Search - Herrmann, Npo :: Symphony / Fantasticks

Lewis K. (shenvalleyswapper) from LINDEN, VA
Reviewed on 1/21/2011...

Two works by Bernard Herrmann, performed by the National Philharmonic Orchestra, conducted by the composer.

Although titled Symphony No 1, this turned out to be his only work in the medium. The lengthy first movement is surprisingly anonymous, certainly lacking in any of Herrmann's more distinctive trademarks. However, the composer becomes more obvious in the lively, dance like Scherzo, whose slightly demonic nature unsurprisingly recalls some of the more spirited episodes in Herrmann's Oscar winning score to The Devil and Daniel Webster. Herrmann rarely seemed happy to write anything especially soothing and the initially placid slow 3rd movement ultimately becomes turbulent, although returning to quiet before the bracing 4th movement. A surprisingly rousing and rugged fanfare theme announces the final movement, which hints more at Herrmann's earlier more American style, even if the quieter interludes are more typical of the composer, a lovely oboe melody reminiscent of The Ghost and Mrs Muir for example.

The Fantasticks is an excerpt from a longer song cycle setting to music the words of Nicholas Breton. Despite the picturesque words, the music starts fairly austerely, certainly for the first couple which are icy - appropriate I suppose - but hard going. March takes the material into a more sprightly place before the violin trill backed lullaby of April and the delightfully sunny, choral May that occasionally echoes Debussy. One assumes that the cycle moves through the sunniness of summer through more autumnal shades back to winter, but sadly the remaining months are not included so as the work takes flight, it concludes.

The performance of the Symphony is generally fine, if perhaps a little rugged in places. The slightly rough recording, with some distortion on the louder percussion hits, doesn't help. However, The Fantasticks fairs better with a lighter performance and a good balance between soloists, choir and orchestra. It is surprising that Herrmann's usually unmistakable sound isn't always apparent, but that makes them no less worthy and coupled with the interesting liner note, the album should be of interest to those keen on Herrmann and American concert music in general.