient and medieval sounding, rather transparent, scored for chorus, solo counter-tenor, and percussion only, the medieval rhythms and modern polytonality create quite a unique work. Both works are about 19 minutes long.
These highly dramatic and unique compositions by Leonard Bernstein and William Walton for chorus and large orchestra are masterfully performed by the Atlanta Symphony Orchestra and Chorus under Robert Shaw. The astounding Telarc sonics make every orchestral voice and every vocal sound (text and tone) sound exceedingly clear. In addition, there is a feeling of unbridled passion which bristles throughout these works. While in the scheme of musical history these may seem minor works, they have grown to become my favorites; a great recommendation for some different, superb, dramatic choral works and performances.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
I Love Bernstein!, May 11, 2002
By A Customer
Chichester Psalms is hard to find. This piece deserves more credit than recieved. Written by Bernstein for Chichester Cathedral, the hebrew language really brings out the the overall meaning of the three movements. It's a very powerful work he's written and I think Robert Shaw does a fine job conducting this. The dynamics, tempo, and everything is nearly perfect! The Atlanta Symphony does a fantastic job as well. Be sure to keep your hand on the volume because the dynamic contrast is incredible! Just as it should be.
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