Loosely speaking Quincy
Porter may be counted as of the same
school as Roussel. Indeed Porter studied
with Roussel within two years of end
of his three year stay in Paris. There
is no jazziness in this music nor is
it neo-classical, nor central European,
nor does it display overt Americana.
These are the only
two Porter symphonies. This is to be
compared with his ten string quartet
running 1923-1965.
The First Symphony
was premiered by the New York Phil
in 1938. It launches with thunderous
and energetic exuberance recalling Roussel
and Markevitch. There is a baritonal
chestiness to the tone of the strings.
The storm relents with an emotion-drained
cool part Bridge and part Vaughan Williams
but without RVW's sense of the numinous.
There is some convincing punchy work
for the French horns at 1.38 in the
finale. There it resembles Randall Thompson's
writing in the Second Symphony but without
his mastery of emotional yield and eloquence.
The Second Symphony
was commissioned by the Louisville
Orchestra and conducted by Robert Whitney
in Kentucky on 14 January 1964. It starts
with a longish lento - maybe
a degree cooler than the andante
of the 1934 First Symphony. There is
a sly scherzando with a smirk
and a wink recalling Weill in his Second
Symphony. The adagio is cut from
the same cool cloth as the lento.
It must be said that every time the
horns have centre-stage they shine …
and joyously. This they do in the allegro
which is Copland-bright. Works in parallel
style are the Moeran Sinfonietta,
Copland's El Salon Mexico and
William Mathias's irresistibly Latino
Dance Overture although Porter
was not the master orchestrator that
Mathias was.
In the Poem and
Dance Porter is more like Roussel
again. The work was a commission of
the Cleveland Orchestra. The music is
oddly jerky in the Poem and contrary
to model jazzy in the Dance. The high
coursing trumpet and the horn section
takes the part of action while Ravelian
slips and slides portray the reflective.
The title format is pure Creston but
the sound is closer to Roussel.
This disc fills a valuable
purpose and closes up another gap in
the catalogue. Adherents of the music
of Roussel, Hindemith and Markevitch
should seek this one out urgently. Stylishly
done and recorded with resounding impact
and transparency.
Rob Barnett
