The Fibonacci Sequence - Ned Rorem: End of Summer, Book of Hours, Bright Music (2003)

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The Fibonacci Sequence - Ned Rorem: End of Summer, Book of Hours, Bright Music (2003)

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Ned Rorem (b. 1923) is one of our most distinguished composers, perhaps best known for his songs; certainly he is one of the finest composers we have when it comes to word-setting. But this disc is given over to chamber works, and a fine disc it is; it features the British chamber group Fibonacci Series, which consists of seven instrumentalists (led by violinist Jonathan Carney, brother of the American String Quartet's second violinist, Laurie Carney).
"End of Summer" (for clarinet, violin and piano (1985), in three movements: Capriccio, Fantasy, Mazurka) starts with a declamatory cadenza for unaccompanied violin that seems to be notifying us that an important announcement is about to be made. But shortly after the clarinet and piano enter we are taken to a world of pastiche (and of memory) that includes old hymns, children's songs, snippets of faux-Satie. In the 'Fantasy' we enter an autumnal mood, with some late Brahmsian use of the clarinet, in which there seems to be rueful recollection of times past. 'Mazurka' is a lively old-fashioned folk-dance, alternately contrasted with an elegant waltz. Toward the end two dances jostle for primacy and finally disappear into thin air. "End of Summer" is a delightful suite that deserves some real popularity.
"Book of Hours" (flute and harp, 1975) is a collection of eight pieces reflecting each of the canonical hours designated for daily prayer. 'Matins' opens quietly and at mid-way reverses itself (a palindrome) to end as it began; it is echoed in the final 'Compline.' 'Lauds' is a vigorous eye-opener (Lauds comes at sunrise). 'Prime' (6am) is a dreamlike meditation of harp glissandi with flute wheeling above. 'Terce' (Mid-Morning) is for mostly unaccompanied flute that begins meditatively but then soars into the stratosphere, ending with coruscating glints of sunlight. 'Sext' (Noon) has note-bending swoons on the flute with reassuring chords from the harp - a crisis of faith with support coming from an older member of the monastic community? 'Nones' (Mid-afternoon) has spashes of discordant flute and harp chords alternating with calming common chords and simple melodies. 'Vesper' (Evening) is a reversal of the process in 'Lauds.' And finally 'Compline' ends as 'Matins' began. This is a superbly atmospheric suite superbly realized by flutist Anna Noakes and harpist Gillian Tingay.
"Bright Music" (for flute, two violins, cello and piano, 1987) has five movements whose titles are descriptive of the music they contain: Fandango, Pierrot, Dance-Song-Dance, Another Dream, and Chopin. Rorem has said 'Fandango' was inspired by the image of 'rat inside a can'! Certainly it runs and scrabbles in fandango rhythm. 'Pierrot' is a melancholy clown reportedly inspired by images from Picasso's early 'blue period.' 'Dance-Song-Dance,' is just what it says - a frenetic dance (with whirling piano, plucked strings and screaming flute) - followed by a simple, pensive song which the dance interrupts for a frantic finish. 'Another Dream', the longest section at eight minutes, opens with an yearning cello solo eventually joined by distant chiming on the piano. One by one the other instruments enter, all singing trancelike songs. There is a modest climax before the music again recedes into its initial dream. The brief finale, 'Chopin,' is a virtuosic gloss on the 'wind in the graveyard' finale of Chopin's B-flat minor piano
sonata.
This is a terrific issue with potent and engaging music played superbly. The sound is clear, truthful and rich.