Composer: George Gershwin
Works: Gershwin in Hollywood (arranged by Robert Russell Bennett), An American in Paris, Cuban Overture, Symphonic Picture from Porgy and Bess (arranged by Robert Russell Bennett)
Performers: New Zealand Symphony Orchestra, James Judd (conductor)
Recording: Recorded at the Michael Fowler Centre, Wellington, New Zealand, July 2001; DDD Stereo
Label: NAXOS
George Gershwin’s oeuvre, a vibrant tapestry woven from the threads of classical, jazz, and American popular music, finds an intriguing platform in this recent Naxos release featuring the New Zealand Symphony Orchestra under the baton of James Judd. The works presented are quintessentially American, each reflecting the cultural milieu of the early 20th century, yet they also demand a nuanced orchestral approach. This recording, while perhaps unexpected from a New Zealand ensemble, asserts itself as a commendable interpretation of Gershwin’s spirited compositions.
The collection opens with “Gershwin in Hollywood,” a medley artfully arranged by Robert Russell Bennett. While it may lack the structural rigor of Gershwin’s more substantial works, it showcases some of his most beloved melodies, such as “Nice Work if You Can Get It” and “Love Is Here to Stay.” The orchestral execution is commendable, with the first trumpet and trombone displaying an admirable stylistic awareness. Judd’s direction is particularly notable here, as he navigates the transitions with a relaxed yet focused swing, creating an enjoyable atmosphere that invites listeners into the world of classic American song.
Transitioning into “An American in Paris,” Judd adopts a brisk tempo that, while slightly at odds with the languorous Parisian essence, offers a fresh perspective. The motor horns, perhaps not as brashly defined as in Bernstein’s or Previn’s renditions, are nonetheless effective in their clarity, and Judd’s sensitivity to the quieter moments allows for a contemplative interplay amidst the bustling orchestral color. The orchestra’s phrasing exhibits a commendable understanding of Gershwin’s harmonic language, though one might yearn for just a touch more relaxation in the overarching interpretation.
“Cuban Overture” follows, maintaining the recording’s energetic trajectory. Judd’s interpretation radiates cheerfulness, yet it lacks the visceral sway that one might associate with more seasoned interpretations, such as Previn’s. The rhythmic vitality is present, but a more pronounced syncopation and a slightly more liberated tempo could have enhanced the piece’s inherent groove. Nonetheless, the clarity and modernity of the Naxos recording itself stand out; it captures the orchestra’s timbral richness with remarkable depth, allowing the textures to breathe.
Concluding the program is Bennett’s “Symphonic Picture from Porgy and Bess,” a work that undeniably benefits from Gershwin’s melodic prowess. The New Zealand Symphony Orchestra sounds at ease with this material, bringing to the forefront the lush harmonies and poignant themes that characterize the opera. However, the integration of the banjo in the orchestration introduces a momentary hesitance in tempo, suggesting a need for tighter ensemble coordination during these passages.
This recording serves to challenge preconceived notions regarding the capabilities of the New Zealand Symphony Orchestra in performing Gershwin. The ensemble’s efforts, under Judd’s knowledgeable direction, assert a commendable grasp of the idiom, capturing the essence of Gershwin’s music with both enthusiasm and sensitivity. The recording quality is exceptional, marking a significant achievement for Naxos in their American Classics series. For those with a deep appreciation for Gershwin’s work, this disc not only entertains but also reaffirms the New Zealand ensemble’s ability to hold its own in the concert hall of international orchestras.
