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First -Class Copland -Several Fine Arias, A

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First -Class Copland -Several Fine Arias, A Philharmonic com- MUSIC Orchestral Variations (1957) Another New York COPLAND'S mission, Inscape is a more lyrical sibling from page 72 Continued Louisville Orchestra, Robert Whitney, to Connotations. The musical ground note- perfect at the keyboard, he never- cond. Louisville LOU 59 -1, $7.95 (mono traversed seems, however, less broad and theless controls the many gradual and only; Letelier: Aculeo). varied, despite some lovely moments. In structurally important tempo modifica- all these recent works Copland's corn- tions with authority and conviction. With the impetus of a Louisville com- mand of orchestral sonority, his ability to Furthermore, the recorded sound is su- mission, Copland undertook a long- achieve fresh yet characteristic colors, perb, and it will be a tragedy if this standing project to orchestrate the Piano and his continuously innovative sound beautiful record were to remain unavail- Variations. Not at all a recomposition, effects are a source of great fascination. able. the new version adheres strictly to the Once again the performance is good, instrumentally enforced sparseness of the although perhaps less natural in sound The Tender Land (1954) original work -but as a result, the sense than the "live" recording on the re- of resources stretched to their limits that verse side. (Abridged recording) Joy Clements (s), basic feature of the original work is Ma is a Laurie; Claramae Turner (ms), by a continuing question Supplement: Collector's Items Martin; here replaced Moss; Richard Cassilly (t), about why the orchestra is so underused. Richard Fredericks (b), Top; Norman of the original The two main categories of Copland Art Like many admirers Treigle (bs), Grandpa Moss: Choral don't find this orchestration a recordings of interest to the assiduous Aaron form, I Society, New York Philharmonic, success, nor does the performance im- collector comprise: 1) those involving MS 6814, Copland, cond. Columbia prove matters with its assorted inexacti- the composer; 2) those presenting works $5.98. and ill- balanced sound (percus- not currently available. I have not heard Sym- tudes (Orchestral suite, 1957) Boston sion noises often obscure the actual every one of the recordings listed here, phony Orchestra, Aaron Copland, cond. Perhaps the composer's forth- but they all have at least documentary (Appa- pitches). RCA Red Seal LSC 2401, $5.98. coming recording will make a more value; a few that seem still more im- J lachian Spring). convincing case. portant have been mentioned in the body of the text above. These recordings do not really provide Connotations (1962) In the first- mentioned category are an appropriate context for discussion of the following: the Piano Variations (Co- of the verbal and theatrical problems New York Philharmonic, Leonard lumbia X 48, 78 rpm) and Vitebsk Copland's major operatic effort; as far Columbia MS 7431, (Columbia X 68, 78 rpm; on the odd -, Bernstein, cond. as the listener is concerned, the abridged $5.98 (Inscape). sides in these two sets, Jacques Gordon recording (amounting to somewhat more and Copland play the Two Pieces for recom- 1928 than half of the score) may be this point in Copland's career the Violin and Piano, from 1926); the of At mended as containing a good deal recorded picture is still missing a few Vocalise, in which Copland accompanies a first -class Copland -several fine arias, important pieces; as mentioned earlier, Ethel Luening (New Music Quarterly very fine version of good choral number, and the the ballet Dance Panels and the Nonet 1211, 78 rpm); the two -piano act. climactic ensemble from the first have both been recorded and will doubt- Danzón Cubano, with Leo Smit (Con- lines re- suite Close observation of the vocal less soon be released. The next work, cert Hall CHC 51, with the piano song settings dis- Town music, played by veals links with the chronologically, is the one written for from the Our cussed above, and it is clear that the opening of New York's Philharmonic Smit); the Four Piano Blues (London the with Louis composer has sought to achieve a natural, Hall, which so shocked the assemblage LPS 298); the Violin Sonata, the C -10, 78 indeed colloquial, melodic idiom for of dignitaries who presumably expected Kaufman (Concert Hall set setting of "American" English; the re- another Appalachian Spring. There is rpm); and the original, piano- accom- cording, which is well performed and at strain of urgency and tension that panied version of the first set of Old here a (Co- least well balanced in sound, provides had not been so evident in Copland's American Songs, sung by Warfield convincing evidence of his success. orchestral music since the 1930s, and lumbia ML 2206). Less important is the In- The orchestral suite comprises the this fresh manner, coupled with an in- first recording of the Emily Dickinson in troduction to Act III (not included genious variation -type treatment of some songs, with Martha Lipton (Columbia the Columbia recording), the Love Mu- very memorable sonorities, produced a ML 5106), not nearly as satisfactory sic, the Party Scene, and the above - most powerful work with an orchestral from a vocal standpoint as the more this mentioned first -act ensemble. In color all its own. The recording, which recent one with Addison. version one can hear more orchestral preserves the actual performance of the Although this list of works not now detail, and the loss of the frequently world premiere, is well played and quite found in Schwann is probably not ex- undistinguished text is not seriously dis- naturally recorded (there have been, haustive, it may prove useful: Music for work, and turbing, particularly in this fine per- however, a few emendations in the score Radio, a 1937 orchestral of film ex- formance. since this performance). Music for Movies, a suite cerpts including portions of The City on MGM Piano Fantasy (1957) Music for a Great City (1964) and Of Mice and Men (both E 3367, conducted by Arthur Winograd); William Masselos, piano. Odyssey 32 entitled The London Symphony Orchestra, Aaron the 1919 scherzo for piano 16 0040, $2.98 (Piano Variations). Mouse (played by Sanromá Copland, cond. CBS 32 11 0002, $5.98 Cat and the 78 rpm) ; the 1925 (deleted; Statements). on Victor 15861, This enormously ambitious piece again j choral setting of Ezra Pound's celebrated uses serial techniques; of thirty minutes' 7750, a Vien- in part from the 1961 score for An Immorality (Vox PL it is recognizably by the same Derived Children's duration, Wild, this four- nese performance!); Two Variations, but is a film entitled Something composer as the Piano tense, Pieces for piano, written in 1936 (MGM canvas and de- movement work continues in the drawn on a much wider while mak- E 3147); and an Episode for organ, virtuosity of the abrasive vein of Connotations mands far greater gestures and composed in 1941 (MGM E 3064). last fact may have some- ing use of more traditional pianist. This As a result, it may prove None of these will add as much to our do with its relative scarcity on formal devices. forthcoming thing to easily accessible than the earlier picture of Copland as the recital programs. It is also demanding of more but they illuminate work. It was written for the LSO, and Columbia recordings, the listener, in the rewarding way that of his accomplishment. they play it with distinction. various facets difficult masterpieces can be; with famili- Good hunting! arity, the stark harmonies and wide - ranging thematic material can be sorted /nscape (1967) out, and the structural design becomes Harris Goldsmith's discography clearer. This uncompromising but elo- New York Philharmonic, Leonard of the Beethoven Piano Music will MS 7431, issue. quent work is played by Masselos with Bernstein, cond. Columbia be completed in next month's truly staggering virtuosity. $5.98 (Connotations). HIGH FIDELITY MAGAZINE 116 www.americanradiohistory.com.
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