Classical Music Reviews
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Articles from Sequence II:
BRITTEN War Requiem
CORIGLIANO Of Rage and Remembrance: Symphony No.1
|
a survey of contemporary composers
John CORIGLIANO (b.1938)
Of Rage and Remembrance
Symphony No. 1 |
Male Choruses of the Oratorio Arts Society and Choral Arts Society of Washington · Robert Shafer · Norman Scriber chorus directors
Lambert Orkis piano · David Hardy principal cello ·
Glenn Garlick asst. principal cello
National Symphony Orchestra conducted by Leonard Slatkin
Michelle De Young mezzo soprano ·
Michael Accinno boy soprano ·
Robert P. Baker tenor I ·
Michael Frost tenor II ·
Jason Stearns baritone I ·
James Shaffran baritone II
RCA Victor Red Seal (BMG Classics) 09026-68450-2
[53:23] full-price
There are two recordings of this Symphony that have received acclaim. One is by the Chicago Symphony Orchestra conducted by Daniel Barenboim released on Erato (2292 45601-2), and the other this disc by the National Symphony Orchestra under Leonard Slatkin. Both achieve superlative performance and recording standards. The music makes virtuosic demands on the orchestra
and both deliver every dynamic with crisp execution and flair.
The one thing that puts this RCA recording above Erato's is the inclusion of the Chaconne "Of Rage and Remembrance" based on the third movement of the Symphony, here receiving its world-premiere recording.
The unique Chaconne can be looked upon as an extended movement that would actually fit quite well into the Symphony proper. Of course, it stands well on it's own too. It draws from the same source - the AIDS
epidemic - and shares the motif of "Giuilo's Song" from the Symphony. The forces employed are a mezzo-soprano, boy soprano, large male chorus, low strings, timpani and chimes. It is ritualistic in the sense that the chorus participates in the music as the scores directs "members in the chorus who have lost friends and wish to remember them" chant their names out loud as they exit. A certainly ingenius use of Cage's "Chance" technique - each performance is different from any other, and intensely personal to the participants.
The performance of the Chaconne is appropriately atmospheric with the stark setting created by the poetry. Michelle De Young has what I think the perfect voice for the part. The short solos from the male choruses are also expressively taken. On first listening, the idea of the piece seems rather
indulgent but one gets drawn into its sincere and simple expressiveness. One is reminded of Barber's Knoxville: Summer of 1969 and Bernstein's Chichester Psalms though the use of the boy soprano in the latter (same psalm) is much more serene and hopeful. As the final note of the boy soprano fades away, a long pause separates it to the next track which begins with a shocking hammer-blow right after the peaceful diminuendo.
The National Symphony Orchestra is extremely impressive, with airtight ensemble and a powerful brass section that can only be described with superlatives. The lower brass and the percussion really give their all and the result is truly awesome. As far as the loud sections in the piece go,
I have absolutely no complaints. It's as precise as it gets. Though this is a 'live' recording, the dynamics are surprisingly clear, certainly comparable to any studio recording. The excitement and presence of the orchestra 'live' contributes greatly in contrast to Barenboim's studio recording.
Slatkin's hand is clearly obvious in the delivery as he ensures the transparency of the phrases, and there is not one moment of slipshod entry. As with some recordings of contemporary works, one doesn't get the impression that there is any amount of "bluffing" (since few have heard the music), this being such a complex work. His "no holes barred", very American-type dazzling outbursts and extreme dynamics is reminiscent of his work with the St. Louis Symphony, with which he released several discs of American works of distinguished quality.
Slatkin is also extremely thoughtful and sensitive to what Corigliano must have intended in the sections where memories fade in and out, creating the effect of windows in time. At times, one might hope for a little bit more angst in some of the more passionate string melodies, but the restraint is probably in good taste.
Whether it is the fault of the work or the pacing of the conductor, I found the final movement rather unsatisfying on recording. Though I suspect in 'live' performance the quietude will work perfectly, on recording the epilogue sounds peripheral. I would have expected something like
the Chaccone in the first track (which I think would be a most wonderful conclusion to the symphony) but the short ending with numerous recapitulations from earlier movements just didn't work as well for me.
I highly recommend this recording above Barenboim's for the coupling, which is a valuable highlight on this disc. Whichever you might like to own, I think Corigliano's Symphony No.1 belongs on the shelf of every music-lover, whether or not one normally goes for contemporary works. Beethoven was also contemporary once. So if you give this a chance minus the traditional expectations of what music must be, this will be a sonic feast that you will not forget.
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The composer employs tone rows to create the vocal lines, above the solemn Chaconne while the solo cellist plays a beautiful singing melody. The text is an achingly moving poem by William M. Hoffman (librettist of The Ghost of Versailles) which begins "This is the season of stone", marvellously stark and dark. In addition, Corigliano employs a quotation from Psalm 23 ("Yea, though I walk through the valley of death") sung by boy soprano, sweet and innocent - a faint glimmer of peace and consolation.
553: 4.8.1999 ©Adrian Tan