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Rhapsodie in navy blue. Musique militaire pour la Marine. Tien.
Format : 1 CD
Total Time : 01:21:05

Recording : 17-21/02/2020
Location : Hilversum
Country : Pays-Bas
Sound : Studio / Stereo

Label : Channel Classics
Catalog No. : CCS42920
EAN : 0723385429203
Price Code : DM020A

Publishing Year : 2020
Release Date : 28/10/2020

Genre : Classical
Stephen Melillo (1957-)
A Sending

Robert Russell Bennett (1894-1981)
Suite of Old American Dances

Samuel Barber (1910-1981)
Commando March

Aaron Copland (1900-1990)
Fanfare for the Common Man

John Corigliano (1938-)
Gazebo Dances for Band

Charles Ives (1874-1954)
Marche "Omega Lambda Chi"

George Gershwin (1898-1937)
Rhapsody in Blue

Marine Band of the Royal Netherlands Navy
Major Arjan Tien, direction

Les amateurs de ce type de répertoire associant musique américaine classique et orchestre d’harmonie passeront un bon moment à l'écoute de cet album ! Un siècle de compositions y est représenté. L'inévitable Rhapsody in Blue (1924) clôture le programme dans la version exécutée lors de la première par l'orchestre de jazz de Paul Witheman. Elle a la particularité d'employer un piano mécanique reprenant le rouleau réalisé par George Gershwin lui-même. Ainsi, c'est une part de l'interprétation du pianiste-compositeur que l'on peut entendre dans cet enregistrement. Cela en fait une version inhabituelle et y ajoute un intérêt historique. Pour les autres œuvres de l'album se succèdent des grands noms de la musique des États-Unis. On y apprécie la fraîcheur des rythmes inspirés par les danses et musiques afro-américaines et européennes. On y entend aussi de motivants rythmes de marche ou encore de gracieux hymnes religieux. On est autant séduit par les caractères bucoliques rendus par la finesse des orchestrations aux sonorités boisées et chaleureusement cuivrées que par l'esprit majestueux et la beauté qui se dégagent de certaines œuvres. Grandeur, force, aspects folkloriques, mélodies accrocheuses et orchestrations tant vives que chaleureuses font leur effet. L'interprétation du Marine Band Of The Royal Netherlands Navy est excellente, aussi bien raffinée que flamboyante. (Laurent Mineau)

What makes American music so recognizably American, including the compositions for wind instruments on this special CD? Is it because it mirrors a multicultural nation? A nation of migrants from across the world, of slaves, and, not to forget, of the original Indian inhabitants? In American music of the twentieth and twenty-first centuries, these cultures and styles seem to encounter one another and intermingle, stretching from Charles Ives through Aaron Copland to John Adams. In contrast to Europe, traditions in America are less firmly anchored historically, since the nation is relatively young and its musical history much shorter. Classical music in Europe was once something of a sacred bastion, as became quite clear in the 1920s and 1930s, when that world was often shaken up by composers who liked to dilute their classical creations with generous dashes of jazz. Among them were Maurice Ravel, Francis Poulenc, Arthur Honegger, Darius Milhaud and Paul Hindemith. At first there was resistance in the USA to the influence of jazz and blues on classical music, as experienced by Aaron Copland, who decamped for some time to Mexico. But the crossing between ‘serious’ and ‘light’ gradually became fluent in America, and audiences generally came to acknowledge that music may be well-sounding and rhythmically catching. This recording offers a fine sampling of music from the USA for military band, and illustrates this typical, multicoloured American amalgam of folk music, religious hymns, jazz, blues, marches and other military music. On the present recording, Rhapsody in Blue is heard in the original version, as performed at the 1924 premiere by Paul Whiteman’s jazz band, and scored for two clarinets, oboe, three saxophones, two horns, two trumpets, two trombones, tuba, percussion, banjo, violins and double bass. A piano roll made in 1925, featuring the composer as soloist, was discovered by chance. There was just one problem, however, for the roll comprised not only the solo part but also the accompanimental (piano) part. The approximately 5000-6000 little perforations were sealed by Jan Bouman, and the result is nothing less than a revelation.

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