A Gorgeous, Historically Rich New Album of Rare American Works for String Orchestra
One of the most richly fascinating and historically important releases of recent months is the Gowanus Arts Ensemble‘s new album American Romantics: Premiere Recordings of Turn of the Century Works for String Orchestra. Reuben Blundell, who has enjoyed a productive association with the Chelsea Symphony, one of New York’s most enterprising, consistently entertaining orchestras, conducts this similarly enterprising group of Brooklyn string players, with meticulous attention to detail. On one hand, this album – streaming at Spotify – has immense value for rescuing these works, all by American composers, from obscurity. It’s every bit as enjoyable as a collection of lush, low-key, often moody Romantic nocturnes.
Eighteenth century Danish immigrant Karl Busch’s Omaha Indian Love Song, from his Four North American Legends suite, opens the album on a soberly waltzing, rather plaintive note. As stark as the music is, its colors are especially vivid, the low strings evoking a horn section. Later on, the ensemble makes precise work of his fascinatingly Asian-tinged Chippewa Lullaby, and finally his achingly understated Elegie. Fans of the Barber Adagio will especially enjoy discovering that one.
Julian Schwarz’ elegant cello takes centerstage along with some playful pizzicato high strings in German-born Paul Friedrich Theodor Miersch’s Pleasant Memories, which is far more dynamic than its blithe title would suggest. Best remembered in the organ demimonde, early 20th century composer Ludwig Bonvin is represented by his gently balmy Christmas Night’s Dream. A lullaby by German-born Karl Hillman, who enjoyed an unusually versatile career as a Chicago Symphony Orchestra multi-string player, takes a striking detour toward the somber before returning with a delicate triumph. Horatio Parker, another composer best known for his works for organ, is remembered with a lively rendition of his uneasily waltzing, Italian baroque-tinged Scherzo for Strings.
The ensemble takes graceful flight on the wings of prolific New Orleans creole composer Eugène Dédé’s picturesque waltz Abeilles et Bourdons (Bees and Bumblebees). Yet another esteemed American organist and composer, Arthur Foote, is immortalized here with his lush, enigmatic, canonic Air & Gavotte for Strings
Boston composer Frederick Shepherd Converse’s Serenade, yet another waltz, contrasts poignancy alongside the most lighthearted piece here, a scherzo by Milwaukee-born Henry Schoenefeld. What a fantastic album, with seamless and lustrous playing from violinists Hiroko Taguchi, Orlando Wells,Yuiko Kamakari, Elizabeth Nielsen and Sarah Zun; violists Entela Barci and Carla Fabiani; cellists Julian Schwarz and Alisa Horn; and bassist Rick Ostrovsky. It makes a valuable companion piece to organist Gail Archer‘s An American Idyll, a similarly historic collection of works by American composers working the “organ highway” from New York to Washington in the past century.
And the Chelsea Symphony – under the direction of Blundell and Matthew Aubin – play two concerts this weekend at their home base at St. Paul’s Church, 315 W 22nd St. The centerpiece of both programs, Friday, Sept 9 at 8:30 PM and then the following night, Sept 10 at 7:30 PM is Tschaikovsky’s Symphony No. 4. Friday’s bill is especially enticing, with Zhou Long’s orchestral arrangements of Chinese folk songs plus the Richard Strauss Oboe Concerto with soloist Rachel Seiden. Saturday night’s program switches out the Strauss for the Elgar Cello Concerto; suggested donation is $20.
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