Holiday Shop


WGBH Radio WGBH Radio theclassicalstation.org

McTee: Symphony No 1, Circuits... / Slatkin, Detroit


Release Date: 11/19/2013 
Label:  Naxos   Catalog #: 8559765   Spars Code: DDD 
Composer:  Cindy McTee
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  Detroit Symphony Orchestra
Number of Discs: 1 
Length: 1 Hours 7 Mins. 

In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

MCTEE Circuits. 1 Symphony No. 1 “Ballet for Orchestra 2.” Einstein’s Dream 1. Double Play 3 Leonard Slatkin, cond; Detroit SO NAXOS 8.559765 (66:43) Live: Detroit 1 2/9–11/2012; 2 Read more class="ARIAL12">5/17–19/2012; 3 6/1–4/2010

My first contact with Cindy McTee’s music was a recording of the wind ensemble transcription of Circuits by the Cincinnati College-Conservatory Wind Symphony. In fact, all previous experience with McTee’s music has been in the wind ensemble medium, including three movements of the Symphony No. 1 under the title Ballet for Band . There is a wind ensemble recording of Double Play , as well, which I had not heard until now. It says a lot about the difficulties of getting new music recorded by orchestras that McTee’s larger ensemble music, almost always written for the orchestra first, has been much more available to collectors in wind band arrangements. Of course, it didn’t hurt that she was, from 1984 to 2011, on the music faculty of the University of North Texas at Denton, the current academic home of band music-recording phenomenon Eugene Migliaro Corporon. He must have found her technically challenging, elegantly crafted, imaginative, often playful, and always vibrant music irresistible. (She claims, incidentally, to have acquired the compositional playfulness from Krzysztof Penderecki during the year she studied with him at the Cracow Academy of Music. That is as surprising a piece of information as I can remember picking up from an artist biography.)

In any case, it seems fitting, given the large amount of play her orchestral music has gotten, that the first CD of these works is being conducted by Leonard Slatkin. This is not because he has been her husband since 2011, but because Slatkin, a noted proponent of quality American music with audience appeal, has been an advocate of McTee’s music for so much longer. In fact, he was instrumental in arranging the commission of her Symphony No. 1 for the National Symphony Orchestra in 2002. That work is the central composition in this Detroit Symphony program, and is in several ways emblematic of the McTee style. It is, to begin with, music motivated by dance and movement, driven by an emphasis on rhythms, often motoric, with unexpected disruptions and syncopations to keep it impetuous. Not surprisingly, it keeps the percussion section very busy. It is music of high contrasts: in those rhythms, and in sonorities, and in its use of tonality. And lastly, each of the four named movements—“On with the Dance,” “Till a Silence Fell,” “Light Fantastic,” and “Where Time Plays the Fiddle”—is inspired by characteristics of one or more well-known works by other composers: the opening motif of Beethoven’s Symphony No. 5, a melody from Penderecki’s Polish Requiem , Barber’s Adagio for Strings, Ravel’s La valse , and Stravinsky’s Le sacre du printemps . Those who know the Ballet for Band will note the elegiac second movement not included in the band version: an Adagio derived from an earlier Agnus Dei for organ, with which she eulogizes the victims of 9/11. All this, with some occasional jazz references to boot, McTee transforms into a unified, highly original, exceptionally moving 30-minute work.

Double Play (2009–10), the most recent work on this release, is another Slatkin commission, this for the Detroit Symphony. Indeed, this recording is from the premiere performances. “Unquestioned Answer,” the first movement, is a witty rethinking of Ives’s Unanswered Question , using the same device of an initially serene backdrop interrupted by a contrasting repeated theme. Instead of trumpet, the theme is played by various groups of instruments, and unlike Ives’s unvaried theme, McTee’s—derived from Ives’s—is transformed at each repetition. The last variation, for wood blocks and cowbells, leads into the second movement, “Tempus Fugit,” which truly seems to flee at light speed, after the moments of indecision while the ticking clocks get synchronized. Reminding one commentator of big band jazz of the Hermann/Kenton variety and inspired by a theme by Slatkin, it is hugely entertaining.

