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ClassicsOnline Home » ROCHBERG: Symphony No. 1 > Review List
Although the first, fourth and fifth movements were performed in cut form in March 1958, Rochberg's Symphony No. 1, the first large-scale work of his career, is here heard complete for the first time. Unlike the anguished Second (Naxos 8.559182), written in the mid-fifties as a delayed response to the awfulness Rochberg saw at first hand in the war years, the First is a young composer's exultant exploration of his maturing technique and powers of invention. Rochberg's teacher, Leopold Mannes, called the Capriccio movement, heard orchestrally for the first time ever in the present performance, "the craziest music I have ever seen!" More than fifty years on, this powerfully individual work has stood the test of time, and of neglect. It is a First Symphony of a young composer who was a natural composer for the orchestra, and a born symphonist.
This and next month, I want to talk about modern American music because I have been listening to new releases in the stellar Naxos American Classics series, as well as to some other new CDs of American music. Curiously, the one thing of which I may be sure is that very few readers will have heard of many of the composers I will cover.
Why is that? I think it is result of what happened to music in the 20th century. The January issue of Gramophonemagazine alludes to this problem in a debate titled "Why Is New Music Ignored?" Three participants try to divine why so much modern music is unknown. Their speculations are really quite amusing, as they largely tiptoe around the reason modern music lost its audience.
One participant did get close to the answer by referring to "the problem of language." He said of a musical piece by Harrison Birtwistle, "I have no idea what to say about it. If I heard the piece again I'd probably forget that I heard it the first time. There's something about the lack of memorability if you remove all the obvious prompts that make music memorable—like melody, harmony, rhythm." Yes, I would think so. It's like saying that it is hard to remember the taste of wine made without grapes; the "obvious prompt" of the grape is missing.
Some, such as the composer participating in the Gramophone debate, feel "liberated" by this loss of "prompts," with the result that "'retro' structures and melodies feel suffocating" to them. Oh, dear, asphyxiated by a tune? If someone wants to be liberated from melody, harmony, and rhythm, why not become a basket weaver or an investment banker? Another participant piously reacted to the complaint about the loss of language by saying that the problem of "how you memorise something if there isn't a melody—is partly about our having lost the educational moment to understand that journey."
In other words, it's the audience's fault, or the fault of those who should have educated the poor peasants in the audience. But why should the audience bother to understand the "journey" of those who chose to discard a comprehensible language in which to address them? How about composers understanding the journey of audiences—out of the concert hall? Did composers seize upon that educational moment to come to their senses?
In fact, as the Naxos series demonstrates, many did and have. Not soon enough, however, to keep the audience's interest—so deep has been the alienation produced by the regularly administered drubbings of new atonal music given in concert halls. Thus it will be news to many that a large number of composers turned against the ideology of amnesia, better known as serialism, and returned to the basics of music—no one more so than George Rochberg, on whose role and music I will focus this month. Some others never left the basics in the first pla
Two traumatic experiences, the first coming in front-line service in the Second World War when he was badly wounded, and the later death of his 15-year-old son, were to leave the listener never quite sure as to which George Rochberg they are about to experience. Born in New Jersey in 1918, he had begun his studies as a composer when he was drafted into the US army in 1942. The effect of all that he had seen in the European conflict had a delayed action, his first music on returning home seemingly in the mood of relief. He had started his First Symphony in 1939 and resumed work on its five movements in 1948, his influences remaining in a tonal idiom that five years later would turn to a devout serial composer in the Second Symphony. That he was later to return to tonality gave him the opportunity to revisit the score in 1977 rewriting part of the work and enriching the orchestral fabric. Early efforts to have the work performed had resulted in a shortened version of the work played by the Philadelphia Orchestra in the early 1950's, a premiere he much regretted. He did recirculate the second movement as a stand-alone piece, Night Music, but until this recorded performance in 2004, it had never been heard in its entirety. The prospect of that event caused Rochberg to take one last look at the score when several more changes were made. Even between movements we find a very different composer, at times embracing an American folksy element, while at times he intimates the onset of atonality. Certainly the two extensive slow movements that come second and fourth are very imposing, the rather savage passage towards the end of the second preparing the way for a powerful finale whose abrupt ending is intended to shock. Rochberg's very free use of his thematic material does need revisiting several times to get inside his thinking, the music at times seeming to meander as ideas come and go. Christopher Lyndon-Gee has long been a champion of Rochberg and we can be sure that this is a benchmark recording, and even though the Saarbrucken orchestra at times sound to be coming to terms with the score, the whole account constitutes a 'must have' disc from the American contemporary scene.


