Here are two grandly
proportioned and lavishly stated American
symphonies. They are expressed in serious
but by no means glum language. Each
is in five movements and each follows
the schema of the Ordinary of the Roman
Catholic Mass. They are for orchestra
alone.
In spirit these works
link with Rubbra, Vaughan Williams,
Martinů
and Hovhaness. Loosely grouped they
can be seen as companions to Creston's
Third Symphony and Hanson's Fourth which
also follow, more or less closely, the
Requiem pattern.
Flagello's Missa
Sinfonica arcs from a sturdily Rubbra-like
Kyrie with echoes of the aspirational
pilgrimage of Hanson's Sixth Symphony
to a plunging and catchily playful Gloria
soon lost in romantic wonderment
(4:26). The statuesque Credo
is earnestly reflective, somewhat in
the spirit of Vaughan Williams but with
a more overtly romantic sensibility.
Then comes the sparkling Sanctus
with its rhythmic vigour paralleling
that of the Gloria but with a
curvaceous grand melodic underpinning
that bridges, with a natural continuity
of pulse, to the Agnus Dei finale.
This is romantic (3:20) but firm as
the roots of the mountain and enduringly
memorable for its lyrical heft and clamantly
grasped majesty. The final fade recalls
the confident abnegation of Vaughan
Williams 5 and Rubbra 4.
Arnold Rosner's
Fifth Symphony has practically the
same movement structure and names. As
we know from the frugal catalogue of
his works on record Rosner's music is
serious, shot through with light, borne
up by melody and ever distant from triviality.
The neo-modal accents cannot help but
become entangled in a redolence of Vaughan
Williams - especially his Fifth Symphony,
Pilgrims Progress and Tallis
Fantasia. Hovhaness is also within
hailing distance. Try the start of the
Credo with its shades of the
Armenian-American composer's various
meditative-invocatory works for solo
brass instrument and orchestra. There
is also a spirit of Tudor dance which
no doubt links with Rosner’s opera The
Chronicle of Nine (1984).
In the Agnus Dei the language
bows in endearment towards Nielsen (symphonies
5 and 3) and to Vaughan Williams (symphonies
5, 8, 9). Its climax streams through
the heavens, suffusing the firmament
with an extended and sustained orison.
This work represents a peaceful blessing
bestowed on a cruel world. This is in
contrast to the Flagello which keeps
a Barber-like emotional turmoil in its
tread. Rosner should be treasured as
much as Ronald Stevenson whose Ben
Dorain has recently been premiered
in Glasgow. Let’s hope he is performed
more often than has to date been Stevenson’s
fate.
Make it your business
to hear these symphonies. If you have
any affection for the crudely drawn
comparison works I have given will find
these symphonies rewarding miracles
of melodic expression.
The notes are confided
to us by Walter
Simmons and Arnold Rosner. John
McLaughlin Williams and his orchestra
took trouble over four days in Kiev
to give us concentrated, communicative
and not careful accounts of these emotionally
imposing works.
Rob Barnett
Other Flagello Reviews on MusicWeb
http://www.musicweb-international.com/classRev/2001/Jan01/flagello.htm
http://www.musicweb-international.com/classrev/2006/July06/Flagello_8559296.htm
http://www.musicweb-international.com/classrev/2001/May01/flagello1.htm
http://www.musicweb-international.com/classrev/2001/May01/flagello2.htm
http://www.musicweb-international.com/classrev/2007/Dec07/flagello_AR00362.htm
http://www.musicweb-international.com/classrev/2004/May04/Flagello1.htm
http://www.musicweb-international.com/classrev/2006/Aug06/flagello_8559296.htm
Other Rosner Reviews on MusicWeb
http://www.musicweb.uk.net/classrev/2001/June01/Rosner3.htm
http://www.musicweb.uk.net/classrev/2002/Dec02/dello_joio_hovhaness_rosner.htm
http://www.musicweb.uk.net/classrev/2001/Nov01/Modern_Masters_III.htm
http://www.musicweb.uk.net/classrev/2003/Feb03/rosner.htm
http://www.musicweb.uk.net/classrev/2001/June01/rosner2.htm
http://www.musicweb.uk.net/classrev/2001/June01/Rosner1.htm
National Radio Symphony Orchestra of Ukraine/John
McLaughlin Williams 
