Ernest Bloch (1880-1959)
       Orchestral Works

Concerto Symphonique in B minor for Piano and Orchestra (1947-48) *
Scherzo Fantasque for Piano and Orchestra (1948) *
Symphonic Poems (Hiver-Printemps/1904-05)

Halida Dinova, piano *
Symphony Orchestra of the State Academic Cappella of St. Petersburg
Alexander Tchernushenko, conductor
Recorded at Concert Hall of the Cappella, St. Petersburg, 2002
Released July 2003
Chandos 10085 [62:03]

Concerto and Scherzo Comparison: Micah Yui/David Amos/LSO/Laurel

I acquired this Bloch disc when it was first released, and it's mostly
been in my car since then.  Actually, I've played it a great deal.  I
wasn't initially enthusiastic, but continued listening has greatly changed
my view of the music.  A few weeks ago, I brought the disc into my home
and am now ready to do the review.

In the past few months I have reviewed many discs such as the Janis
Ivanovs/Naxos recording where we find highly inspired music that is not
consistently engaging because the compositions contain a few 'dead zones'
where the music tends to meander without advancing any musical arguments.
The music of Ernest Bloch is in an entirely different category in that
its arguments are always being advanced; stop listening for twenty
seconds, and you will surely miss a passage important to the music's
coherence.  Essentially, Bloch's music requires total concentration
throughout.

One of the aspects of this new Chandos disc I treasure is that the program
takes us from the purely late-romantic nature of Hiver/Printemps to the
strong 20th century sensibility of the works for piano and orchestra.
This allows for maximum contrast and a fine look at Bloch's progression
as a composer.

I'll move ahead in chronological order and start with Bloch's delectable
symphonic poems Hiver and Printemps.  Obviously, Hiver should create
images of winter, and Bloch conveys a chilly atmosphere effectively with
lower strings carrying the cold wind.  Hiver is an excellent piece, and
Printemps is absolutely delicious as it evokes the rebirth of life in
all its youthful wonder and spirit.  Bloch was only in his 20's when
he composed these two poems and drew extensively on his romantic-era
predecessors and fellow late-romantics.  Judging from the music, he
learned his lessons very well.  This is exceptional music fully deserving
of the concert scene.  At this period in his life, Bloch uses relatively
long lines as is traditional and displays mastery of architecture.  The
only reservation I have is that thematic development is not quite as
compelling in comparison to a Strauss or Wagner.

The Concerto Symphonique gives us a good idea of how Bloch progresses
and perfects his art as the 20th century moves along.  His compositional
style becomes more compact and lean.  The long lines of decades earlier
are replaced with very short motifs that Bloch develops on a continual
basis.  Contours sharpen considerably and the musical arguments, although
frequent in number and highly varied, have a strong coherence in epic
fashion

The Concerto, in three movements, is a rather brutal, wild, and militaristic
affair.  I love this work, having listened to it now dozens of times and
finding it increasingly compelling with each hearing.  The 1st Movement
is marked "Pesante" and portrays the inexorable horror and debilitation
of war.  Musical arguments evolve gradually, but there is never any doubt
of their inevitability.  The piano kicks things off with an ominous and
rising six-note motif that is the primary unifying force of the entire
work.  The orchestra then enters with a variation of the six-note motif
that is taken over by the main theme which is stern and march-like.
Ensuing activities continue along powerful and severe lines.

Bloch called his 2nd Movement Allegro vivace "diabolical", and it
certainly begins that way as a busy sorcerer twists his way through
a labyrinth of dreaded events.  The Scherzo's central trio finds Bloch
more relaxed and in a sensual state although the music never transmits
security, preferring to take an impressionist path of mysterious proportion.
The rising motif mentioned earlier again rears its head in the transition
to the central trio and keeps entering the trio's dialogue.  Once the
trio is compete, the wild music returns with a vengeance.  The Movement
ends with its tumultuous themes now reduced to a soft poignancy.

The 3rd Movement is another Allegro that opens with a confident fanfare,
the first time in the work that Bloch's music generates true optimism.
However, Bloch's wild and desperate nature doesn't take long to re-emerge,
as the warrior claws and hammers his way to triumph.

The Concerto Symphonique makes a powerful statement and reminds me at
times of a mix of Shostakovich and Rachmaninov; the work also is as
stimulating as the piano concertos of these two great composers.

Once finished composing the Concerto Symphonique, Bloch immediately set
out to compose the Scherzo Fantasque.  This work is essentially in the
same mold as the Concerto Symphonique with driving rhythms, wild abandon,
and desperate human urges.  It is also an exceptional piece of music,
just a bit less rewarding than the Concerto due to its less epic nature.

Concerning comparisons, there is a Laurel disc containing the Concerto
Symphonique and the Scherzo Fantasque; David Amos leads the London
Symphony Orchestra with Micha Yui featured on piano. These performances
display a little more grit and vitality than the Chandos, but I am fully
satisfied with the power and lyricism of Halida Dinova who has also
recorded a fine disc of Scriabin piano music on the Doremi label.  Also,
the conducting of Alexander Tchernushenko is excellent with the Russian
orchestra performing admirably.

Don's Conclusions: Bloch's Concerto Symphonique is an unheralded
masterpiece, and neither the Laurel or Chandos recordings will disappoint.
With superb sound and the wonderful two tone poems added to the mix, I
heartily recommend the Tchernushenko performances.  If interested, there
are two other recent Bloch recordings that deserve immediate investigation:
the piano quintets on Praga and a two disc set of string quartets on
Decca played by the Griller Quartet.

Should you be interested?  Definitely.  Ernest Bloch is one of the great
composers of the 20th century, and I am confident that his star will
consistently rise as the 21st century lumbers forward.

Don Satz
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