So is her most popular work, Circuits , written in 1990: a high-energy romp in which the title describes a stimulus not so much electronic as fractal. It is McTee’s closest brush with minimalism on this CD, but there is nothing hypnotic or reflective here. That comes in Einstein’s Dream (2004), which incorporates electronics and brooding introspection in a remarkable collage of wildly contrasting styles. If this can be taken as a conjecture of what it might have been like to be inside the great physicist’s head, then one finds order in the Baroque ensemble, deep intellectual questing in the Romantic violin—based again on Ives’s trumpet theme in The Unanswered Question —and the most marvelous, and sometimes fantastic, images floating among them. The intent is quite serious, of course, as each of the seven continuous sections reflects on some aspect of Einstein’s thoughts and works, art, and science. It is the work to which I returned most often, reveling in its depth and uncommon beauties.

So, this CD is a thoroughly enjoyable experience. The work of orchestra and conductor in these performances is exemplary, something that I have not always felt when hearing recent recordings from this source. The engineering is superb. I can think of no better way to come to know the work of this fascinating composer. Highly recommended.

FANFARE: Ronald E. Grames
Read less

Works on This Recording

1.
Circuits by Cindy McTee
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  Detroit Symphony Orchestra
Period: 20th Century 
Written: 1990; USA 
2.
Double Play, for wind ensemble by Cindy McTee
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  Detroit Symphony Orchestra
Written: 2010 
3.
Symphony no 1 "Ballet for Orchestra" by Cindy McTee
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  Detroit Symphony Orchestra
Written: 2002 
4.
Einstein's Dream by Cindy McTee
Conductor:  Leonard Slatkin
Orchestra/Ensemble:  Detroit Symphony Orchestra
Written: 2004 

Sound Samples

Circuits
Symphony No. 1: Ballet for Orchestra: I. Introduction: On with the Dance
Symphony No. 1: Ballet for Orchestra: II. Adagio: Till a Silence Fell
Symphony No. 1: Ballet for Orchestra: III. Waltz: Light Fantastic
Symphony No. 1: Ballet for Orchestra: IV. Finale: Where Time Plays the Fiddle
Einstein's Dream
Double Play: I. The Unquestioned Answer
Double Play: II. Tempus Fugit

Customer Reviews

Average Customer Review:  1 Customer Review )
 Well-crafted and accessible music January 23, 2014 By Ralph Graves (Hood, VA) See All My Reviews "If you're not familiar with this talented American composer, this album provides a great introduction. The release opens with "Circuit," a five-minute work that generates high-energy action from start to finish. By contrast, "Einstein's Dream" is a slow-moving atmospheric work for orchestra and electronics. Conservatively atonal, its evolving soundscapes are quite appealing, and draw the listener into its world. "Double Play" was written for the Leonard Slatkin and the Detroit symphony Orchestra, and they perform it with confidence. The second movement is especially effective, bristling with jazzy, good-natured spirits. McTee's Symphony No. 1: Ballet for Orchestra is just that -- a work of symphonic proportions that practically begs to be choreographed. Each movement has a dramatic narrative to it and a pulse that keeps the music moving constantly forward. McTee's carefully crafted melodies make her music easily accessible without resorting to triteness or cliche. This is a substantial work that merits revisiting. Leonard Slatkin and the Detroit Symphony Orchestra know this music well, and it shows. Ensemble playing is clean and precise, the narrative flow of the music is clear, and the blend between instruments and sections seamless." Report Abuse
Review This Title
Review This Title Share on Facebook




YOU MUST BE A SUBSCRIBER TO LISTEN TO ARKIVMUSIC STREAMING.
TRY IT NOW FOR FREE!
Sign up now for two weeks of free access to the world's best classical music collection. Keep listening for only $19.95/month - thousands of classical albums for the price of one! Learn more about ArkivMusic Streaming
Aleady a subscriber? Sign In