Spring Waltz

In addition to his lifelong dedication to the Academy of St Martin in the Fields which he founded himself, Neville Marriner was appointed principal conductor of various orchestras, notably the Minnesota Orchestra where he succeeded to Stanisław Skrowaczewski. During his 7-year long mandate, he recorded two albums for EMI, including this program devoted to the music of Aaron Copland, highlighting the ballet suites excerpted from his most popular works inspired by American culture and folklore, Rodeo and Appalachian Spring.

Aaron Copland - Appalachian Spring, Billy the Kid & Rodeo - San Francisco Symphony, Michael Tilson Thomas (2005) {RCA-BMG}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 336 Mb | MP3 @320 -> 179 Mb
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© 2005 RCA / BMG Music | 82876-65840-2
Claccical / Contemporary Classical

I'm a big fan of Copland. His music can be dramatic, sad, joyful, and just plain fun. I also think his music is a good vehicle for personal expression of the performer/conductor. I don't think this is true for all composers–-I cringe at some interpretations of Bach–-but I usually enjoy it when a performance of Appalachian Spring or Bill the Kid contains some individual stamp that indicates the performer is really feeling and enjoying what they are doing. The combination of Copland's timeless compositions and subtle playing effects can be very sophisticated indeed.

In addition to his lifelong dedication to the Academy of St Martin in the Fields which he founded himself, Neville Marriner was appointed principal conductor of various orchestras, notably the Minnesota Orchestra where he succeeded to Stanisław Skrowaczewski. During his 7-year long mandate, he recorded two albums for EMI, including this program devoted to the music of Aaron Copland, highlighting the ballet suites excerpted from his most popular works inspired by American culture and folklore, Rodeo and Appalachian Spring.

There are some attractive ideas in Spring (Vesna), a charming work, refined and transparent in its orchestration, playing on birdsong and building to a sensuous climax. The more familiar Concert Waltzes contain some of Glazunov’s most winning tunes. The novelty most likely to excite curiosity here is Glazunov’s music for Oscar Wilde’s Salomé, with Salome’s dance leading to a Polovtsian climax. Salome sheds her veils in a most unerotic fashion. But this cannot be blamed on the conductor, and generally there are warm, idiomatic performances, richly recorded.