National Symphony Orchestra, Gianandrea Noseda, conductor; Shana Oshiro, soprano; DeMarcus Bolds, tenor; Daniel J. Smith, nass-baritone; V Savoy McIlwain, bass-baritone; Kevin Thompson, bass.
George WALKER: Sinfonia No. 1 (1984, rev. 1996)
George WALKER: Sinfonia No. 2 (1990)
George WALKER: Sinfonia No. 3 (2002)
George WALKER: Sinfonia No. 4 “Strands” (2011)
George WALKER: Sinfonia No. 5 “Visions” (2016)
National Symphony Orchestra NSO0007
Release Date: September 8, 2023 (digital); September 29, 2023 (SACD)
Format: SACD & digital
Duration: 65:17
Giorgio Koukl | 4 AUG 2023
George Walker (June 27, 1922 – August 23, 2018) was an American composer, pianist, and educator who gained prominence for his significant contributions to classical music, including symphonic works. He was the first African-American to win the Pulitzer Prize for Music, which he won in 1996 for his composition “Lilacs” for voice and orchestra. Walker’s compositions encompass a wide range of genres, and his work has left a lasting impact on the world of classical music.
Unfortunately, he is still not very much presented here in Europe; we can only hope that this release of all five of his Sinfonias can contribute to a better knowledge of this interesting composer.
NSO0007 cover art
The Sinfonia No. 1, composed in 1939, is a two-movement work for big orchestra. Despite its title, it is not a traditional multi-movement symphony but rather a single-minded lyrical and expressive composition. The piece is deeply rooted in Romanticism, featuring lush melodies, rich harmonies, and poignant emotional themes.
While it is often praised for its powerful and introspective character, it is nevertheless a work of somehow limited compositional control over the musical material, which is sometimes inconclusive, and here Mr. Walker is simply trying to say too much in too limited a space, resulting in an outburst of moods difficult to follow.
This problem is far better managed in his Sinfonia No. 2. It has the classical division in three movements. The second is a beautiful quasi-solo flute movement, underlined by a discrete and minimalist accompaniment of a few instruments, one of which is a guitar. This Sinfonia is probably the best of all five the composer has written.
Much has been said about Stravinsky’s influence on Walker. Well, examining in detail all these scores, one has to disagree. When comparing the musical styles of George Walker and Igor Stravinsky, you will find distinct differences reflecting their respective artistic backgrounds, influences, and compositional approaches.
George Walker’s style can be characterized as deeply rooted in historical traditions with a strong connection to African-American spirituals and folk music. His music often features lavish harmonies, expressive melodic lines, and emotional depth. While his compositions demonstrate a mastery of orchestration, they are far less structured when examined in detail on the technique used.
On the other hand, Igor Stravinsky is renowned for his revolutionary approach to composition, particularly his break from the Romantic tradition and exploration of neoclassical and serial techniques. Stravinsky’s works often exhibit rhythmic complexity, dissonance, and unique instrumentation, resulting in a more austere and angular sound compared to the voluptuousness found in Walker’s music.
Gianandrea Noseda, conductor
All this is extremely well served by the mastery of the Milan-born Italian conductor Gianandrea Noseda and the National Symphony Orchestra. They together obtain a just degree of spectacular sound without going into the obvious, cinematic reign of effects just for the sake of effects.
Between the First Sinfonia and the final Fifth Sinfonia, precisely 32 years of compositional development are present on this disc, which is one of the reasons why it is so extraordinary and appealing.
Analyzing the structures of Walker’s five Sinfonias in-depth, there appear to be no significant changes in style. Yet, a certain relaxation of harmonic changes and the more pondered use of spectacular effects are observable, whether by brass outbursts or numerous percussive elements.
A special mention should be reserved for the final, Fifth Sinfonia, called “Visions” (2016). It was initially intended as film music for a video of Charleston, South Carolina, by photographer Frank Schramm, depicting the tremendous tragedy of June 27, 2015, when nine African-American church members were killed and a tenth injured in a mass shooting during a Bible study at the Emanuel African Methodist Episcopal Church. The project was to be completed with poetic readings mixed into a multimedia presentation.
In this Sinfonia No., 5, different voices (Shana Oshiro, DeMarcus Bolds, Daniel J. Smith, V Savoy McIlwain, and Kevin Thompson) are present in well-chosen, dramatic moments of the 13-minute-long work, adding much depth and drama.
It must be clear to listeners that these complete Sinfonias are not meant to all be heard together, but at a certain pace, they can be a good way to enter and appreciate the peculiar world of this composer. ■
EXTERNAL LINKS:
- National Symphony Orchestra: kennedy-center.org/nso
- Gianandrea Noseda: gianandreanoseda.com
- George Walker: georgetwalker.com
Read more by Giorgio Koukl.
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