This is a fine orchestra and they play an interesting program of new compositions by The Kennedy Center’s “Composer in Residence”, Carlos Simon. I found the music interesting, but a bit variable. While the program starts off with some appealing and audience-friendly melodiousness, it concludes with less pleasant contemporary displays, often angry, without enough compositional (or creative) substance to support it. (More on this when we get there.) And inexplicably sandwiched in the middle of this album titled, “Four Symphonic Works”, is a song cycle for mezzo soprano – (Why?) – which I summarily skipped over without consideration.
The program begins with a short, lively “orchestral study”, The Block, which has a kind of urban, jazzy, movie-music feel to it. Colorfully orchestrated, we hear a lot of piano contribution which lends it a bit of a Dave Grusin flavor. It is highly entertaining, with plenty of high spirits, and we’re off to a good start.
Tales: A Folklore Symphony isn’t really a symphony, but rather a suite of orchestral arrangements of Negro Spirituals with a vigorous introduction. The opening “Motherboxx Connection” is a busy, bustling moto perpetuo – less jazzy than The Block, and a bit more symphonic, but similar in feel. It is rhythmically propelled rather than melodic or thematically structured, but certainly attracts our attention. The melodies arrive in the central movements as Simon subtly incorporates familiar Negro Spirituals as the melodic (and thematic) basis. “Flying Africans” is a nicely orchestrated arrangement of Steal Away to Jesus. It is a wonderfully expressive, richly harmonious orchestral setting, pleasing and thoughtful, and Noseda draws some sumptuous string sound from the orchestra. “Go Down Moses”, an arrangement of Let My People Go, is much more rugged, with lots of brass which frequently reminded me of band music. Simon doesn’t stick with the tune for long and it seems to lose its way as it goes. It is more modern (and dissonant), with some interesting effects and scurrying strings, interrupted by pounding rhythms from the entire orchestra. Being the longest movement in the work (over 8 minutes), it tends to outstay its welcome and musical interest.
Tales closes with “John Henry”, which remains in rugged sonic territory with lots of percussion and brass, and cumbersome, heavy rhythms. This sometimes sounds like it could be an epic film score – and in a couple of places, it actually reminded me (with a smile) of Ferde Grofe’s long forgotten Death Valley Suite, with its depiction of a lumbering wagon train. Taken as a whole, this is an interesting piece – pleasing and imaginative, though a bit determined in places, and perhaps a touch overlong there in the middle.
Quickly grabbing the remote to skip the song cycle, I was hesitant to start a 20-minute, continuous, single movement “concerto for orchestra” at this point, but I forged ahead. Wake Up! starts promisingly, with some atmospheric and descriptive music, aided by some intriguing orchestration. But it soon becomes determinedly more contemporary, propelled primarily by rhythmic impetus without a necessary thematic or melodic material compelling it. (The composer’s program note states there is, in fact, a 2-note motif.) It occurred to me, that without the incorporation of Negro Spirituals (as in Tales), this composer isn’t particularly gifted at writing melodies. (To be fair, I say the same about Copland and Ives.) I am reminded here of an energetic film score for an action movie sequence – lots of percussion and high powered brass, interspersed with some string intensity – including a few brief passages played with very wide vibrato (perhaps ¼ tones?), which I wished the composer had utilized more often.
There are some interesting sections along the way, as Simon exploits a variety of percussion, along with intriguing, atmospheric harmonies in the orchestra, creating a captivating sense of anticipation. But pounding brass and percussion interrupt again and again, and I miss a real thematic thread, or even a melodic motif, connecting it all. Despite some tantalizing passages and imaginative orchestration (and even a hint of a film noir soundtrack and a lovely violin solo in the central section), the composer doesn’t sustain what he starts and keeps wandering away from it – usually sounding rather angry about it. And it all sounds a bit disjointed and goes on for too long for what it is.
This isn’t really a concerto for orchestra (just as Tales isn’t really a symphony); this is a programmatic tone poem rather than a showpiece. The orchestra certainly gives it their all though, including some outstanding playing from principal players (especially a wonderful trombone late in the piece), and Noseda provides inspired leadership on the podium.
If ultimately this all sounds like faint praise, I suppose it is. I don’t mean to be overly critical though, for there is much to enjoy. But despite displaying real talent and imagination (and skillful orchestration), when compared to some other fantastic new music I’ve heard recently (orchestral music by Adrian Sutton and Kenneth Fuchs, the collection of new American music from the Buffalo Philharmonic, and string quartets by Joseph Phibbs – all reviewed here on my blog), this just isn’t quite as memorable or creatively interesting.
As to the production, it is elaborate. This is a multi-channel SACD, housed in a hardback enclosure with highly attractive cover art and extensive program notes inside. I don’t think I had ever heard a recording made in The Kennedy Center, and I’m pleased the sound is so good – warm, colorful, detailed and dynamic. These pieces were recorded live in concert, and with the orchestra given an upfront presence (but not too close), with plenty of immediacy, audience noise is virtually non-existent and applause has mercifully been edited out.
It will be interesting to see what happens to Mr. Simon’s residency going forward with Charles in Charge of The Kennedy Center. The music on this album exhibits so much promise, I hope he can continue composing somewhere somehow.
