Symphony No
for Wind Quintet and Harpsichord
Suite from Shakespeare's “The Merry Wives of Windsor”
Harold Farberman, conductor Orchestra of Sofia
Irwin Bazelon died on August 2, 1995 at the age of 73. He composed nine symphonies and more than 60 orchestral, chamber and instrumental pieces. Born in Evanston, Illinois on June 4, 1922, he graduated from DePaul University with a bachelor's and master's degree in music. After briefly studying composition with Paul Hindemith at Yale, he went to Mills College in Oakland, California to work with Darius Milhaud. From 1948 until his death he lived in New York City and Sagaponack. His Long Island retreat was the perfect counterpoint for the tensions and hustle-bustle of urban life with which his rhythmically complex and often jazz-tinged music bristles.
In his early years in New York, Bazelon supported himself by scoring documentaries, art films and theatrical productions. During the 1950's and 1960's he composed more than 50 scores of this kind, which proved to be an invaluable preparation for his orchestral music. In a valedictory of sorts he wrote Knowing the Score: Notes on Film Music. Published in 1975, this book is widely used as a college text. As guest composer Bazelon frequently lectured at leading universities and music schools throughout the United States and England. Young people were especially drawn to his feisty spirit and no-nonsense approach to earning a living by applying compositional talents to the commercial world without sacrificing integrity.
Bazelon's works for orchestra, chamber ensemble, solo instruments and voice have been performed throughout the United States and Europe. He conducted his music with such orchestras as the National Symphony, the Detroit Symphony, the Kansas City Philharmonic and the Orchestre Nationale de Lille. He received grants and commissions from the National Endowment for the Arts, the Koussevitsky Foundation, the Ford Foundation, the Kansas City Philharmonic, the New Orleans Philharmonic, the American Brass Quintet, the Boehm Quintette and the Royal Northern College of Music.
A long-time horse racing enthusiast, one of his best known works, Churchill Downs (Chamber Concerto No. 2) is named for the home of the Kentucky Derby, and his ninth symphony (subtitled Sunday Silence for the winner of the 1989 Derby) is dedicated to the horse. In a small way the racetrack helped launch Bazelon's symphonic career. With money from a big win at Aqueduct, he recorded a concert ballet with 16 members of the New York Philharmonic, the tape of which led directly to his conducting his Short Symphony (Testament to a Big City) with the National Symphony in Washington, D.C. in 1962. This was his major orchestral debut.
In a tribute to Bazelon, David Harold Cox, Chair of Music at University College, Cork, Ireland, and author of “Irwin Bazelon, A Bio-Bibliography” (Greenwood Press, 2000) said, “The quality I shall always remember about Bud was his integrity, the integrity between his individuality as a person and his unique musical personality. There seemed to be a perfect unity between the man and his music. It was a unity based on a breadth of vision; both his personality and his musical language were strong, wide-ranging and powerful, pulsating with energy and life. These qualities will ensure that the music will survive.”
With this compact disc, Albany Records continues its commitment to presenting the work of a composer whose music is remarkable for its originality, range and variety of expressive
In Bazelon's own words, “Prominence of musical line depends on dynamics, impact-accents, phrasing, rhythmic propulsion, color and contrast. There are certain 12-tone and jazz elements present, neither strict nor formal. And, the triplet is my musical heartbeat.”
(Scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 percussion, celesta, piano, strings)
Irwin Bazelon completed Symphony No. One in February, 1961 at the age of 38. A vigorous 30-minute statement full of vitality, swagger and confidence, the fingerprints of his future symphonies and a recognizable compositional sound are already evident.
The composer abandoned the traditional four movement classical structure and in another bold stroke he reshaped and used standard jazz elements as his basic material. If American style jazz is the true American music, as is most commonly believed today, it is hardly a stretch to think of Bazelon's orchestral sounds as derived from American roots.
Much of the music in this work thrives on the accent of the last sixteenth of the quarter note and within triplet figures. The phrasing is jazz-tinged throughout. While there is no open improvisation, solo lines and tutti unison sections are often marked “freely” and individual lines are highly ornamented and rhythmically complex.
Bazelon was influenced by the “big band” sounds of his youth. Glissandi and muted brass effects can be heard throughout the piece. Brushes on the snare drum for “time,” as well as rim shots and a timbale solo are prominently used. The first trumpet is asked to play up to a high “E” above high “C,” just as the lead “screamer” trumpet would perform in big band style. There is a moving bass line, laced with percussion effects and top to bottom block brass figure scoring, all staples of big band jazz.
Because of the length of this single movement symphony it is useful for the listener to have a time-flow map of the piece:
Beginning to Measure 95 — (Time 5:10)
Bazelon immediately establishes the irregular punctuation accompaniment in the high-pitched muted trumpets over a solo violin line. The introductory 5-note-timpany solo motif will be developed late in the work at measure 610.
Measures 108 (6:09) to 228 (10:40)
An introduction for brass marked “broadly” leads to a rhythmically driven burst of sustained activity; slashing brass chords, percussion “fills” and block rhythms predominate. There is also a charming bit of scoring for “jazzy” solo tuba, percussion and low
Measures 279 (12:48) to 416 (15:48)
Trombones and percussion rim-shots begin a long jazz-inflected section concluding with a solo horn. Note the flutter-tongues and glissandi in the brass combined with an active percussion section after the trombone opening. The timbale solo at 391 (15:22) leads to the horn solo at 416.
