Copland: Billy the Kid; Rodeo; An Outdoor Overture; El Salon Mexico
Colorado Symphony/Andrew Litton
BIS 2164
Total Time: 77:26
Recording: ****/****
Performance: ****/****
Andrew Litton took over as the Music Director of the Colorado Symphony in 2013 from Jeffrey Kahane. His tenure followed that of Marin Alsop. On CDs, Alsop has grown a fabulous discography with the orchestra especially of American composers with an important release of Harris symphonies, and critically acclaimed recordings of Adams’ Nixon in China and music by Libby Larsen. Litton created attention with his recording made with the Dallas Symphony where he served from 1994-2006 before heading up the Bergen Symphony. His return to lead the Denver orchestra is an auspicious occasion. This is the successor to the Denver Symphony which was founded in 1934 but dissolved in 1989 plagued by labor and financial issues. Some of the conductors who led that ensemble included Sixten Ehrling and Philippe Entremont; earlier the likes of Carmen Dragon and Henry Mancini were guest conductors. Even Prokofiev made an appearance on the podium there. The present symphony was incorporated with the help of the DSO’s bassoonist and a percussionist and the new ensemble began its life under some controversy.
The music of Aaron Copland (1900-1990) has always been an important source for American orchestra repertoire. The pieces are not always easy, though they may seemingly sound that way on the surface. Brass playing is a key component as is perfect ensemble to address the rhythmic syncopations that abound. Three of the works on this program come from this fertile Americana period, and one more obviously finding its inspiration South of the border. Putting the two Western ballets on one disc is a great move in and of itself. Preceding them with great concert showpieces also helps provide appropriate space. These are works that find the composer far from his bad boy jazz and modernist influences of the 1920s with a new style that is beginning to appear.
Copland’s An Outdoor Overture (1938) is one of the first of these big American landscape pieces with many signature aspects. Litton’s performance is a breezy one with a great forward motion and fantastic articulation from his brass section here with some beautiful trumpet work. Truly one of the finer performances of the piece, clocking in at just over eight minutes (a couple shy of Bernstein’s typical tempo).
Billy the Kid comes from the same year and is perhaps the least of Copland’s ballets. The work was composed for the American Ballet Caravan (later the New York City Ballet). It features some rather touching emotional writing amidst a variety of Cowboy tune quotations. “Prairie Night” is a stellar moment, beautifully realized here. The “action” sequences, if you will, are taut with tension which is heightened by the clarity of rhythms. Copland’s clear orchestration technique manages to highlight different sections or solos throughout lending the music an intimate edge as well. The more infectious joyous sections from the “Mexican Dance” to the “Celebration” later are perfectly pulled off here. The wit underlying the lyrical waltz, “Billy in the Desert”, is matched by wonderfully sympathetic warm playing for the big sweeping tune. The performance throughout is simply superb and with each scene getting its own track it makes the piece even easier to navigate. It is really fascinating to hear this music’s momentum move so effortlessly forward as the ballet unfolds here. None of this matters if the final bars do not have a chance to grow emotionally and this they do with a perfect gradual intensity.
Copland went to Mexico in 1932 where he experienced a sort of night club. He also had a chance to hear some of the tunes and interesting rhythms of the region, no doubt through his friendship with Carlos Chavez who would encourage the composition of El Salon Mexico. This is Copland adapting Mexican salon tunes into a bigger orchestral fabric and thereby introducing some of the unique asymmetrical rhythms that would become more familiar through a host of Mexican, Latin, and Southern American composers as the 1930s-1940s progressed. Litton’s performance here is a showpiece one with the orchestra relishing every moment.
Bringing the disc to a close is Rodeo (1942). Commissioned by the Ballet Russe de Monte Carlo, it would feature a scenario designed by Agnes de Mille. Copland worked on the piece while teaching at Tanglewood. Here is the American Southwest depicted through a variety of cowboy tunes and an open orchestral style that would become indelibly linked with Americana—this is a bit different than say the same vistas the Grofe explored in his familiar Grand Canyon Suite. The ballet’s five scenes feature some of Copland’s most popular music with the final “Hoe-Down” being perhaps one of his more famous pieces.
All of these works have their so called “definitive” versions and favorites. Some find Leonard Bernstein’s recordings to be the ones to beat, though personally I find them at times conflicted between the conductor’s own admiration and perhaps jealousy, not to mention any number of personal attachment issues. Copland’s recordings do not always work as well either, usually hampered sonically. The ballets had a great recording featuring the St. Louis Symphony under Leonard Slatkin. However, Litton’s recording here is helped by fantastic, demonstration quality sound (this is what we lose as we move more to download-only releases!). The performances have a lot of life and buoyancy that feels like everyone is having a blast. How fortunate for those who chance upon this release not knowing the joys of this music. This will be the recording to beat in years to come. Well done!
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