The works of Leif Segerstam and the Helsinki Philharmonic Orchestra's newest disc release will surely be tacked onto composer Christopher Rouse's ever-growing list of orchestral masterpieces. The disc, entitled "Christopher Rouse: Der Gerettete Alberich, Rapture, Violin Concerto," captures the brilliance of Rouse's compositions with equally brilliant performances.
Rouse, faculty member of the Julliard School and one of today's most sought-after composers, is best known for his oeuvre of orchestral tone poems, percussion music, and concerti-- all three of which make appearances on the record.
Equally at home in both popular and serious idioms, Rouse delivers music that is delightfully diverse and appealing to both the well trained musician and the lay listener.
The record opens with a bang (pun intended) with Rouse's percussion concerto, "Der Gerettete Alberich" ("Alberich Saved"). The three movement work was inspired by the character Alberich from Wagner's "Ring" Cycle. Alberich is the only central character left alive at the end of Wagner's "Gotterdammerung".
Through the concerto, Rouse explores the sequence of Alberich's emotions at the conclusion of the opera. The piece moves effortlessly between Barber-esque elegance and the more tribal rhythmic sound for which Rouse is best known.
A percussionist himself, Rouse has left few percussion instruments out of the mix. The work features everything from the quirky-sounding log drums, to steel pan, to a massive battery of drums that can only be described as loud. The work takes the orchestral rhythmic energy and intensity of pre-neo classic Stravinsky and adds 100 years worth of jazz and rock influence to create a monster of a concerto.
The transition from the second movement to the third movement is one of the finest orchestral moments ever composed and will surely leave the listener flat against the wall. After a massive crescendo on a major chord, the orchestra breaks into what can only be described as an orchestral hybrid of metal and pep band.
Stephen Cabell, composer at the Curtis Institute, said of the aforementioned moment, "Warning: This may blow your ass out." For those who think "classical" music is something for old people, sleeping, or studying, "Der Gerettete Alberich" will undoubtedly call for a change of opinion.
The second piece on the disc, "Rapture", is the newest of the orchestral tone poems that have earned Rouse a dedicated following. But the piece is surprisingly tonal and reminiscent at times of Sibelius. The slow opening bears almost nothing in common with Rouse's earlier adagio pieces and is not generally recognizable as Rouse.
Rouse, however, is still Rouse, and as the piece evolves and moves toward a fast and furious ending, his more familiar voice shines through once again and the work concludes in an attack of percussion and rhythmic fervor. Though it is not as good as some of the Rouse's earlier one-movement works such as "Phaeton", it is nonetheless a wonderful and interesting piece of music.
One of the only Rouse concertos that does not employ any programmatic elements, the "Violin Concerto" is one of Rouse's more conservative concerti, both harmonically, texturally, and rhythmically. Structured in two traditional-style movements, a barcarola and a toccata, the "Violin Concerto" is reminiscent of the late and post-Romantic concertos of Mahler and Bartok.
The first movement is absolutely beautiful and refreshingly melodic. It moves directly into the second without pause and a whirlwind of stunning virtuosity ensues. The orchestral frenzy that has become almost Rouse's musical trademark is heightened by a toccata that might as well be a 10-minute cadenza.
Rouse's brilliant orchestral writing is of course only half of the reason that makes this record incredible. The other half of the story is the ensemble and the amazingly talented soloists. The Helsinki Philharmonic delivers a performance that places them on a level with the more popular orchestras such as the N.Y. Phil or Berliner. The orchestra plays flawlessly through Rouse's ridiculously difficult music.
The disc, available at Borders, Amazon, or Tower is one of the best recordings of Rouse's music. The record is second only to Houston Symphony's recording of Rouse's "Second Symphony", "Phaeton", and "Flute Concerto". I recommend it to any one looking to get for some badass classical music or anyone from the Mozart crowd in search of an edge.
