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Detroit Symphony Orchestra|Copland: Grohg & Billy the Kid

Copland: Grohg & Billy the Kid

Detroit Symphony Orchestra, Leonard Slatkin

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Idioma disponible: inglés

Since becoming conductor of the Detroit Symphony Orchestra, Leonard Slatkin has issued a variety of recordings. He has been able to call the shots as to repertory, and the results have generally been worthwhile. With this Copland release he and the orchestra have outdone themselves. Copland has always been one of Slatkin's specialties; he gets the peculiarly American mix of broadness and subtlety in the composer's music, and his readings of the big ballets are as fine as any on the market. Here you get the complete Billy the Kid, less often heard than the familiar Suite, and containing the solitary "Billy in the Desert" to match the card game nocturne, both hypnotically done. The real news here, however, is Grohg, written in 1925 at the suggestion of Copland's teacher, Nadia Boulanger, performed once in 1932, and then abandoned until the early 1990s. Performances are rare, but Slatkin's reading is good enough to change that. Having been given the task of writing a ballet and having recently seen the film Nosferatu, Copland asked the director Harold Clurman for a scenario, received a surreal tale in which the titular sorcerer animates a variety of personalities, and went to town with a score that reflects various fashions of the 1920s. There is a bit of jazz (paired, significantly, with the sorcerer's revived opium addict), some highly dissonant passages, perhaps even a bit of twisted-up Grieg. And yet, all of it somehow sounds like Copland, and there are foreshadowings aplenty of his mature style. Copland himself thought enough of the music to reuse some of it in his Symphony No. 2 ("Short Symphony"), and you couldn't ask for a better combination than Slatkin and the Detroiters in bringing out his personality in the music. Highly recommended.

© TiVo

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Copland: Grohg & Billy the Kid

Detroit Symphony Orchestra

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Grohg (Aaron Copland)

1
Grohg: I. Introduction & Cortège - Entrance of Grohg
00:07:53

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

2
Grohg: II. Dance of the Adolescent
00:06:19

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

3
Grohg: III. Dance of the Opium-Eater (Visions of Jazz)
00:03:40

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

4
Grohg: IV. Dance of the Street-Walker
00:04:31

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

5
Grohg: V. Imagines the Dead Are Mocking Him
00:04:59

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

6
Grohg: VI. Illumination and Disappearance of Grohg
00:02:18

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

Billy the Kid (Aaron Copland)

7
I. Introduction. The Open Prairie
00:03:16

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

8
II. Street in a Frontier Town
00:03:17

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

9
III. Mexican Dance & Finale
00:07:07

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

10
IV. Prairie Night (Card Game at Night)
00:03:38

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

11
V. Gun Battle
00:02:34

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

12
VIa. Celebration
00:02:59

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

13
VIb. Billy in Prison
00:01:40

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

14
VIc. Billy in the Desert. Waltz
00:03:46

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

15
VIIa. Billy's Death
00:01:08

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

16
VIIb. Billy's Funeral. Mourning Mexicans
00:01:24

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

17
VIII. The Open Prairie Again
00:02:18

Leonard Slatkin, Conductor - Aaron Copland, Composer - Detroit Symphony Orchestra, Orchestra, MainArtist

(C) 2019 Naxos (P) 2019 Naxos

Presentación del Álbum

Since becoming conductor of the Detroit Symphony Orchestra, Leonard Slatkin has issued a variety of recordings. He has been able to call the shots as to repertory, and the results have generally been worthwhile. With this Copland release he and the orchestra have outdone themselves. Copland has always been one of Slatkin's specialties; he gets the peculiarly American mix of broadness and subtlety in the composer's music, and his readings of the big ballets are as fine as any on the market. Here you get the complete Billy the Kid, less often heard than the familiar Suite, and containing the solitary "Billy in the Desert" to match the card game nocturne, both hypnotically done. The real news here, however, is Grohg, written in 1925 at the suggestion of Copland's teacher, Nadia Boulanger, performed once in 1932, and then abandoned until the early 1990s. Performances are rare, but Slatkin's reading is good enough to change that. Having been given the task of writing a ballet and having recently seen the film Nosferatu, Copland asked the director Harold Clurman for a scenario, received a surreal tale in which the titular sorcerer animates a variety of personalities, and went to town with a score that reflects various fashions of the 1920s. There is a bit of jazz (paired, significantly, with the sorcerer's revived opium addict), some highly dissonant passages, perhaps even a bit of twisted-up Grieg. And yet, all of it somehow sounds like Copland, and there are foreshadowings aplenty of his mature style. Copland himself thought enough of the music to reuse some of it in his Symphony No. 2 ("Short Symphony"), and you couldn't ask for a better combination than Slatkin and the Detroiters in bringing out his personality in the music. Highly recommended.

© TiVo

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