CONSTANTINIDES Celestial Symphony No. 6. Alto Saxophone Concerto No. 3.1 Midnight Fantasy II.1 Homage1 • Stefanos Tsialis, cond; Thodore Kerkezos (alto sax);1 Nuremberg SO • CENTAUR 2871 (73:06)

Born in 1929, the Greek composer Dinos Constantinides is currently active in the U.S.A. as Boyd Professor at the Louisiana State University. His music has previously been featured on the Crystal and Vienna Modern Masters labels.

The Sixth Symphony is “dedicated to all Earth’s good people” and pays homage to all those who quietly and unselfishly help others. The four elements are featured in its three movements: “Air” for the first, “Earth” for the second, while “Water and Fire” share the finale. The zodiac, too, influenced the piece in its circular motions. Constantinides’s language is eminently approachable (I kept thinking of Roy Harris). In the final pages of the symphony, he even approaches the magical, with gossamer-transparent scoring, expertly realized by the Nuremberg forces. However, it is the extended English horn song of the slow second movement that is most impressive, containing moments both of beauty and of repose. After this, the more open gestures of the finale sound rather shallow. The ominous side drum and repeated rhythms of the later stages of this movement bring Holst’s “Mars” from The Planets to mind (surely no coincidence), while a quiet coda reverts back to the fluidity of earlier in the work.

The concerto for alto saxophone and orchestra, titled Midnight Fantasy II, is rather more subdued. The piece stems from the Midnight Song for soprano and chamber orchestra. The basic idea is a cluster of half steps (taken from an old Nat King Cole song). There is an active middle section that, despite its mobility, retains something of the restraint of the first section, while hints of sleazy dance seem totally apposite to the saxophone scoring. Kerkezos is an extremely sensitive player who clearly seeks to do these scores justice.

Restraint also characterizes the opening Prologue of the Third Concerto. Kerkezos’s legato seems particularly beautiful here, while his lightness is impressive in the ensuing movement. The third movement is subtitled “for Mozart,” and it is fascinating how Constantinides takes Mozart and recontextualizes Mozart’s spirit within his own piece. The light-hearted finale takes material heard earlier for a walk in the sunshine.

Finally, Homage, a “Folk Concerto” which uses no actual folk material. Invented folk music is nothing new, of course; here the music seems to originate from somewhere in the direction of America before veering off towards Greece. Again, Kerkezos is mightily impressive, particular in the slower, more lyrical passages, of which there are many. The finale dances infectiously, with the composer introducing some cheeky interruptions to the flow. There is also a flute version of this piece.

This is a very lovely disc, well recorded, and deserving of much acclaim.

FANFARE: Colin Clarke