Sym No.2, Op.35: I. Intro And Song (Slow, With Deep Emotion - Moderately Slow)
Sym No.2, Op.35: II. Interlude And Dance (Moderately Slow - Moderately Fast)
Sym No.3, Op.48 ('Three Mysteries'): I. The Nativity (Lento - Allegro Moderato)
Sym No.3, Op.48 ('Three Mysteries'): II. The Crucifixion (Adagio)
Sym No.3, Op.48 ('Three Mysteries'): III. The Resurrection (Lento Moderato - Allegro Ma Calmo)
Paul Creston (1906-1985) was a younger participant in the "flowering" of American classical music in the 1930s and 1940s. But rather than aligning himself with the nostalgic, lyrical Romanticism of Aaron Copland, Roy Harri... more »s, and Howard Hanson, Creston aligned himself with the rugged, more dynamic aspects of Modernism found in the music of Walter Piston, Peter Mennin, and Samuel Barber. These three symphonies contain none of American Romanticism's melancholia or homesickness, for example, but they do remain mostly tonal and buoyant, soaring with their own energy and inventiveness, particularly Symphony No. 3 (Three Mysteries), written in 1950. Praise must also be given to the National Symphony Orchestra of Ukraine and conductor Theodore Kuchar for their feel for Creston's music--altogether another achievement in Naxos's American Classics series. --Paul Cook« less
Paul Creston (1906-1985) was a younger participant in the "flowering" of American classical music in the 1930s and 1940s. But rather than aligning himself with the nostalgic, lyrical Romanticism of Aaron Copland, Roy Harris, and Howard Hanson, Creston aligned himself with the rugged, more dynamic aspects of Modernism found in the music of Walter Piston, Peter Mennin, and Samuel Barber. These three symphonies contain none of American Romanticism's melancholia or homesickness, for example, but they do remain mostly tonal and buoyant, soaring with their own energy and inventiveness, particularly Symphony No. 3 (Three Mysteries), written in 1950. Praise must also be given to the National Symphony Orchestra of Ukraine and conductor Theodore Kuchar for their feel for Creston's music--altogether another achievement in Naxos's American Classics series. --Paul Cook
A wonderful introduction to an unfamiliar (to me) composer
F. Behrens | Keene, NH USA | 04/18/2000
(5 out of 5 stars)
"I have yet to be disappointed by any entry in the Naxos series of American Classics and the latest, Paul Creston's (8.559034), is no exception and yet exceptional. Creston had considerable experience writing scores for radio and TV shows and this background shows in some of the movements on this program. Perhaps the word "symphony" will mislead some purchasers, but I assure them that they are in for a treat no matter which noun is applied to these three works. "Symphony No. 1" (1940) is in the expected four movements, here called "With Majesty, With Humor, With Serenity, With Gaiety" as if to rid us of all European preconceptions. The accompanying booklet gives a nice description of what lies within. "Symphony No. 2" (1944) is unique in that it consists of only two movements, one dedicated to Song and the other to Dance. The self-imposed challenge here is to present all the material for the entire two movements in the opening bars of the first one! "Symphony No. 3" (1950) is really a tone poem depicting "The Nativity, The Crucifixion, The Resurrection" in its three movements; and it is here that one cannot help but recall Berlioz' "L'enfance du Christ" and (not by any means a derogatory association) Rozsa's score to the film "Ben Hur." Theodore Kuchar conducts the National Symphony Orchestra of Ukraine with feeling and to great effect. A very unusual and highly recommended offering from Naxos."
It doesn't matter who is playing it - Creston still rocks.
F. Behrens | 04/05/2000
(5 out of 5 stars)
"People should not scoff at the Naxos label because it is either too cheap or the New York Philharmonic is not the orchestra playing. How can you not be tempted by a trilogy of essential American symphonic work with a great young conductor on the rise at the baton, 40-year-old Theodore Kuchar? Paul Creston by far established himself as the greatest self-taught composer in recent memory, with his lush and lyrical melodies coupled with dance rhythms that have been described as "savagely difficult" to play. His first three symphonies aren't as severe in the latter regard as his Symphony No. 5 or Toccata, for that matter, but they remain great challenges and are delightfully accessible to the ear. The National Symphony Orchestra of the Ukraine has a definite grasp of the feel of Creston's work; his fast, rhythmic passages bounce along, his slower passages treated with sensivity and tenderness. His first symphony is one such example and is the only recording available of the work(!). Although I remain partial to Gerry Schwarz and the Seattle Symphony's interpretation of the "Three Mysteries," Kuchar's doesn't lag too far behind. Those who detest the experimental, twelve-tone, minimalist muck of our modern era need to expose themselves to the greatness of Paul Creston. The performances have tremendous quality of sound that Naxos prides itself on, and there's nothing wrong with the overall performances by the orchestra. If you find faults, you try playing Creston's music. And for pocket change? You can't miss!"
