John Philip SOUSA (1854-1932)
A Sousa Celebration
Track list at end of review
Royal Scottish National Orchestra/Kristjan Järvi
rec. 22-23 September 2016, Henry Wood Hall, RSNO Centre, Glasgow
Reviewed as a Studio Master download from
Chandos.net
Pdf booklet included
CHANDOS CHSA5182 SACD
[68:29]
Celebration is the key word here; much of Sousa’s output was intended for
public occasions, Chandos continue their long-running relationship with
this orchestra, and now we have Kristjan Järvi’s welcome return to the
label after a break of nine years (their collaboration on Franz Schmidt’s Das Buch Mit Sieben Siegeln dates from 2007). Järvi’s superb account
of Leonard Bernstein’s Mass, which I
reviewed
in 2009, was one of my Recordings of the Year. Adding to the good news,
this gig extends the family’s significant involvement with the RSNO, of
which Kristjan’s father, Neeme, is now Conductor Laureate.
Of the various contributors to this new release the Sousa specialist and
conductor Keith Brion is probably the best known, not least for his
16-volume Naxos series devoted to this composer’s oeuvre. I much enjoyed
his disc of
Sousa’s Greatest Marches, recorded with the Royal Artillery Band. His skills as an arranger/editor
include several pieces by Charles Ives, as played by ‘The President’s Own’
United States Marine Band under Col. Tim Foley. I
reviewed
that CD, another in the Naxos Wind Band Classics series, back in 2007.
As Sousa was most famous for his marches, The Washington Post seems
like a good place to start. Commissioned by the newspaper’s owner for an
awards ceremony, it gets a splendid outing here; the RSNO are a remarkably
refined ensemble, and that’s never in doubt here, but they’re also at ease
with this quintessentially American music. Indeed, Järvi’s well-judged
tempi and his inherent good taste – not too much brass – augur well
for the rest of this collection. And while The Thunderer might
suggest another famous newspaper – The Times of London – the exact
origins of Sousa’s march are unknown. This one also gets a very fluid – and
fluent – performance, bringing with it echoes of old Europe.
Of the marches from this period, Semper Fidelis in particular brings
to mind the music of Franz von Suppé and others of his ilk. The RSNO timps
and side-drum are superbly caught here, and the recording has an unforced
airiness that’s just perfect for this potentially bombastic repertoire. And
although The Liberty Bell is inextricably linked to Monty Python – making me smile whenever I hear it – Järvi gives it a
sophisticated air that’s anything but irreverent. That said, there’s a real
sense of fun here, maestro and players clearly enjoying themselves at every
turn. Meanwhile, listeners will appreciate the nicely varied programme,
which seasons Sousa’s best-known fare with less familiar titbits.
Among the latter – for me, at least – are the overture and circus galop
from Sousa’s final (and incomplete) operetta The Irish Dragoon.
Infectiously played, this music recalls Rossini at his lithe and propulsive
best. Oh, and don’t forget Meyerbeer – he’s in there too. Sousa’s Dwellers of the Western World suite, written for his world tour in
1911, doesn’t quite avoid racial stereotypes. That said, the rhythms
of The Red Man are subtly done, and there’s a thrilling glimpse of
the open prairie that wouldn’t disgrace Copland or Thomson. The White Man is the builder – cue industrious hammering – and The Black Man is characterised by music of vigour and delight. Not
vintage Sousa, perhaps, but well crafted and winningly played.
Sousa was also a dab hand at the waltz. Those from the unpublished Sandalphon are certainly engaging, even if they don’t always have
the lightness or easy invention of their Straussian counterparts. Still,
that swoony theme is delectably done, as is the element of oom-pah-pah that’s intrinsic to wind bands. The real surprise comes
at the end, where the music suddenly takes flight in the most exhilarating
way. I almost expected a burst of applause after that one! And while the
waltzes from his operetta El Capitan are more robust than romantic,
Keith Brion’s splendid orchestration gives them added bounce and brio.
And did you know Sousa did the tango, too? I simply couldn’t resist the
slinky charms of The Gliding Girl, who could be my dancing partner
any day. This is a lateish little number from 1912; ditto the two
Humoresques on the song Swanee, from the Gershwin-Caesar revue Demi-Tasse (1920), and Kern-DeSylva’s Look for the Silver Lining, from the musical Zip, Goes a Million (1922). Although Broadway tunes, Sousa and Brion
give them a rather different flavour. Christopher Hart’s B-flat cornet in
the fast-flowing Swanee and the whistle and Simon Lowdon’s xylophone
in the Kern are yet more smile-inducing moments in an already light-hearted
collection.
Keeping the best ‘til last, Järvi gives a pretty swift account of Sousa’s
signature piece, The Stars and Stripes Forever. In keeping with the
rest of this album – and Keith Brion’s admirable contributions thereto
–
this isn’t as high octane a performance as some; that said, Janet
Richardson’s spirited piccolo playing and the detailed recording make for a
terrific sign-off. I’ve heard Järvi père in several ‘light’
programmes in recent years – his Chabrier and Saint-Saëns come to mind –
and I’d say Kristjan has just the right touch for this rep. As for Patrick
Warfield’s liner-notes, each work is identified with a bold sub-heading,
which means readers don’t have to plough through acres of text to find the
entry they’re looking for. A small but welcome touch.
A good selection of Sousa pieces, albeit in arrangements by other hands;
lovely playing and sound.
Dan Morgan
Track list
The Washington Post
(1889) [2:51] Ed. Clark McAlister
Sandalphon
(1870s, rev. 1886) [8:25]
The Irish Dragoon
(1915)
Overture [3:25]
Circus Galop [1:26] Ed. Loras John Schissel
The Thunderer
(1889) [2:22] Orch. Keith Brion
Humoresque on ‘Swanee’ (1920) [5:08] Arr. for orchestra Keith Brion
The Invincible Eagle
(1901) [3:20] Arr. for orchestra Keith Brion
Nymphalin
(1880) [3:12]
On Wings of Lightning
(1876) [2:04] Ed. Loras John Schissel, arr. Harold Sanford
Humoresque on ‘Look for the Silver Lining’ (1922) [4:56] Sousa’s original
version combined with Ray Dvořák’s by Keith Brion
Semper Fidelis
(1888) [2:22] Ed. McAlister
Dwellers of the Western World
– Suite (1910) [12:31] Orch. Otto Merz
The Red Man [3:42]
The White Man [5:21]
The Black Man [3:20]
The Liberty Bell
(1893) [3:15]
El Capitan
(1896)
Waltzes [3:46] Orch. Keith Brion
March [2:03] Arr. Harold Sanford
The Gliding Girl
(1912) [2:48] Ed. Loras John Schissel
The Stars and Stripes Forever
(1896) [3:20] Arr. and adapted for full orchestra ‘in the Sousa style’ by
Keith Brion and Loras John Schissel
