Harold SHAPERO (1920-2013)
Sinfonia in C minor (1948) [10:48] (1)
Credo for Orchestra (1955) [7:36] (1)
Partita in C for Piano and Small Orchestra (1960) [20:35] (3)
On Green Mountain for Jazz Ensemble (1957) [10:01] (2)
Serenade in D for String Orchestra (1945) [34:25] (1)
Vivian Choi (piano)
Boston Modern Orchestra Project/Gil Rose
rec. 2014, Jordan Hall, Boston (Sinfonia, Credo, Serenade); 2015, Distler Hall, Tufts University, Somerville (Mountain); 2016, Fraser Hall at WGBH studios, Boston (Partita)
BMOP/SOUND 1072 [83:30]
Massachusetts-born Harold Shapero’s teachers, mentors and influences formed an impressive line-up: Walter Piston, Ernst Křenek, Paul Hindemith, Aaron Copland, Igor Stravinsky and Nadia Boulanger. The latter, with whom he studied at the Longy School of Music after his Harvard graduation, he credited as his greatest influence. She exhorted him to “write the music you hear inside, and never strain to avoid the obvious. The person who does that is living outside of life”. Another piece of advice he held dear came from Paul Hindemith, who encouraged him “to cover the page with melodies”. As a student at Harvard from 1937-41, he became a close acquaintance of Leonard Bernstein, Irvine Fine and Arthur Berger.
As one of a group of composers who ventured into Neo-Classicism, he was side-lined in the 60s and 70s for a perceived backward-looking approach. Serialism was the flavour of the day, and Shapero’s tonal compositions, based on traditional models, were considered regressive, and gained much disapproval. This, unjustly, led to neglect of his music.
The earliest and most substantial work here is the Serenade in D for String Orchestra, composed in 1945. A well-crafted and delightful score in five movements, it certainly got the thumbs up from Aaron Copland, and went on to clinch the George Gershwin Memorial Prize in 1946. Leonard Bernstein premiered the first movement in Carnegie Hall with the Rochestar Philharmonic. Its rhythmic complexity led Milton Babbitt to describe it as “diatonic Webern”. Yet, it’s not without its stark contrasts. The second movement is a puckish Menuetto, whilst the following Larghetto has a spaciousness and balletic elegance. The finale is lively and, at times, frenetic.
The Sinfonia in C minor appeared three years later, written for the Travelers Insurance Company, and originally bearing the name The Travelers. It was premiered by Efrem Kurtz and the Houston Symphony Orchestra in 1949. It reveals some inventive orchestral writing, zip-tight rhythmic invention and is awash with vivid orchestral colours. Much of the interest for me lies in its shrill and piercing edge.
The spacious textures of the Credo for orchestra have a Coplandesque ring to them, yet Shapero makes the music very much his own. A commission from the Louisville Orchestra in 1955, it was originally intended for incorporation into a concerto for orchestra. It conveys a hymn-like reverence, as its title would suggest.
Brandeis University commissioned On Green Mountain for their Festival of Creative Arts in 1957, which was that year billed as a jazz festival. The title, which translates as Monteverdi, is a “jazzification” of “Zefira torna” from the sixth book of madrigals. Shapero harnesses a harp and drum kit to bolster his instrumental combo. The foot-tapping rhythms and bright and breezy demeanour all add appeal to this gratifying score.
In March 1960, Paul Paray and the Detroit Symphony gave the first performance of the Partita in C for Piano and Orchestra with Seymour Lipkin, for whom it was written. Cast in eight movements, the suite hearkens back to the keyboard partitas of J. Bach, with a series of variation movements opening up a landscape of endless possibilities. Soloist Vivian Choi’s involvement is imaginative and infectious, and she’s ably supported by Gil Rose and his players.
The collection was timed to coincide with the hundredth anniversary of the composer’s birth. The enthusiasm and zeal of the BMOP, under the inspirational direction of Gil Rose, injects new life into this refreshing oasis of scores. This is music with plenty of personality, brimming over with energy, appeal and confidence. The well-written booklet notes will tell you all you need to know. With thanks to all concerned, this release wins my hearty recommendation.
Stephen Greenbank
