William Bolcom - Songs of Innocence and of Experience (Leonard Slatkin)

Information

Composer: William Bolcom

• CD1: Songs of Innocence and of Experience, Parts 1-3
• CD2: Songs of Experience, Parts 1-3
• CD3: Songs of Experience, Parts 4-6

Christine Brewer; Measha Brueggergosman; Ilana Davidson; Linda Hohenfeld; Carmen Pelton

Joan Morris; Marietta Simpson; Thomas Young; Nmon Ford; Nathan Lee Graham

Tommy Morgan; Peter "Madcat" Ruth; Jeremy Kittel

University of Michigan School of Music Symphony Orchestra

University Musical Society

Leonard Slatkin, conductor

Date: 2004

Label: Naxos

https://www.naxos.com/CatalogueDetail/?id=8.559216-18

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Review

ARTISTIC QUALITY: 10 / SOUND QUALITY: 10

William Bolcom’s ambitious setting of William Blake’s complete Songs of Innocence and Experience for soloists, multiple choral forces, and orchestra occupied the composer on and off, beginning as far back as the late 1950s, with most of the work completed between 1973-74 and 1979-82. The composer’s renowned eclectic bent makes itself felt in the work’s nearly two-and-one-half-hour length. Musical eras, styles, and performance practices leapfrog back and forth in unpredictable progressions, keeping the listener in a constant state of suspense as to what might occur next. For example, in the opening Songs of Innocence, Bolcom’s neo-Schoenbergian setting of “The Lamb”, replete with difficult, leaping intervals for the soprano soloist (brilliantly dispatched by Measha Brueggergosman), erupts into a thick, dissonant orchestral tutti that gives way to a lazy country-fiddle lament treatment of “The Shepherd”. No sooner do Peter “Madcat” Ruth’s hoary pipes twang out the tune than a bomb of orchestral cacophony crushes the Grand Ole Opry to smithereens. A brilliant children’s chorus (“Infant Joy”) emerges from the ruins, insidiously slipping into a funk-watered-down-for-Broadway-consumption groove for “The Little Black Boy”. Along the way we also encounter Handel oratorio, peppy English madrigals, Stephen Foster naiveté, Ivesian mysticism, Berio’s fractured folk songs, industrial-strength Varèse percussion ensembles, and effective speech-sung passages.

Bolcom’s thoroughly internalized command of such disparate idioms is matched and arguably surpassed by his gift for transitions, plus his ability for keeping orchestral and choral textures fresh, varied, and always interesting to the ear (his use of the harmonica within delicate string passages, for example). And even when some of his juxtapositions seem a bit far-fetched, such as the finale’s bloated Reggae pretensions (“I Shot the Sheriff” versus Also Sprach Zarathustra), at least Bolcom knows when long enough is long enough. In general, the longer Songs of Experience section contains darker, more serious selections, although the constant stylistic shifts make it difficult to immediately perceive the dramatic arc implied by Blake’s ordering of texts.

You couldn’t imagine a more varied group of vocal soloists. They run the gamut from Joan Morris’ unique cabaret approach and Thomas Young’s stentorian yet supple tenor, to Nathan Lee Graham’s ringing, focused baritone and Ilana Davidson’s attractive, silvery timbre in “The Angel”. The numerous choirs and the University of Michigan Orchestra obviously put in serious rehearsal hours (going into overtime, I’ll bet), and the sense of occasion hovering over these live performances certainly colors their first-rate contributions. And when you can’t help focusing your attention on the music rather than the musicians, as I did, it’s clear that Leonard Slatkin’s leadership does ample justice to Bolcom’s artistic vision and inner ear. Naxos provides full texts plus booklet notes by the composer. [10/12/2004]

-- Jed Distler, ClassicsToday

More reviews:

http://www.classical.net/music/recs/reviews/n/nxs59165a.php

https://www.classical-music.com/reviews/miscellaneous/bolcom-1/

https://www.musicweb-international.com/classrev/2005/June05/bolcom_songs_855921618.htm

https://www.musicweb-international.com/classrev/2005/July05/Bolcom_songs_855921618.htm

https://www.theguardian.com/music/2005/apr/29/classicalmusicandopera.shopping2

https://www.allmusic.com/album/william-bolcom-songs-of-innocence-and-of-experience-mw0001418897

https://www.naxos.com/Review/Detail/?catalogueid=8.559216-18&languageid=EN

https://www.amazon.com/William-Bolcom-Innocence-Experience-University/dp/B000641YZK

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William Bolcom (born May 26, 1938 in Seattle, Washington) is an American composer and pianist. He studied with Darius Milhaud at Mills College, with Leland Smith at Stanford University, and with Olivier Messiaen at the Paris Conservatoire. Bolcom has received the Pulitzer Prize, the National Medal of Arts, a Grammy Award, the Detroit Music Award and was named 2007 Composer of the Year by Musical America. He taught composition at the University of Michigan from 1973 until 2008. As a pianist, Bolcom has performed and recorded frequently with Joan Morris, whom he married in 1975.

https://en.wikipedia.org/wiki/William_Bolcom

https://www.williambolcom.com/

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Leonard Slatkin (born September 1, 1944 in Los Angeles) is an American conductor and composer. Slatkin attended the Juilliard School where he studied conducting under Jean Morel. He also studied with Walter Susskind at the Aspen Music Festival and School. Slatkin worked as principal conductor and music director of the St. Louis Symphony, National Symphony, BBC Symphony and Orchestre National de Lyon, as well as principal guest conductor of the Philharmonia, Royal Philharmonic and Pittsburg Symphony. He has been the music director of the Detroit Symphony Orchestra since 2007.
https://en.wikipedia.org/wiki/Leonard_Slatkin

http://www.leonardslatkin.com/

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