Ellen Taaffe Zwilich’s
superbly crafted and strongly communicative
music has been reasonably well served,
as far as commercial recordings are
concerned. However some discs may no
longer be readily available and this
makes the present release all the more
welcome. Zwilich’s present output includes
four symphonies and a number of concertos,
of which the Violin Concerto and Rituals
are recent examples.
The Violin Concerto’s
three movements are laid-out in the
traditional fast-slow-fast pattern,
of which the central one carries the
emotional weight of the piece. The most
striking feature of this impressive
piece is the song-like quality of much
of the writing for violin. This led
one critic to describe the concerto
as "a Love-song to the Violin";
not surprising as the violin is Zwilich’s
instrument. The first movement opens
with a bold, declamatory statement that
sets the tone for much of the ensuing
music and from which the violin takes
its flight. The pace is sustained with
unflagging energy. The slow movement
is based on Bach’s Chaconne developed
into a long, often impassioned song
rising to a big climax before slowly
receding into a final, dreamy conclusion.
The final movement is full of energy
and dance rhythms, but nevertheless
ends in ethereal peace. Zwilich’s Violin
Concerto is a magnificent piece of warmly
lyrical music that compares most favourably
with the concertos by Walton or Prokofiev.
One may yet again wonder why a piece
such as this is not heard more often.
Percussion is often
associated with rituals of some sort,
so no wonder Zwilich chose this title
for her recent percussion concerto.
It was written for Nexus, a crack percussion
ensemble playing a huge array of instruments.
The music exploits the full tonal range
of the ensemble without any attempt
at using the instruments in a "culturally
authentic way" - as the composer
puts it. The four contrasted movements
explore different sorts of ritual: Invocation,
Ambulation, Remembrances
and Contests. Most of the time,
the music perfectly lives up to what
the movements’ titles may suggest. The
third movement Remembrances is
particularly impressive and contains
by far the finest music of the whole
piece. By comparison, the second movement
Ambulation is less successful
partly because the composer seemed unsure
of the direction the music should take.
The music here moves "from processional
through march and dance to fantasy"
and, as a result, lacks internal cohesion.
On the other hand, the final movement
Contests is a brilliant Toccata
providing an appropriately uplifting
conclusion. Heard after the beautiful
Violin Concerto, Rituals
is slightly disappointing, although
it nevertheless is a most welcome addition
to the not overabundant repertoire for
percussion and orchestra.
These performances
by the works’ dedicatees are as fine
as one might wish, and the recorded
sound is to match. One hardly notices
that the Violin Concerto was recorded
live. Those who have already heard and
loved Zwilich’s music will know what
to expect. Those who are new to it will
find here the best introduction possible
to her warmly expressive and communicative
music.
Hubert Culot
see also reviews by
John
Phillips and Colin
Clarke
Pamela Frank (violin)a; Nexusb;
Saarbrücken Radio Symphony Orchestraa;
IRIS Chamber Orchestrab; Michael Stern
