Diamond’s Symphony
No. 2 stands in sharp contrast with
its predecessor (available on Naxos
8.559157, reviewed
here some time ago) composed in
1941. The First Symphony’s virile energy
is completely at odds with the Second
Symphony’s inner tension, deep sadness
and revolt, hopefully dispelled in the
energetic, optimistic Finale. To a certain
extent, the Second Symphony might be
termed Diamond’s "War Symphony".
It was written at the time the United
States was at war. Moreover, it was
written in a period of anxiety for the
composer "as an artist lacking
a solid financial underpinning"
(Steven Lowe’s words in his excellent
notes). The Second Symphony is a substantial
work laid-out on a grand scale, its
four movements playing for three quarters
of an hour. The first movement Adagio
funebre sets the mood. It opens
in a dark, menacing mood hardly relieved
later in the course of the movement.
Even the second main theme played by
the oboe does not offer much solace
to offset the overall sad mood. As a
whole, this often echoes Mahler, although
the long melodic lines, that characterise
so much of Diamond’s work, have an unmistakable
American ring (just think of Harris,
Copland and Schuman in their Third Symphonies).
The aggressive Scherzo is a brief, violent
gesture of anger, again full of tension.
The Andante expressivo, quasi adagio
that follows is tense and sorrowful,
actually bringing little (if any) solace.
The final Allegro vigoroso’s
assertive optimism finally relieves
the tension accumulated in the course
of the preceding movements. One is again
reminded of Harris and Copland. Diamond’s
Second Symphony (which was new to me)
is certainly a masterpiece, and one
of the finest American symphonies of
that period. I can only think of Harris’s
magnificent, though still shamefully
underrated Fifth as a possible rival.
The compact Symphony
No. 4 in three short movements
of fairly equal length is a completely
different piece of music, even if Diamond’s
hallmarks are there. Its overall atmosphere
"is fraught with thoughts of mortality
on the part of the composer" (Steven
Lowe’s words again). The modally-inflected
first theme of the opening Allegretto
is redolent of Vaughan Williams (his
Fifth Symphony), whereas the second
theme’s pastoral mood brings some contrast.
Both themes are neatly worked-out (echoes
of Rubbra here) while the music gathers
some momentum before reaching a comparatively
calm, though rather abrupt close. The
second movement opens with a powerful
brass gesture leading into what the
composer described as "a chorale-like
theme of religious and supplicating
nature". The mood of the third
movement is again one of robust energy
effortlessly sustained till the assertive
peroration. Another major symphonic
achievement in spite of its brevity
(it is all over in about a quarter of
an hour).
The original recordings
of these symphonies were released in
Delos’s first volume of their unfortunately
incomplete Diamond series (DE 3093).
That disc also included the Concerto
for Small Orchestra which has
been inexplicably dropped in this re-issue
although Naxos’ advertisement in The
Gramophone - July 2004 does actually
mention it. I really wonder why, and
only hope that it will soon be re-issued
in a forthcoming Diamond disc from Naxos.[see
footnote] This, however, is a
superb release, that devotees of Diamond’s
music, who might have missed the original
Delos disc, will want to have. These
works are simply too good to be ignored.
Hubert Culot
[footnote]
Our understanding is that Naxos only
has the rights to Seattle Symphony recordings.
The concerto is played by the New York
Chamber Symphony. For the same reason,
the Naxos Piston 4th CD is missing material
from the original which was played by
other forces.
see also review
by Rob Barnett
Seattle Symphony/Gerard Schwarz 