VOICES Notes and news on Classical releases
21 JAN 11 JASON SERINUS
In early digital history, Telarc was one of the few labels to use the Soundstream recording system to improve fidelity. Capturing bass impact like few before, the label leapt to the forefront of digital sound reproduction. The fruits of Telarc's early efforts can be heard on Copland: Appalachian Spring/Rodeo/Fanfare For The Common Man; Hindemith: Symphonic Metamorphosis by Louis Lane and the Atlanta Symphony.
Recorded in March 1981, the spectacular bass drum wallops at the start of Aaron Copland's Fanfare for the Common Man make wimps of wooly woofers. The atmospheric soundstage in the quieter portions of Rodeo and Appalachian Spring Suite is also light years ahead of what other major labels were achieving at the time.
The music is of the first order. So deeply have Copland's classics insinuated themselves into the American psyche that they seem as part of our landscape as apple pie. That's not exactly how the House Un-American Activities Committee greeted Copland when he came before them to renounce his radical past, but it is proof that great music can transcend even the most misguided of politicians.
A continent away, Paul Hindemith also encountered difficulties until his Jewish wife and checkered relationship with the Nazi regime led him to immigrate to the United States. In 1943, encouraged to write music that would appeal to Americans, he composed his Symphonic Metamorphosis. Recorded in November 1980, Robert Shaw does a bang up job with his immensely colorful score.
Copland: Fanfare for the Common Man
Louis Lane & Atlanta Symphony Orchestra ...