Dawson's Negro Folk Symphony celebrates that heritage. Dawson creates a flowing orchestral narrative using snippets from various spirituals (and not just well-known ones). Leopold Stokowski premiered the symphony in 1934 to positive reviews.
Dawson revised the work after a visit to West Africa in 1952. Most of the revisions involved adding authentic African rhythms and syncopations. The work broadly follows traditional symphonic forms. But they're merely the frame for Dawson's intricate fabric of spirituals, a tapestry of voices going back to Africa.
It's a terrific composition, and one given its due by the ORF Vienna Radio Symphony Orchestra. Under Arthur Fagen's directions, the symphony flows effortlessly, yet deliberately. In this performance, there's a clear sense of forward motion throughout the work.
Ulysses Simpson Kay's works provide a stark contrast. Kay studied with Howard Hanson and Paul Hindemith. His interest ran more towards the neo-classical style. That's not to say he abandoned his heritage. Kay's last two operas feature African-American subjects.
Kay simply composes differently than Dawson. The Fantasy Variations were written in 1963. Kay methodically works out his opening theme. His use of modes and extreme chromaticism take the work right to the edge of atonality.
His Umbrian Scene goes even further. To me, the appeal of this work was more intellectual than emotional. Kay's carefully constructed themes play out against each other in unusual and sometimes surprising ways.
Two composers expressing themselves in two very different ways. Both worthy of exploration -- and more performances.
William Levi Dawson: Negro Folk Symphony
Ulysses Simpson Kay: Fantasy Variations; Umbrian Scene
ORF Vienna Radio Symphony Orchestra; Arthur Fagen, conductor
Naxos 8.559870
No comments:
Post a Comment