Composer: Harold Shapero
Works: Concertino for Orchestra (1944), Tartiniana for violin and orchestra (1952), Symphony for Classical Orchestra (1947)
Performers: Columbia Symphony Orchestra, Leonard Bernstein
Recording: Columbia 30th St Studio, NYC, 31 Mar – 1 Apr 1953
Label: Sony Classical
The 1953 recordings of Harold Shapero’s Symphony for Classical Orchestra, alongside works by Nikolai Lopatnikoff and Luigi Dallapiccola, illuminate a moment in American music history where the struggle between tradition and innovation was palpable. Shapero, whose career blossomed in the mid-20th century, embodies a neo-classical sensibility that combines rigorous form with a distinctly American flair, echoing the influences of Beethoven and Stravinsky while forging a unique path. This recording, part of Bernstein’s enduring legacy, showcases not only Shapero’s orchestral craftsmanship but also the dynamism of the Columbia Symphony Orchestra under Bernstein’s baton.
The recording opens with Lopatnikoff’s Concertino for Orchestra, a work that reflects the composer’s tumultuous journey as a refugee from the war-torn Baltic states. Here, Bernstein’s interpretive prowess shines through. The performance brims with a jabbing energy and an athletic vitality that aptly captures the work’s Stravinskian rhythms. The final movement’s piano interjections, reminiscent of Shostakovich’s First Piano Concerto, are executed with a precision that reveals Bernstein’s deft handling of contrasting textures and moods. This piece, while perhaps overshadowed by more prominent contemporaries, benefits immensely from Bernstein’s commitment to its intricacies, showcasing Lopatnikoff’s lyrical gifts amidst his rhythmic acrobatics.
Transitioning to Dallapiccola’s Tartiniana, one encounters a starkly different sound world. The work’s four movements, inspired by the violin sonatas of Giuseppe Tartini, take on an introspective quality that contrasts sharply with Lopatnikoff’s exuberance. Violinist Ruth Posselt’s performance brings a profound lyrical sensitivity to the forefront, navigating the delicate balance between dissonance and melody with finesse. The music’s conservative dissonance paired with moments of lyrical grace invites comparisons with Schnittke’s neo-classical explorations, yet Dallapiccola’s voice remains decidedly distinct. Bernstein’s orchestral accompaniment enhances the violin’s expressivity, creating a rich tapestry that reverberates with emotional depth.
Shapero’s Symphony for Classical Orchestra emerges as a compelling centerpiece of the recording. The first movement’s Fate motif is immediately engaging, evoking Beethoven’s influence while maintaining Shapero’s individual voice. The second movement, marked by a lyrical stillness, echoes Stravinsky’s introspection, contrasting the energetic third movement, which reveals a more chaotic, Nielsen-esque vigor. Bernstein’s interpretation here is particularly noteworthy; he brings a sense of urgency and transparency that allows the symphony’s intricate counterpoint to unfold naturally. However, the work does seem to falter slightly in comparison to Prokofiev’s Classical Symphony, lacking the latter’s unbounded delight and concision. The engineering captures the orchestral detail effectively, though some passages may benefit from a more nuanced dynamic range.
This collection of works, recorded during a pivotal period in American classical music, is a testament to Bernstein’s artistry and vision. The Columbia Symphony Orchestra’s performances are imbued with a sense of purpose and commitment, effortlessly navigating the complexities of each score. While Shapero’s Symphony may not have aged as gracefully as some of its contemporaries, the recording serves as an important document of a composer striving to carve out his place in a rapidly evolving musical landscape. Bernstein’s clear dedication to these composers, coupled with the technical capabilities of the Columbia Symphony, results in a captivating listening experience that merits attention from both scholars and casual listeners alike. The interplay of tradition and modernity within these works resonates powerfully, underscoring the significance of this recording in the broader context of mid-20th-century American music.