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Company defends Canadian exec in Cuba graft case
Wednesday - 7/2/2014, 4:50pm EDT
Associated Press
HAVANA (AP) -- The company and family of a Canadian business executive awaiting a court ruling in Cuba defended him against accusations of graft, arguing that what were in fact "legitimate commercial transactions" were wrongly characterized as corrupt at trial.
A two-page statement sent to The Associated Press by the Tokmakjian Group also complained that company president Cy Tokmakjian's trial, which ended June 21, was unfairly stacked against him.
It said he was held without charge for two years while the results of the investigation were kept secret, and then given just two months to present a defense. Meanwhile 14 of 18 proposed defense witnesses, including international tax experts, were rejected by the court without explanation.
"We are concerned that the outcome of the trial is predetermined given the reluctance by the Cuban authorities to rectify gross procedural mistakes," the statement said.
Prosecutors are seeking 15 years for Tokmakjian and 8 to 20 for more than a dozen others named as defendants. They include two more Canadians as well as Cuban employees of the company, government officials and workers at state-run businesses.
On Monday, Communist Party newspaper Granma said Tokmakjian was accused of corruption to obtain benefits in contract negotiations, unauthorized financial transactions, illegally taking large amounts of money out of the country, falsifying documents to avoid taxes and payroll irregularities. A ruling is expected soon.
Tokmakjian is among a number of foreigners and dozens of Cubans arrested in 2011 as part of a high-profile crackdown on graft that targeted multiple businesses operating in the country.
Another Canadian, Sarkis Yacoubian of Tri-Star Caribbean, was sentenced to nine years in 2013 but freed earlier this year and allowed to return home.
Saro Khatchadourian, a spokesman for Canada's Minister of State for Foreign Affairs and Consular, said Ottawa is monitoring its citizens' legal cases in Cuba and providing them with consular services, but declined to comment further. Canada's ambassador to Havana attended Tokmakjian's trial.
Cuban officials did not immediately respond to a request for comment Wednesday.
The statement from the Tokmakjian Group, an international transportation company based in Concord, Ontario, questioned why an individual was being held liable for a corporate tax issue, and said any claims were purely commercial and should have been handled in arbitration rather than a criminal court.
"A simple and objective reading of recent court decisions will lead to the conclusion that what is shown as 'corruption' is internationally accepted business practices," it said. "Commercial activities such as discounting bills of exchange or providing supplier credit appear as 'evidences of corruption.' Earning profits out of a commercial activity is considered a 'crime against (the) economic interests of Cuba.'"
Tokmakjian's trial came to a close within days of a new law taking effect that Cuba hopes will lure much-needed foreign investment. Officials say it safeguards commercial and personal property rights.
Though Cuban authorities made no details publicly available while the trial was ongoing, its outcome is sure to be scrutinized by the foreign business community and likely by potential investors.
"Although no one will (dispute) the legitimacy of Cuba to combat corruption," the Tokmakjian Group statement said, "this fight against corruption has been used as an excuse to deprive companies operating in Cuba of their rights and assets with no compensation."
Associated Press writer Rob Gillies in Toronto contributed.
Peter Orsi on Twitter: www.twitter.com/Peter_Orsi
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Following some solid racing on Friday, the Mini Stock division returned on Saturday to continue to set the field for the 50 lap feature.
Casey Cavanah won the first heat ahead of Warren Paxton, Miles Tyson, Bob Tolton, Brandon McFerran, Terry Woodley, Damon Pogue and Eric Thompson.
2013 Velocity 250 winner Doug Butler won the second heat ahead of Danny Benedict, Dean Curry, Ryan Babin, the 88, John Vandyk, Dave Watchorn and the 8.
Peter Moore won the third heat ahead of Brandt Graham, Ryan Oosterholt, Kyle Baker, Corcoran, Ryan Hardy, Chris Mulders, Ember Junkin, Tyler Junkin, Kevin Strutt and the 63.
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The first B-Main would see a wreck as Strutt would get into Kevin Pickford, collecting Thompson, Watchorn and Hardy. Swartzenburg took the win ahead of the 3, Woodley and Thompson. Thompson would be DQ'd in post-race tech, allowing Strutt to make the show. Watchorn would finish sixth, therefore missing the show.
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