ELLEN TAAFFE ZWILICH: SYMPHONY NO. 4 – THE GARDENS; CONCERTO FOR HORN; CONCERTO FOR BASS TROMBONE. Michigan State University Symphony Orchestra, Choral Ensembles and Children's Choir Charles Vernon – Bass Trombone David Jolley – French Horn Leon Gregorian – Conductor Koch International 3-7487-2 HI £££ Symphony No. 4 – The Gardens; Concerto for Horn and String Orchestra; Concerto for Bass Trombone, Strings, Timpani and Cymbals; TPT 60'22

When reviewing new music one likes to be careful about which adjectives one tries not to use; composers have a difficult enough time being accepted by a largely blinkered listening public, one only has to read musician biographies to see that. But it is quite a difficult task to write of a work that has few musical merits whatsoever, as is the case with Zwilich’s Symphony No.4, here inappropriately subtitled ‘The Gardens’. Lasting for approximately half the disc, this large-scale work presents several problems from the outset, notably of form and structure, and has, as a result, to rely on some extremely clichéd material to achieve any effect whatsoever. This manifests itself through a series of individual ideas that thread their way through a musical narrative with little in the way of thematic or textural development. In addition, the choral parts are poorly written, neither matching the tessitura of the voices, nor responding to their much wider potential. There are a few moments where some of the writing seems inspired, but, overall, Zwilich’s Symphony No. 4 sounds tired and student-like in its concept.

Fortunately, the remainder of the works on this recording make for much better listening. Although the one-movement Concerto for Horn and String Orchestra rambles somewhat, it is an inventive work that makes good use of the textural possibilities provided by an interplay between the horn and the strings.

The Concerto for Bass Trombone, Strings, Timpani and Cymbals is by far the most convincing of the works presented on this disc. In what appears to be a trademark of Zwilich’s compositional style, it tends towards the melancholic, which here is well suited to the instrumentation. Shapes and timbres are well-conceived and a there is a more sympathetic approach to the possibilities provided by both orchestra and soloists, which are explored carefully. This is most apparent in the dark and brooding Largo, in which the tenor and bass range of the solo instrument is dealt with to great effect. The final Vivace loses some of the headway made in the opening movements, although the simplistic, static central section has an amazing blues-like quality in its lyricism.

Performances are mixed. None of the orchestral playing is particularly good and there are too many instances of poor ensemble and intonation. Speeds in the symphony are also somewhat lethargic and the performance, if not the music itself, might have fared better from snappier, more dynamic speeds. Both soloists provide excellent renditions, however, especially Vernon, whose virtuoso handling of the bass trombone makes for a rewarding experience. However, this is not a disc that can be highly recommended – the symphony, its showpiece, ensures quite uninteresting, if not frustrating, listening.

Ian le Prévost