From the Simpsons to the Concert Hall,Classical Gems by Danny Elfman


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Danny Elfman (1953-) has had a varied and successful musical career working in diverse areas.  From his days as lead singer and songwriter for Oingo Boingo, he has cultivated his love of film music into a successful career having scored numerous films and television shows.

Now a great divide seems to exist between composers who score films and composers who compose for the concert hall.  Few have demonstrated the ability to be successful in both arenas.  Erich Wolfgang Korngold is a notable exception as is Aaron Copland.  Both men have succeeded rather famously in both film and classical concert hall music.  In fact John Williams, though known primarily as a film and television composer has written quite a bit for the concert hall as well.

Now here comes Danny Elfman, known best perhaps as the composer of the Simpsons them for the long running animated series.  He has gotten the bug to write for the concert hall and this recording presents two major works.  The first is his violin concerto “11/11)(2017) with soloist Sandy Cameron.  You can read the liner notes about the composer’s obsession with the number 11 or you can relax and enjoy a genuine violin concerto, not a reworking of themes as one might expect from a lesser composer.  The second is a nice addition to the chamber music repertoire, a piano quartet (2017).

The concerto is played by the wonderful Royal Scottish National Orchestra under the direction of the esteemed John Mauceri.  Sandy Cameron is the soloist who handles the concertos four movements flawlessly and does justice to Elfman’s work.  It’s really a beautiful piece.  Only time will tell the work’s eventual place in history but we can certainly enjoy it for what it is, a good and entertaining violin concerto.

The Piano Quartet is played by the Philharmonic Piano Quartet Berlin which consists of Andreas Buschatz, violin ; Matthew Hunter, viola; Knut Weber, cello; and Marcus Groh, piano.  This five movement work would happily grace any chamber music recital.  It is in turn pithy, melodic, humorous, and serious.

This is stronger music than this reviewer had imagined would come from this composer’s pen.  I can’t say, “If you like his film scores you’ll like his music” but there are, perhaps inevitably, snippets of his film music style which work actually quite well.

Double, Double: Three Double Concertos


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Let me begin with a confession.  The Brahms Concerto for Violin, Cello and Orchestra is not my favorite Brahms concerto.  Think about it.  All his other concertos and certainly the symphonies get many live performances.  Not so with this double concerto.  Nonetheless it pretty much has served as THE model for this particular configuration of multiple soloist concerto.  That said we find ourselves confronted by this really delightful Sony release which effectively contains possibly the three finest examples of this genre (though it would be nice to include Lou Harrison’s double concerto).

The disc opens with a single movement concerto by the prolific German composer Wolfgang Rihm (1952- ).  This busy piece seems to be basically post-romantic in its harmonic language and more like a concerto grosso in terms of the more embedded solo materials.  It is a tour de force for both orchestra and soloists.  The classic three movement concerto format is abandoned in favor of one twenty minute allegro which contains a very large and interesting world of musical ideas.  Yes, there are some harsher sounding harmonies but this assertive music brings the listener along with its rush of ideas.

Next is the Brahms Concerto.  Now I am a Brahms fan and have tried to “get” this concerto for many years.  As beautiful as this performance is I still find the first movement way too long and ponderous.  The second movement is pleasant but not as memorable as I wish it were.  But if you make it through those two you are treated to a scherzo-like finale which is one of the finest things the composer wrote.

The disc concludes with another 21st century concerto.  This one is by the venerable John Harbison is an arresting and powerful piece.  Unlike the Rihm and even the Brahms Harbison relies upon a great deal of solo and duo material for the featured soloists with the orchestra participating when it is allowed.  This is a multiple movement piece with many moods.  It is a virtuosic venture for orchestra and soloists.

The performers in this recording, though not familiar names to this reviewer, are clearly world class performers who go fearlessly into new music and have mastered the old.  Jan Vogler is on cello and Mira Wang is on violin.  The orchestra is the Royal Scottish National Orchestra.  They are up to the seemingly considerable challenges under the guidance of Peter Oundjian.  And the recording is lucid and warm.