Royal Philharmonic Orchestra • Dalia Atlas Macbeth
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Ernest BLOCH Symphony in E flat major Macbeth: Two Interludes • Three Jewish Poems • In Memoriam Royal Philharmonic Orchestra • Dalia Atlas Ernest Bloch (1880-1959): Symphony in E flat major that of the Macbeth Interludes, but employing an expanded Symphony in E flat major. The key of E flat major is Macbeth: Two Symphonic Interludes • Three Jewish Poems • In Memoriam percussion section) is voluptuous, and the contrasts of emphasized at the beginning by a deep tonic pedal-point, mood are dramatic. According to Bloch, the rise and fall in and is re-established at the very end. The basically tonal Born in Geneva in 1880, the son of the owner of a clock two-part orchestral piece, Deux Interludes Symphoniques intensity in the first movement, Danse, suggest the foundations of each respective movement, however, are business, Ernest Bloch spent periods of his life in (1939), some three decades after the completion of the improvisations of tribal musicians and the erotic gestures of often overlaid by extreme melodic and harmonic Germany, Paris and the United States, as eclectic, opera. He prefaced each Interlude with a programme note a half-dressed woman during a nocturnal ritual in honour of chromaticism. Though there are some turbulent passages, perhaps, in his choice of residence as in his music. He in the score, indicating how his musical representations of Astarte or Baal. The second movement, Rite, begins and this work reflects the overall economy and relative reserve studied in Geneva, with violin lessons from Louis Rey and characters, emotions and situations were manifested ends with a priestly procession. The central section depicts typical of the neoclassicism of many of the works that Bloch composition from Émil Jaques-Dalcroze. In 1897 he went through a multiplicity of leitmotifs. These are associated, in sacrificial acts and their effect upon a terrified crowd. In the wrote during his “second American period” (1939-59). The to Brussels, where he took lessons from the violinist Interlude I, with the Witches’ prophecy, the dagger, fate, finale, Cortège funèbre, Bloch gives full vent to grief at his outer two movements call for the same forces as the Eugène Ysaÿe and in composition with François Rasse, a Macbeth’s exaltation, the proposed murder of King Duncan, father’s passing. Following passages of searing intensity, a Macbeth Interludes (but with a smaller percussion section former pupil of César Franck. He went on to study further Lady Macbeth, night, and lastly, peace (in that order). melody in C major quoted directly from Invocation – the last and without the harp), whereas the inner two require the in Frankfurt and from 1901 to 1903 was in Paris, before Interlude II contains material from Interlude I as well as new of his four Poèmes d’Automne for voice and piano (1906), instrumentation used for In Memoriam (plus two trumpets). returning to Geneva to work in his father’s business, while leitmotifs, and falls into two distinct sections. The first and an echo of the first theme from Danse, bring the work to The first movement comprises five short sections. The first, continuing to develop his abilities as a composer. He first comprises the Witches’ dance, Macbeth’s intoxication with a peaceful conclusion. third and fifth, marked Tranquillo, contrast markedly with the went to America in 1916, working as a conductor for the power, destiny, royalty, his bitterness and doubts. The In Memoriam was completed in Agate Beach, Oregon, second and fourth, marked Allegro deciso. The questioning Canadian dancer Maud Allan and her company and going second describes the Witches, Macbeth’s remorse, on Christmas Eve 1952. This brief elegy was dedicated to nature and predominantly contrapuntal texture of the former on to teach at the Mannes School in New York. From retribution, melancholy, desolation, and royalty. The climax the memory of the pianist Ada Clement, who once alternates with the strident homophonic and unisonal writing 1920 to 1925 he was the first director of the Cleveland centres upon his despair, following which the themes of expressed particular affection for a teaching example that of the latter. The second movement, Allegro, follows without Institute of Music. There followed a period as director of peace and remorse bring the Interlude to a subdued close. Bloch had composed as part of his detailed study of a break. The form of this brilliant, angular Scherzo is the San Francisco Conservatory, a post he relinquished The orchestration comprises triple woodwind, four horns, Renaissance polyphony. This theme is quoted in her ternary, and the overall key is B minor. The first subject of in 1930 before a return to Europe, although in 1924 he triple trumpets and trombones, bass tuba, timpani, honour. The calm of the outer and middle sections, as the first section begins with off beat accents. In the had taken American citizenship. The increasing anti- percussion, harp and strings. Bloch, still in his twenties reflected in phrygian and mixolydian modalities, alternates recapitulation, the