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Ernest Bloch - Symphony in E Flat, 2 Macbeth Interludes, 3 Jewish Poems, In Memoriam - RPO, Atlas (1997) [FLAC] (ASV CD DCA 1019)

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Music : Classical : Lossless
    
ERNEST BLOCH 	(1880-1959)
Symphony in E flat • Maccbeth - 2 Interludes
3 Jewish Poems •
In Memoriam

 

Gramophone
[3/1998]:
Quote:First, an alert to film buffs. Anyone schooled in the stylistic manners of Korngold, Steiner or
Alfred Newman will likely gravitate to the Act 1 and Act 3 Interludes of Bloch’s only opera, Macbeth (1910).
True, the writing recalls the Richard Strauss of the period (not to mention the teenage Korngold’s recent
triumphs), but premonitions of film-scores-to-come are more vivid still – both in terms of orchestration and in
the evocative harmonic-melodic slant of Bloch’s ideas. How strange that contemporary critics spoke of
“barbaric” music, “an indecipherable rebus”, “noise for the sake of noise” –
the sort of vapid invective one normally associates with early Stravinsky or Prokofiev.
This big, extravagant
orchestral writing is equally apparent in the Three Jewish Poems (1913), music that Bloch himself premiered with the
Boston Symphony and that – 6'59'' into the “Cortege funebre” third movement – hints at yet
another Hollywood master, John Williams this time, and Close Encounters in particular. The first piece is cast in modal
dress and recalls similar compositions by Enescu: solo strings and woodwinds are gainfully employed throughout (both
Schelomo and the Violin Concerto come to mind), but it is the fulsome profile of Bloch’s big tutti that lingers
longest in the memory.
By contrast, the relatively late miniature In Memoriam (1952, completed on Christmas Eve in
memory of the pianist Ada Clement) is serenely simple: the hymn-like nature of much of the piece is reminiscent of
Nielsen, and the scoring is refreshingly economical. The E flat Symphony (1954-5) is again leaner, drier, more
thematically economical (a handful of motifs come and go like familiar signposts) and more rhythmically driven than the
earlier pieces, though both the opening and closing sections of the work conjure up a mood of sad tranquillity and the
brief Andante slow movement is perhaps the most beautiful music on the CD.
Dalia Atlas Sternberg and the RPO ride
the vast tonal waves of Macbeth and the Jewish Poems with only a few rocky moments (mostly concerning ensemble) to worry
perfectionists, while the In Memoriam and the Symphony are sensitively handled by all concerned. I note that Atlas
Sternberg plans to record more Bloch, and if this particular programme is anything to go by, future instalments should
generate much enthusiasm among lovers of late-romantic repertoire. Brian Culverhouse’s recording employs the
generous acoustic of St Barnabas Church, Finchley to fine effect.

Gapplegate Classical-Modern Music Review
[Thursday, July 3, 2014]:
Quote:If you consider the entire output of composer Ernest Bloch (1880-1959), there
are multiple stylistic niches. Dalia Atlas' liner notes to today's CD remind us, and it's true. There of course is the
Jewish-tinged Bloch, which is the most well-known through such works as Schelomo. But there are other aspects, rather
neglected since his death--the neo-romantic and impressionistic, the contemporary, church-oriented music, etc. The CD at
hand centers around his last symphony: the Symphony in E flat Major (Naxos 8:573290). The Royal Philharmonic Orchestra
is well in-hand throughout, as conducted by the aforementioned Dalia Atlas, a Bloch aficionado who has done much work to
research and revive many now almost forgotten works.
Indeed, in addition to the contemporary modern symphony from
1954-55, we get "Two Symphonic Interludes" (1939) from his opera Macbeth, which was composed from 1903 to 1910
while Bloch was still a resident of Geneva. (He came to the US in 1916, residing there permanently until his death.) The
style is neo-romantic/impressionistic and the music has much charm.
The symphony is a major work with great
atmospheric depth and an acute orchestrational dimensionality. Atlas and the Royal Philharmonic give us a near-ideal
reading.
"In Memorium" (1952) is a short and somber work in a quasi-church-mode style, an elegie in
memory of pianist Ada Clement.
The "Three Jewish Poems" (1913) give us a prime but perhaps not as
well-known example of his Semitic side. The suite was written in memory of his father. It integrates Jewish tonality
into a symphonic orchestral scheme in ways that epitomise the composer in this vein. It is a fitting conclusion to a
fascinating program, of a Bloch we hear far too little of today who yet still sounds apt and current.
Hats off to
Ms. Atlas and the Royal Philharmonic for giving us an important addition to the Bloch discography. The music bears your
attention and reminds us that there indeed is more of worth in his 30-work orchestral output than just the few
blockbusters we tend to hear repeatedly.
All those who already appreciate Bloch will I do not doubt learn to love
these works on a few hearings. It is a significant addition and at the Naxos price, you get much more than your money's
worth! Recommended. --Grego Applegate Edwards (reviewing reissue Naxos 8.573290)

Macbeth (1904/9) - Two
Interludes
01. Act 1 [5.53]
02. Act 3 [7.32]
Three Jewish Poems (1913)
03. Danse (Poco
animato) [8.00]
04. Rite (Calmo - Andante moderato) [7.05]
05. Cortège funèbre (Lento assai) [9.10]
06. In Memoriam (1952) [4.27]
Symphony in E flat (1954/5)
07. First movement: Tranquillo -
Allegro deciso [9.03]
08. Second movement: Allegro [4.18]
09. Third movement: Andante [5.27]
10. Fourth
movement: Allegro deciso [6.04]
Total time = 67.54

David Towse, violin
Royal Philharmonic
Orchestra
Dalia Atlas Sternberg

Recorded in: St. Barnabas Church, Mitcham, Surrey, 14-15 October
1996
Producer/Balance Engineer: Brian B. Culverhouse
Made & printed in England
© 1997 ASV Ltd.
London, England
CD DCA 1019          
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