by Walter Simmons
During the past year there were three recordings that met my criteria for Want List inclusion: a) little-known music of the past hundred years, b) in impeccable performances, and c) represented via the finest audio technology. The last criterion is not hard to achieve these days, but the first two are as elusive as they have always been.
The three composers are American, and range in age from 40 (Leshnoff) to 56 (Moravec), and all might be considered neo-tonal postmodernists. Leshnoff is based in the Baltimore area. His music, largely traditional in style, has only recently begun to surface on CD. The pieces I have heard—especially the pieces on this CD (reviewed in this issue)—display a soulfulness and sincerity that make a strong impression. The work that left me with the deepest impact of all his works that I’ve heard is the Double Concerto (violin and viola with orchestra). All the performances on this CD are excellent. I recommend it highly.
Paul Moravec is a considerably more established figure. I have included recordings of his music on previous Want Lists. He has developed an exuberant, mercurial compositional personality resembling that of no other American composer I know, although some may notice a peculiar and probably irrelevant similarity to the voice of Czech composer Bohuslav Martinu. What is especially appealing about this recent release (reviewed in 36:5) is that it features largely magnificent performances of four substantial orchestral pieces, including the Cello Concerto, one of the composer’s most impressive and deeply moving works.
A totally new discovery for me was the music of John Fitz Rogers, a versatile composer based at the University of South Carolina. Although he has a background in both jazz and rock, those genres are largely absent from the works on this CD (reviewed in 36:4), which chiefly follow the same sort of neo-tonal traditionalism as the two others discussed above. Also like theirs, Rogers’s music is expertly crafted, expressively meaningful, and meticulously performed. While strongly recommending this release, I look forward to hearing more of Rogers’s work, as well as acquainting myself further with the music on this disc. Leshnoff, Moravec, and Rogers are all composers whose music is rewarding on first hearing, and more deeply satisfying with greater acquaintance.
Although it was discussed at considerable length in 37:1 by me and four of my colleagues, and my own involvement in the production precludes my adding it to my Want List, I would just like to mention Naxos 8.573060, which features two symphonies for wind ensemble—one by Nicolas Flagello and the other by Arnold Rosner—that are essential listening for all enthusiasts of the wind band medium and its repertoire. Three additional pieces by Flagello are included as well, all in fine performances by the University of Houston Wind Ensemble, conducted by David Bertman.
LESHNOFF Double Concerto. Symphony No. 1. Rush ● Wetherbee/Díaz/Stern, cond/IRIS O ● NAXOS 8.559670
MORAVEC Northern Lights Electric. Clarinet Concerto. Sempre Diritto! Montserrat—Cello Concerto ● Krakauer/Haimovitz/Rose, cond; Boston Modern O Project ● BMOP 1024
J. F. ROGERS Memoria Domi. Sonata Lunaris. Blue River Variations. Once Removed ● Various chamber ensembles ● INNOVA 707 (65:54)