Conductor: Howard Hanson
Orchestra: Eastman-Rochester Orchestra
Performer: Georges Miquelle (Cello)
Years of recordings: 1959, 1960
Label: Mercury Living Presence
SPARS Code: ADD
About the Composer: Born in Switzerland, Ernest Bloch (1880-1959) was a Jewish composer who wrote several orchestral works, many of which derive inspiration from Hebraic literature. After touring extensively to showcase his pieces throughout Europe, Bloch immigrated to the United States in 1938 to escape the Holocaust and resided in Oregon until his death.
About the Music: Bloch’s compositional endeavours haven’t garnered the same level of critical acclaim as those by many other early 20th Century notesmiths, but that certainly shouldn’t prevent the inquisitive from investing some time into listening to his distinctive works. The recordings in this collection, conducted by appreciative American composer Howard Hanson, provide us with a colourful overview of Bloch’s style. Bloch’s two concerti grossi (written in 1925 and 1952, respectively) are featured here, along with Schelomo (1916), his most popular orchestral triumph.
Concerto Grosso No. 1 – The prelude of this concerto, written for string orchestra with piano obbligato, begins with some rather stern-sounding flourishes; your reaction will likely vary, but for me, it evoked images of a surly headmaster wielding a well-worn cane above his head in front of a class of fledgling boarding school boys. The second movement is a very mournful dirge, and the various strings seem to be keeping their heads down and trying to console themselves. It is here that the piano makes a very strong contribution acting as the assistant pallbearer, carrying some very frigid notes into the musical procession. However, it’s not long before the gloom subsides and is replaced by a more vivacious tone. The fourth movement features lighter accompaniment from the piano; the strings are not as strict as they were at the beginning of the concerto, but they withhold most of their optimism until the very end.
Concerto Grosso No. 2 – I didn’t find Bloch’s return to the concerto grosso form to be as interesting as his first foray. The piano, which really complimented the strings in the first concerto, is noticeably absent here. The concerto’s first two movements are relatively relaxed and contemplative; the third is quite shrill, and it failed to hold my interest. Unfortunately, the finale wasn’t very memorable either.
Schelomo – An orchestral representation of Ecclesiastes, Bloch harnesses the expressive powers of a lone cello to serve as the voice of the beleaguered King Solomon. The strings which gingerly initiate the piece immediately conjure a portrait of futility and despair, one that is further detailed by the prominent cello and the host of woodwinds and brass. Most of the piece consists of several quiet, elaborate passages punctuated by striking fanfares from the orchestra. The tambourine is effectively used during the first of these many fanfares, and it almost seems to resemble the sound of fetters, a fascinating effect considering the subject matter of this work. After witnessing the intensity of Schelomo, you may mistakenly think that blowing sand from Old Testament Israel has flown into your face!
This compilation of Bloch works is not one of the most prized discs in my library, but it is certainly well worth your time if you have a strong appreciation for string music and wish to become acquainted with the efforts of a gifted composer!
