Want List for Merlin Patterson [2010]

The real stars of Naxos 8.559603 are not the symphonies of William Grant Still, but rather the splendid playing of the Fort Smith Arkansas Symphony and the inspired interpretations of its music director, John Jeter.

William Grant Still’s music is a powerful antidepressant—a dose of optimism and an infusion of hope. The symphonies suggest Copland at his folksy best, yet are not derivative, and Poem for Orchestra ends with a genuinely moving burst of radiant glory. One feels that all differences—personal, local, national, and global—can be settled as long as it is possible for music such as this to be composed and performed. The performances show a great deal of polish and affection.

…the Symphonies Nos. 4 and 5 of Still were released on Naxos 8.559603 (2009) and are worth hearing along with his earlier symphonies.

Often referred to as the Dean of Afro-American music, still was the first African-American to conduct a major American symphony orchestra (he led the LA Philharmonic in 1936), the first to have a symphony of his own performed by a major American orchestra (his Symphony No.1, Afro American, was performed by the Rochester Philharmonic Orchestra under the direction of Howard Hanson in 1931), the first to have an opera performed by a major opera company (Troubled Island was given by the New York City Opera in 1949), and the first to have an opera performed on national television.

A valuable addition to the Still discography with solid performances

This follow-up to the initial release of William Grant Still’s Symphony No 1 by John Jeter and the Fort Smith Symphony on Naxos is a welcome addition to the “American Classics” series, helping to flesh out our view of Still’s orchestral oeuvre, much of which remains little known and largely neglected. The Afro-American Symphony (No 1) remains Still’s best known and most-performed work but the music on this new disc is equally diverting and attractive.

The Fort Smith Arkansas Symphony…play quite well and do justice to William Grant Still’s music…these works…are…worth knowing…

To read the complete review, please visit American Record Guide online.

William Grant Still's Fourth and Fifth symphonies are saddled with bombastic and ridiculous titles that have little or nothing to do with the musical reality of what you will actually hear on listening to them, so I choose to ignore them. In truth, Still wasn't a particularly adept symphonist in the traditional sense--in qualities such as rigorous development and economical exploitation of thematic material. He was a melodist, and a very good one. The slow movements (and scherzos) of both symphonies are extremely beautiful, graceful, elegant, and sincere. In quicker music he tends to become repetitious; but as if understanding his real strengths, he fills both works with lovely, lyrical tunes at slow to moderate tempos. This makes the quicker music an effective contrast, but as I said, it's not terribly symphonic. No matter; this is very enjoyable stuff, sort of a cross between George Gershwin and Howard Hanson (well, probably better than the latter for the most part).

The Poem for Orchestra may be the best piece on the disc, and not because it's less ambitious. In fact, at 10 minutes it lasts longer than any single movement in either symphony, but its contrasting episodes are very effectively structured into a cohesive whole. The Fort Smith (Arkansas) Symphony, not quite a full-time group when last I checked, plays this not-terribly-difficult music warmly and accurately. Of course, I could imagine a bit more snap to the rhythm, a touch more heft at the climaxes, but conductor John Jeter ensures that nothing gets in the way of the listener's enjoyment, and these works are so attractive and audience-friendly that there's no reason to quibble. Definitely worth a listen if you collect 20th-century American music.

William Grant Still (1895-1978), was born to a family which had African-American, Native-American and European roots. His father, according to some sources, was a college professor who died before William was born, and according to others, was a bandmaster who died when William was three years old. His mother was a school teacher who wanted him to pursue medical studies, but his interest in music was strong enough for him to give up medicine for composition. His two main composition teachers were at completely different ends of the spectrum. George Chadwick, the ultra-conservative, and Edgar Varèse, the ultra-modernist. I'm surprised Still managed to establish his own style from such opposite influences. His music is a combination of traditional, neo-romantic harmonies and forms, with an added blend of blues, spirituals and other folk influences.

His Symphony No. 5 'Western Hemisphere' opens this recording with a busy first movement, loaded with syncopated rhythms which build to a march-like climax with an effective dramatic ending. The second movement, marked (Slower, and with utmost grace) is very imaginative, and displays orchestration skills blending beautiful melodies in the strings flowing atop an orchestral pulse driving everything forward. The rest of the work is full of color and energy, and the finale of the last movement has a kind of 'Gone With the Wind' feel to it.

The Poem for Orchestra which follows is a darker and more serious work depicting the world being reborn spiritually after a period of darkness, and slowly builds to a bright and powerful ending with a sweeping melody.

The Symphony No. 4 'Autochthonous' represents the spirit of the various American people, and the coming together of different cultures. It starts with a Native-American motif which slowly builds into a rousing march. Lots of melancholic episodes lead us to the slow final movement based on a strong and flowing melody which builds to a powerful ending bursting with optimism. To me this work sounds like a blend of American traditional folk like Stephen Foster, and the grand gestures of Grofé's 'Grand Canyon Suite', all built upon a subtle base of European tradition.

These two symphonies are given their world première recordings on this fine Naxos CD, and if I am not mistaking, this is only the second recording by the Fort Smith Symphony Orchestra of Arkansas and their conductor John Jeter. Their first was actually more music by the same composer. This recording is a strong new addition to the Naxos American Classics series, one of the most comprehensive series of recordings on the market today. more....