Measures 416 to 449 (18:09)
Marked “slowly” for florid solo winds and strings, is a reprise of previous materials.
Measures 449 to 505 (21:40)
This is a string section led by a celli-bassi recitative. The woodwinds supply the irregular pulse in support of a slow-moving high violin phrase. In addition low muted horns and open trombones add yet another rhythmic element.
Measures 505 to 525 (22:03)
A short, fast, bristling section for woodwinds and celesta leads to measure 515.
Measures 515 to 543 (23:30)
Marked “slower,” the snare drum plays a classic brush stroke in 4/4 time-accompaniment for the viola and celli line, a melodic subject that will be repeated with increased intensity to the very end of the work. Note too the use of bass drum, cymbal and gong once the 4/4 brush pattern is abandoned in measure 523 (22:27).
Measures 543 to 610 (26:04)
A timpani glissando introduces a quick-moving section. At measure 585 a single violin note “A” introduces a slower intense string section.
Measures 610 to 633 (26:48)
The music returns to and develops the opening five-note timpani motif marked “freely” which leads to a short timpani cadenza at measure 633.
Marked “broadly,” Bazelon moves toward the conclusion of his work with all instrumental cylinders blazing, including the lead trumpet moving to the high “E” above the high “C” in the penultimate measure. The timpani adds a solo exclamation point to conclude Symphony No. One.
Early American Suite
for Wind Quintet and Harpsichord
The eight short movements in this charming suite reveal Bazelon as adept in miniature structures as he is formidable in his long-form symphonic works. Orchestrated for wind quintet and harpsichord, the Early American Suite is based on a score he wrote in the summer of 1965 for legendary documentary director Willard van Dyke. The concert version was completed in November-December the same year.
Evoking life in early America, the music has a sparse and airy texture not usually associated with Bazelon's compositions. In the Overture and movements 7 and 8 the winds and harpsichord perform together. Movements 2, 3, 4 and 6 are for woodwinds only; 5 is for solo harpsichord. The last movement Serenade is an expanded version of 5 using all the instruments. Like all of the composer's music this suite is rhythmically inventive.
Suite from Shakespeare's
“The Merry Wives of Windsor”
(Scored for piccolo-flute, oboe, clarinet, e-flat clarinet, bassoon, 2 horns, 2 trumpets, tuba, timpani, 2 percussion, piano, violas, cello)
Suite from Shakespeare's “The Merry Wives of Windsor” was drawn from original theater music composed for John Houseman's American Shakespeare Festival Theater in Stratford, Connecticut in 1959. Though completed in January of 1960, this recording is the first concert performance of the music.
Bazelon's choice of instruments, which excludes violins and bass, creates a bright and pungent sound, and the high winds add a madcap quality. All the character sketches are sharply drawn and the colorful orchestration clearly delineates each musical profile. There are several dance movements including a march-like “Ballet for a Postman,” and a “Dance of the Fairies” marked “satanic.” In the “Curtain Call Finale,” featuring Falstaff's tuba motif played by the upper winds, the music gathers momentum, and then ends abruptly as if to say “enough!”
On more than one occasion when they were together, Irwin Bazelon called Harold Farberman “my conductor.” It is a compliment Maestro Farberman cherishes. The internationally known conductor has led many of the world's major orchestras. Formerly the Music Director and Conductor of the Oakland Symphony Orchestra, Mr. Farberman has been Principal Guest Conductor of the Denver Symphony and the Bournemouth Sinfonietta. He teaches conducting at Bard College at Annandale-on-Hudson. He is the founder and artistic director of the Conductors Institute now also at Bard.
Maestro Farberman's many recordings reflect his wide-ranging musical interests; he was an early exponent of the music of Charles Ives and has recorded more of this composer's works than any other conductor. Many of his interpretations have been called “definitive.” For his work on behalf of Charles Ives, he has been honored with the Ives Award from the Academy of Arts and Letters. He is currently engaged on a project to record the complete Mahler symphonies with the London Symphony Orchestra, as well as recording the complete symphonies of Michael Haydn with the Bournemouth Sinfonietta.
In 1998 Warner Brothers-Belwin Mills published Mr. Farberman's book and video, The Art of Conducting Technique.
The Orchestra of Sofia is created for special musical events and is made up of the brst orchestral musicians in the capital city. The musicians are drawn from the Sofia Philharmonic and the Radio Orchestra of Sofia. The combination of the finest elements of both orchestras is the Orchestra of Sofia.
Symphony No. One; Early American Suite; and Suite from Shakespeare's “The Merry Wives of Windsor” are published by Theodore Presser.
Cover Collage by Addie Herder
B.B.:Mixed Media 4 1/2 x 6 1/2
Harold Farberman, conductor
1 Symphony No. One
in One Movement [29:46]
for Wind Quintet and Harpsichord [12:21]
4 Carriage Ride (Through Village) [1:27]
5 Fuguing Tune (Intermezzo) [:50]
6 Corbett House (Interlude) [1:22]
7 Winter (Delaware Country Scene) [2:22]
8 Fun and Games (for Colonial “Kids”) [1:25]
“The Merry Wives of Windsor”
11 Character Sketches [6:29]
12 Ballet for a Postman [1:20]
13 Introduction and Fanfare
for Two “Brave” Fighters [1:22]
14 Transformation Music [4:17]
15 Curtain Call Finale [2:35]
|
