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Customer Reviews
So it all sounds very pleasant with an air of small town America too it. Whatever the musical language, I'd prefer the composer to grab my attention with something. Sadly, these symphonies don't. Recommended if you want nice background music.
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
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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