An American romantic with neoclassical sensibilities
Larry VanDeSande | Mason, Michigan United States | 04/24/2005
(4 out of 5 stars)
"Based on this very good recording, they know a lot in the Ukraine about being an American. American Theodore Kuchar and the National Symphony Orchestra of the Ukraine turn in very good work on three symphonies by 20th century American Paul Creston, a composer of romantic sensibilities whose influences include Grofe, Hanson and possibly Piston.
His Symphony No. 2, composed in two movements, is the most substantial work herein. In composition, style and sound it is a mate for Walter Piston's Symphony No. 2 and the Symphony No. 3 of William Schuman. The opus is just as original as the two more famous and accomplished symphonies, in part because it covers much of the same philosophically dramatic ground.
Creston's rambunctious Symphony No. 1 is a roller coaster ride of a symphony full of infectious rhythm, big catchy tunes, stops, starts and twists. At the risk of sounding disingenuous, it seems like it must have been a great deal of fun for the composer to write this work, especially that dipsy doodle first movement. The Ukraine brass players all get quite a workout in this wonderful music.
The final piece on the CD, Creston's Symphony No. 3, subtitled "Three Mysteries", is a Gregorian chant-inspired portrait of the birth, crucifixion and ressurection of Christ. The liner notes say Creston wrote the work to project his own beliefs and that Ormandy premiered the work in 1950.
In my view this is the weak sister of the three. As religious drama it pales when compared to the thousands of musical compositions written about Christ and the ressurection including everyone's Stabat Mater and passions. This opaque music doesn't do anything for me, a true believer that recently performed Bach's St. Matthew Passion.
But with one of Naxos's better recordings and the always reliable Kuchar and Ukraine symphony carrying the day, this CD will be a welcome respite to most fans of orchestral music, especially those that want to expand their understanding of American music."
Creston Redivivus
Thomas F. Bertonneau | Oswego, NY United States | 10/03/2000
(4 out of 5 stars)
"Paul Creston (1906-1985) belongs to the mid-century, largely New York based "school" of American composers of Italian ancestry who contributed significantly to the efflorescence of the symphonic art in the decades 1930 to 1960, but who fell into eclipse as serialism became the sine qua non of musical correctness in the academy and the auditorium alike. Others of the same "school" (I use the term loosely) were Peter Menin, Walter Piston, Vittorio Giannini, and Nicholas Flagello. Gian-Carlo Menotti came from the same milieu but wrote for the stage predominantly rather than for the concert-hall. Creston enjoyed a few sporadic recordings in his own lifetime, but did not appear in the discography in a meaningful way until after his death. Gerard Schwarz took up his cause for Delos, with the Third and Fifth Symphonies; and David Amos and Neeme Järvi led readings of the Second for Koch and Chandos. This new issue from Naxos makes sense, not only because the small investment should prove attractive to those who don't yet know about Creston and might seek acquaintance, but because it collects fully half of the composer's symphonic output on a single disc. (A second disc, presumably with Nos. 4-6, will no doubt appear.) The biographical sources call Creston self-taught. If so, it is a remarkable case of the autodidact who surpasses the usual mark of academic achievement. The masterpiece here is the two-movement Second Symphony (1944), in which Creston sets out to illustrate, in their distinction and in their fusion, the two basic impulses of music, the lyric and the choreographic. The result is unmistakably American in sound, full of jazz-rhythms and soaring melodic lines, expertly orchestrated and given here a robust performance under Theodor Kuchar and the National Orchestra of Ukraine. Ukraine? Never mind; they know what they're doing. Symphony No. 3 (1950) carries the subtitle "The Three Mysteries" and testifies to Creston's Roman Catholicism. Much of the material comes from Gregorian chant. The "Three Mysteries" are: The Nativity, the Crucifixion, and the Resurrection. This too is an impressive and beautiful essay in symphonic form. The First Symphony, while less memorable than Nos. 2 and 3, is nevertheless a useful addition to the catalogue. This is part of Naxos' uneven, but welcome and ongoing "American Classics" series. Check out the works for solo violin and orchestra by Piston in the same series."
CRITICAL CRESTON
Melvyn M. Sobel | Freeport (Long Island), New York | 05/08/2000
(5 out of 5 stars)
"These Creston symphonies are utterly engaging works, lyrical throughout with sweeping, convincingly inventive orchestral gestures. Symphony No. 1, in four movements, delights by its sheer emotional breadth; No. 2, in two movements, and the most "active" of the three symphonies, pulses exotically with hints of Villa-Lobos and Ravel. Symphony No. 3, though, "The Three Mysteries," is the apex. The almost sacred concentration and fertility of this work rivets with intensity and shimmering splendor. Theodore Kuchar leads the National Symphony Orchestra of Ukraine with admirable panache, sensitivity and keen attention to idiomatic detail. The recorded sound is no less impressive.
Track Listings (9) - Disc #1
