- ミュージック商品2500円以上購入で買取金額500円UPキャンペーン対象商品です。商品出荷時に買取サービスでご利用いただけるクーポンをメールにてご案内させていただきます。 詳細はこちら (細則もこちらからご覧いただけます)
Symphonies Nos 1-3 CD, Import
|価格:||￥ 1,863 対象商品¥ 2,000以上の注文で通常配送無料 詳細|
Paul Creston (1906-1985) was a younger participant in the "flowering" of American classical music in the 1930s and 1940s. But rather than aligning himself with the nostalgic, lyrical Romanticism of Aaron Copland, Roy Harris, and Howard Hanson, Creston aligned himself with the rugged, more dynamic aspects of Modernism found in the music of Walter Piston, Peter Mennin, and Samuel Barber. These three symphonies contain none of American Romanticism's melancholia or homesickness, for example, but they do remain mostly tonal and buoyant, soaring with their own energy and inventiveness, particularly Symphony No. 3 (Three Mysteries), written in 1950. Praise must also be given to the National Symphony Orchestra of Ukraine and conductor Theodore Kuchar for their feel for Creston's music--altogether another achievement in Naxos's American Classics series. --Paul Cook
His Symphony No. 2, composed in two movements, is the most substantial work herein. In composition, style and sound it is a mate for Walter Piston's Symphony No. 2 and the Symphony No. 3 of William Schuman. The opus is just as original as the two more famous and accomplished symphonies, in part because it covers much of the same philosophically dramatic ground.
Creston's rambunctious Symphony No. 1 is a roller coaster ride of a symphony full of infectious rhythm, big catchy tunes, stops, starts and twists. At the risk of sounding disingenuous, it seems like it must have been a great deal of fun for the composer to write this work, especially that dipsy doodle first movement. The Ukraine brass players all get quite a workout in this wonderful music.
The final piece on the CD, Creston's Symphony No. 3, subtitled "Three Mysteries", is a Gregorian chant-inspired portrait of the birth, crucifixion and ressurection of Christ. The liner notes say Creston wrote the work to project his own beliefs and that Ormandy premiered the work in 1950.
In my view this is the weak sister of the three. As religious drama it pales when compared to the thousands of musical compositions written about Christ and the ressurection including everyone's Stabat Mater and passions. This opaque music doesn't do anything for me, a true believer that recently performed Bach's St. Matthew Passion.
But with one of Naxos's better recordings and the always reliable Kuchar and Ukraine symphony carrying the day, this CD will be a welcome respite to most fans of orchestral music, especially those that want to expand their understanding of American music.
The second symphony is even better. Cast in two movement, the first (Introduction and song) starts with a long, introspective introduction from which unfolds a stirring and effectively developed song. It is, I'd say, one of the most striking American symphony movements out there. The dynamic, vivacious second movement isn't quite as good as the first, but is still splendidly imaginative and resourceful. The third symphony, entitled `Three Mysteries', is almost in the league of the second. It is an interesting approach; the work is generally solemn and wistful, with a magical tinsel sheen to it - `solemn' in the sense that even the faster music is very lyrical and reflective, even despite the rhythmically invigorating foundation for the choral like themes; there is a sense of calmness over the whole work, not quite like anything else I can think of, but making for a remarkable and quite memorable effect.
In short, this is really good music that deserved to be more widely known. Fortunately the performances are quite excellent; if the National Symphony Orchestra of Ukraine lacks anything in tonal depth or opulence, they make up for it in terms of color and spirit. They appear to be thoroughly at home in the idiom, and Theodor Kuchar makes what sounds to me like the right choices throughout - although the only alternative performance I've heard is Schwarz in no.3 (which is sleeker and more streamlined, but I cannot say I find it either superior or inferior). The sound quality is generally very good. This really is a disc to treasure.
[Running time: 72:39]
In this repertoire, Theodore Kuchar shows himself to be the equal of Gerard Schwarz. Schwarz's recordings are valuable, and they contain works not on this CD. Schwarz was a composition student of Creston's, and this lends him a certain expertise with Creston's works. However, for someone seeking an introduction to Creston, this is the perfect CD. It is inexpensive and exceedingly well done.