Yes another compilation from Naxos this time
from their ever-burgeoning catalogue of American music of the
19th and 20th Centuries. On this occasion
it is an idea that works well. Now I don’t go much on these compilations
but this one has afforded quite some pleasure in our household.
First it puts side but side an interesting combination of pieces.
Secondly some pieces are not at all well known especially in Europe.
Perhaps the long-lived Leo Ornstein’s ‘A morning in the woods’
for solo piano could go into that category. Thirdly because it
includes some little known composers for example Jerome Moross
(who, incidentally wrote the music for the famous film ‘The Big
Country’) and his one act Ballet-Ballad. Fourthly because the
performances are good and the recordings of top quality.
Let me put some meat on the bones.
The earliest piece here is Sousa’s rousing ‘Semper
Fidelis’ written in 1888 ‘in tears’ according to the anonymous
booklet notes. Mrs.H.H.A.Beach (Amy) is represented by an enchanting
Piano Concerto, unperformed in Britain. The Scherzo is a virtuoso
movement written for herself to play. It dates from 1898/9.
The rest of the disc is devoted to the 20th
Century. I particularly like how some lesser-known works represent
the more famous names. Copland with the ‘Danza de Jalisco’ one
of the ‘Three Latin-American sketches’ finally premiered in 1972
is one of the composer’s last orchestral works. There are many
well-known pieces by Leroy Anderson so it was a nice idea to represent
him by ‘The syncopated clock’. It is typical of his output but
is less often heard although it was his first golden disc and
a US charted hit.
Charles Cadman’s piece was once a popular drawing
room tune for sentimental Sunday afternoons. Its revival now is
a reminder that cross-over is not solely the province of modern
Americans but was an essential for any composer wanting to attract
a public and to make a little money.
Moving into our own times many of you who buy
compilations may not have even heard of Michael Torke who could
be described as a minimalist. I met him once and found him to
be quiet and focused. ‘Rapture’ is a sensuous yet exciting mix
aiming at a "transcendental state of sexual rapture".
You might be able to find out whether that is so or not in more
ways than one.
Each piece is given about a dozen lines of useful
notes and it is clear which CD each track is culled from. This
is, of course, in the hope of course that you might follow them
up. The danger for the company with such a compilation is that
you will find it sufficient unto itself and not find the need
to purchase further on the grounds that your collection is now
sufficiently represented in this particular type of repertory.
I must say that as a result of hearing the music I now find the
Jerome Moross extract mouth-wateringly fascinating and Ned Rorem
a composer who is worth spending some time with. I already know
Amy Beach’s music a little but shall look out for the Piano Concerto.
So you could say, with me, that on this occasion the compilation
ploy has worked. But what about you?
Gary Higginson
see also review
by John Quinn
NAXOS 8.559200 [64.58]