Composer: Easley Blackwood
Performers: Chicago Symphony Orchestra, James DePreist; Boston Symphony Orchestra, Charles Munch (a)
Recorded: Orchestral Hall, Chicago, May and June 1992; Symphony Hall, Boston, November 1958
Record Label: Cedille Records
Number: CDR 90000 016
Duration: [57:46]

Both symphonies featured on this CD traverse diverse expressive terrains, yet they exhibit the distinctive composing language that is uniquely Easley Blackwood’s.
In his fifth symphony, opus 34, Blackwood navigates a sonic soundscape that is deeply saturated with tonal complexities and rhythmic intricacies, his use of the orchestra revealing a composer in full command of his musical vocabulary. Equally significant, is the interpretation of James DePreist. The maestro, together with the Chicago Symphony Orchestra, masterfully realizes the nuances of Blackwood’s score, their performance pulsating with vitality and nuance. The dramatic intent is fully experienced, leaving the listener immersed in a world that is both musically rich and emotionally consuming.

Turning to Blackwood’s first symphony, opus 3, the listener is treated to a work teeming with youthful vigour and ambition. Written when Blackwood was only in his early twenties, the symphony is notable for its service to the tradition of the symphonic form. The delivery of Charles Munch and the Boston Symphony Orchestra is nothing short of spectacular. They draw out the spirit of the composition, consequently revealing Blackwood’s profound understanding of the form and its potential for addressing post-war sensibilities. The very fact that this recording was made back in 1958 adds a layer of historical significance to the overall listening experience.

The sonic quality of the recordings, despite the difference in decades, demonstrates a remarkable consistency across both works. The attention to detail in the remastering process by Cedille Records is commendable, with an excellent balance maintained between different sections of the orchestra, and no detail of these dense scores lost to inaudibility.

In conclusion, this CD provides not just a survey of Easley Blackwood’s considerable compositional trajectory but also serves as a testament to the interpretive prowess of two notable orchestras led by esteemed conductors. For those seeking to encounter Blackwood’s music, this CD is an excellent place to embark on that journey. The opportunity that these recordings provide to hear Blackwood’s evolving style and the consistently high level of performance make this CD a rewarding experience.