Composer: Imants Kalnins
Works: Symphony No. 4
Performers: Pattie Cohenour (soprano), Liepajas SO, Imants Resnis (conductor)
Recording: Riga, Latvia, 18-19 Nov 1998
Label: MRCD103
Imants Kalnins, a significant figure in contemporary Latvian music, composed his Fourth Symphony in 1973 during a tumultuous period marked by personal and political challenges. The symphony’s genesis is rooted in a passionate romance with American poet Kelly Cherry, whose poetry serves as the thematic backbone of the vocal finale. The work’s initial reception was hindered by Soviet censorship, necessitating revisions that stripped it of its original lyrical essence. This recording, featuring the premiere of the authentic version, offers a rare glimpse into Kalnins’ artistic intentions and emotional depth, shedding light on the interplay between personal and political narratives in his music.
The performance under Imants Resnis exhibits a keen understanding of Kalnins’ intricate textures and rhythmic propulsions. The opening allegretto, characterized by its mechanistic drive, is a remarkable tribute to Ravel’s “Boléro,” yet it expands into a more complex and layered sonic landscape. The persistent motor-rhythmic pulse, underscored by a vivid drumkit, creates a captivating framework for the clarinet’s lonely theme, which emerges like a wistful echo against the backdrop of minimalistic repetitiveness—an aesthetic reminiscent of both Steve Reich and the emotional gravitas of Shostakovich. This interplay of mechanical and lyrical elements captures the listener’s imagination, establishing a hypnotic atmosphere that persists throughout the movement.
The second movement, marked as andante tranquillo, presents a delightful contrast with its sleigh ride-like charm, enriched by a spectrum of percussive textures. Here, the echoes of Shostakovich’s 15th Symphony resonate, yet Kalnins imbues the material with a more accessible warmth. The poignant cries of the piccolos intertwine with the strings, evoking a landscape of bittersweet nostalgia that is both haunting and beautifully familiar. The Grave molto that follows showcases Kalnins’ orchestral prowess, merging brass sonorities reminiscent of Tchaikovsky’s Fourth with a shimmering theme that recalls the elegance of the Elizabethan serenade. This movement demonstrates Kalnins’ ability to evoke deep emotional responses while maintaining a sense of structural integrity.
The symphony’s final movement is particularly striking, revealing the duality of Kalnins’ voice through the powerful performance of soprano Pattie Cohenour. Her vocal delivery straddles the line between operatic and Broadway traditions, offering a compelling interpretation that channels both tenderness and raw emotional intensity. The text, derived from Cherry’s poetry, serves as a poignant exploration of love’s decay, transforming the symphonic experience into a visceral narrative. This vocal inclusion, akin to Mahler’s Fourth Symphony, enriches the symphonic fabric, allowing for a profound engagement with the work’s thematic concerns.
Recording quality is commendable, capturing the lively orchestral sound reminiscent of Melodiya’s golden age, while the occasional audience shuffle and cough lend an authentic concert atmosphere. The engineering balances clarity with resonance, ensuring that each instrumental voice is distinctly heard. Comparatively, this recording surpasses other offerings of Kalnins’ works, notably the BIS recording, by presenting a more nuanced interpretation that aligns closely with the composer’s intentions.
Kalnins’ Fourth Symphony emerges as an innovative synthesis of minimalist influences and rich emotional storytelling. The orchestration is both vibrant and sophisticated, drawing on a wide array of musical traditions while forging a unique identity. The interplay of rhythmic vigor and lyrical poignancy creates a compelling listening experience, making this work not only a significant addition to the symphonic repertoire but also a testament to the transformative power of music in the face of adversity. Enthusiasts of contemporary classical music, as well as those who appreciate the intersections of personal narrative and broader cultural contexts, will find this recording utterly captivating. The desire to explore more of Kalnins’ oeuvre is inevitable, as his symphonic voice beckons with an irresistible allure.