accentuation is shifted to the down beat. semitism of the old world led to his return to the United when writing the opera, was understandably much with the impassioned character of the two episodes that Though Bloch was opposed to serialism as a system, he States in 1938, and finally to a position on the staff of the influenced by French and German styles; yet one can separate them, the first being chromatic and the second in incorporated dodecaphonic melodies into several of his late University of California at Berkeley, where he continued already detect elements that anticipate the idiom of his major tonality. The orchestra comprises double woodwind, works; and the third theme is a case in point. The middle to work until 1952. He died in 1959. Jewish Cycle (1911-18; see below); for example, the two horns, timpani and strings. section comprises a rocking motif accompanied by extension of tonality, the use of the “Scotch snap”, extremes In January 1956, Bloch wrote enthusiastically to his semiquaver arabesques. The short slow movement, Keith Anderson of pitch and dynamic levels, passionate climaxes and friend Ernest Chapman about the work that he had finished Andante, in G sharp minor, is based upon a lyrical theme opulent orchestration, sudden changes of timbre and in Agate Beach in March 1955: “I thought first of a Concerto played at the outset by flute and solo viola, accompanied by atmosphere. Grosso (No. 3) for small orchestra – wrote the 2 middle muted strings. The mood here is intense and nostalgic Ernest Bloch composed nearly thirty works for symphony The three-movement orchestral suite entitled Trois movements (Scherzo and Andante)... started the finale, for throughout. The finale, Allegro deciso, is characterized by a orchestra or chamber orchestra. This recording comprises Poèmes Juifs was the first of a group of seven large-scale, full orchestra! arrived at the Coda... and stopped! I felt that series of short, lively motifs. Quotations from the first and some of his least known masterpieces, spanning half-a- thematically related works which Bloch himself designated now... memories of the first movement – not yet conceived – third movements (and also from the end of the last century. The Jewish Cycle. These “Poems” were completed in had to emerge... And I realized that all the motives of 2, 3, movement of Bloch’s Piano Quintet No. 1, completed in From 1903 until 1910, while living in his native Geneva, Satigny in September 1913, at a time when he was and 4 had to originate in that 1st movement... I needed a 1923) lead to an extensive and vigorous development Bloch’s energies were focused primarily on Macbeth, a mourning the death of his father Maurice, to whose memory long and tense meditation... going ‘backwards’ in my mind... section. After the climax, the mood relaxes into a reprise of three-hour-long grand opera after Shakespeare. There are this work is dedicated. Although a number of traditional Gradually these ‘roots’ took shape... and I wrote the first the opening of the first movement (combined with a seven tableaux: a prologue, followed by three acts of two melodic patterns can be identified, there are no direct movement!” The succinct motto of four notes (similar in transformed restatement of the tone-row from the Scherzo); scenes each. Linking each pair of scenes is a symphonic quotations from Jewish sources. Exotic modalities typical of outline to the celebrated B-A-C-H motif), which rises and the spacious coda is suffused with tranquility. interlude, and it is those from Acts I and III that Bloch the Eastern Mediterranean, however, are blended with through the whole orchestral gamut at the opening of the abstracted and reworked, with minor modifications, into a western forms and tonality. The instrumentation (identical to first movement, recurs in various guises throughout the Alexander Knapp Royal Philharmonic Orchestra Ernest Bloch: Patron: HRH The Duke of York, KG • Artistic Director and Principal Conductor: Charles Dutoit Style, Interpretation and Performance Ernest Bloch was a multifaceted and unique composer, The fact is that Bloch’s innate music language was different from any other in his exploration of musical Jewish, influenced imaginatively after his reading of the styles. His music cannot be fully judged unless one is Bible. In many of his compositions in other styles there familiar with the full range of his compositions, the variety can be found traces of Jewish scales and motifs, and this of his ideas, philosophies and styles: Neo-romantic, presents performers with a particular challenge. Impressionistic, Sacred, Polyphonic, Ethnological, Serial, The present recording offers examples of Bloch’s Jewish, Chinese, Contemporary and more. One of the differing styles: Two Interludes from the opera Macbeth most striking phenomena after his death was that history (Style: Neo-romantic and Impressionistic); the last neglected the greater part of his immensely varied Symphony in E flat (Style: Contemporary, resembling in compositions, apart from his music ‘in Jewish style’ for many ways his first Symphony in C sharp minor) [Naxos which he remained an icon.