Adams: Doctor Atomic Symphony; Guide to Strange Places CD
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Dr. Atomic Symphony/Guide To Strange Places
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Pulitzer Prize-winning composer John Adams' Dr. Atomic Symphony, performed here by the St. Louis Symphony Orchestra under the direction of David Robertson, is a thrilling distillation of musical themes from Adams' 2005 opera Dr. Atomic. This 2007 work is a 25-minute white-knuckle ride that manages to convey all the drama, dread, tension and uncertainty that distinguished Adam's impressionistic examination of the life of scientist J. Robert Oppenheimer. It's a tale blending history, politics, science and ethics, centered around 'an anti-hero, laced with deep moral dilemmas,' as Atomic Symphony liner-notes writer Jeremy Denk puts It. It is a real-life saga in which the fate of humanity truly hangs in the balance. And it still does: as the New York Times noted, Dr. Atomic remains 'all too timely.'
Top Customer Reviews
I'm strangely moved by the power of Doctor Atomic Symphony. For one thing, the Doctor Atomic Symphony is the exemplar of how far Adams has taken `process music' and integrated minimalist moves within the larger landscape of orchestral music. His orchestration summons flavors colorful as Ravel, dark as Mussorgsky, as grand as Mahler.
Guide To Strange Places is another strong Adams work, if somewhat typical and easily identifiable as his work. He again demonstrates a skillful and varied hand at orchestration. It opens with strings sawing and swirling punctuated, rather, propelled by slashes of basses and low horns, then tinkles and trumpets atop. It's a whirligig of movement. Other parts slam chunks of hard material at busy-bird Messiaen-ic strings.
The booklet includes the best-written and informative liner notes, by Jeremy Denk, I've seen in a long while. It presents a blow-by-blow technical and descriptive analysis of both works which any layman can understand. Discussing Guide, he explains moto perpetuo as "a kind of compositional fetish: music that depends upon a constant motoric rhythm." All the musicians of the Saint Louis Orchestra are credited by name. Highly recommended.
The album begins with a symphonic suite derived from Adam's opera Doctor Atomic. Most of us of a certain age are familiar with the tragic story of J. [Julius] Robert Oppenheimer and the Manhattan Project. The opera and symphony focuses on the period before the first atomic test explosion and all the doubts and fears of what might occur. The music is filled with dread, energy, power, and future repercussions. The liner notes, written by Jeremy Denk, give a thorough musical analysis of both works like some baseball radio narrator. Both compositions are, in essence, tone poems: impressions of imagined places and historic situations. They are adventurous scoring, and give us another Age of Anxiety, mysterious, uncertain, and contemporary.
The liner notes try really hard to link the music to the opera (triads are atoms! brass chords are explosions!), but I thought the point of the Symphony is to let the music stand on its own?
Having ranted enough, the third movement, "Trinity", is an unexpected pleasure, probably because it focuses on limited material. Here, Adams takes the best aria from the opera and makes it loads better by replacing an overly dramatic singer (you know how opera singers can be...) with a doleful trumpet. It's Adams finally showing his unique genius that's missing from a good chunk of the opera.
Even though the headliner of the disc is the Symphony, I thought Guide to Strange Places stole the show. Why did it take so long to record?? At times there are hints of Messiaen's Turangalila, others parts point the way forward from his works from the late 1990's. Maybe the first few minutes are a perpetual motion as suggested in the liner notes, but the middle section slows down to reveal a cragged, slightly desolate landscape. It never regains that full steam from the introduction, and has that classic, slightly enigmatic ending that Adams writes in so many works, as if there's more to come, but never does.
I've always appreciated Adams's orchestral works more than his operas (with the exception of Nixon in China), so maybe I'm a little biased. I don't think these works are his best to date, but that's ok -- not every disc will be better than the last. The St. Louis Orchestra plays these works so crisply and cleanly, you wonder how they do it.
It's a very good CD. Any John Adams fan will be glad to have it.