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48 of 48 people found the following review helpful:
5.0 out of 5 stars
Symphonies That Should Be Better Known, August 22, 2003
Ned Rorem (b. 1923) has long-been known as the composer of some of the loveliest and most effective American art songs ever written. The Elektra/Asylum CD of a couple of years ago by Susan Graham, mezzo, accompanied by Malcom Martineau and the Naxos CD by soprano Carole Farley accompanied by the composer even more recently are eloquent testimony to that fact. I wouldn't be without either of them. And just a few months ago we got a magnificent CD of Rorem chamber music, also from Naxos. But here we get a big taste of Rorem's orchestral compositions--three symphonies no less--and I'm here to tell you that they are Important Pieces; their neglect up to now is simply shameful. I keep perhaps tiresomely reiterating how grateful we should be to Naxos for bringing things like these symphonies to us. But practically every month there is a release like this one--wonderful American classical music that we've never heard before, often never even heard OF before, and in superb performances. These three tonal symphonies were all written in the 1950s at a time when the academic mafia was gearing up to brainwash us into thinking that tonal music was unnecessary, even subversive somehow. I remember derogatory comments being made back then that American tonal music was somehow kin to the state-mandated tonal 'music for the masses' from the Soviet Union. Although Rorem's Third Symphony was premièred by Leonard Bernstein, got some play initially and had a fine recording by the Utah Symphony back in LP days, none of these three has been taken up in any significant way by American (or other) orchestras. This may partly have been because Rorem was subconsciously characterized as 'just' a song composer. Whatever the reason, Naxos is righting that wrong by bringing out this spectacular issue of the three symphonies played by the wonderful Bournemouth Symphony under the direction of American conductor José Serebrier, long a champion of Rorem's music. Serebrier's notes in the enclosed booklet are eloquently informative. I can only recall one other recording of Rorem's orchestral music. That was by the Atlanta Symphony under Robert Shaw and Louis Lane and included the wonderful 'Eagles,' long a favorite of mine. If there are others, they haven't come my way. So, I was very surprised and pleased to realize how stirring these three symphonies are. It was no surprise that Rorem can write a long, lyrical line--he's done that plenty in his songs--but his handling of symphonic form, including contrapuntal passages, motivic development, rhythmic interest, exciting fast music (not something I'd associated with him), and masterful orchestration simply bowled me over. In fact, I kept starting to write this review, but kept going back to listen to the symphonies once again. And I kept finding wonderful things to write about, e.g. the hypnotic insistence of the four-note passacaglia theme in the first movement of the Third, the pizzicato passages in the finale of the Third, the maestoso brass chorale opening the Second, the long, lyrical and complex first movement of the First, the gently melancholy second movement with its French tinge--amazing what can be done with a simple triad! Now, Naxos, can we have a new recording of 'Design for Orchestra', once recorded, I seem to recall, by the Louisville Orchestra and how about the incidental music for Tennessee Williams's 'Suddenly Last Summer,' and 'The Milk Train Doesn't Stop Here Anymore'? Otherwise, I'll have to go cold turkey and it won't be a pretty sight. Highly recommended. TT=69:22 Scott Morrison
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39 of 40 people found the following review helpful:
5.0 out of 5 stars
A Winner On All Counts, June 15, 2004
This is an outstanding recording on all counts: music, performance, and sound. Recorded and issued in 2003, to commemorate the composer's 80th birthday, it was nominated for Grammy awards for Best Classical Album, Best Orchestral Performance, and Best Engineered Classical Album, and has received glowing reviews. Rorem's neglected three numbered symphonies (he is best known as writer of songs) were written from 1948 to 1958. The only one previously recorded is the Third, which received its premiere by Leonard Bernstein and the New York Philharmonic in 1959 to much acclaim. These three symphonies are succinct and pithy; their musical language is tonal, eclectic, conservative; they are accessible and immensely attractive; their moods range from power and vigor to playfulness and lyricism, and they have passages of considerable eloquence and beauty. The performances leave nothing to be desired, and the sound is state of the art: open and transparent, with wide dynamic range and full frequency range. Thanks and congratulations to Rorem, Serebrier (who wrote the excellent liner notes), the Bournemouth Symphony Orchestra, producer/engineer Phil Rowlands, and wonderfully enterprising Naxos for a magnificent CD. And Happy Birthday, Ned Rorem!
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23 of 23 people found the following review helpful:
5.0 out of 5 stars
Fabulous Symphonies, August 23, 2004
It is strange that only the Third Symphony of Ned Rorem has been previously recorded. Rorem's symphonies were written in the 1950s when atonal music was the direction most composers were exploring. Hence these lyrical masterpieces tended to be performed and forgotten.
Mr. Rorem described the First symphony as a suite. It was completed in 1950 and was performed the next year. The music is characterized by lush melodies, seeming to describe nature. The influence of French composers, like Faure (particularly in the pastoral opening) is very apparent. As is the prominent use of flute and oboe solos in the orchestration but all this is taken by Mr. Rorem in his own direction. There is mystery and pastoral charm in the Largo that is balanced against the playful charm of the Allegro Finale. This is an appealing symphony that is astonishingly beautiful.
The Second Symphony has been performed less frequently than the First and Third. Composed in 1956, it has a long first movement (over 15 minutes) that is dramatic in character. The symphony takes off with a short theme played by the full orchestra then develops into a somber interlude played by the strings and woodwinds. Eventually, the bassoons initiate a more playful theme that is carried through the entire orchestra with a snare drum tapping out a staccato rhythm. The movement returns to a pastoral theme played by the strings and woodwinds. The final two movements are just over 3 minutes each. The Tranquillo movement is reminiscent of Aaron Copland in the quiet, song-like music and the finale is an exuberant scherzo movement with a nice part written for piano. The appeal of this symphony is certainly the equal of the other two.
The Third Symphony was first performed in 1959 conducted by Leonard Bernstein and is cast in 5 movements. It is a work abundant with beautiful pastoral melodies, playful dance tunes and orchestra fireworks - a well-balance and tuneful symphony that is immediately appealing. The final movement its dance-like melodies and skillful use of the orchestra is very appealing.
What I find appealing about these symphonies are the introspective quiet melodies that seem to be describing peaceful landscapes and the joyous, playful tunes that balance the music. It is music that communicates to the listener is a personal way. Ned Rorem has a way of orchestrating that appeals to the listener with the overall effect. There may not be a tune that one will take away but the experience is nonetheless satisfying. These symphonies were immediately appealing to me and I have played them often since the first time I heard them. I hope that other listeners are just as curious as I was.
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