The John Adams Earbox - 10CDs
Accessible, mostly upbeat but with darker undertones, John Adams's music pulls no punches. His latest work is also his best, and this handsome collection gives it a revealing perspective
View record and artist detailsRecord and Artist Details
Composer or Director: John Adams, Charles Ives
Label: Nonesuch
Magazine Review Date: 1/2000
Media Format: CD or Download
Media Runtime: 660
Mastering:
DDD
Catalogue Number: 7559-79453-2

Tracks:
Composition | Artist Credit |
---|---|
Harmonium |
John Adams, Composer
John Adams, Composer John Adams, Conductor San Francisco Symphony Chorus San Francisco Symphony Orchestra |
Shaker Loops |
John Adams, Composer
John Adams, Composer John Adams, Conductor St Luke's Orchestra |
(The) Chairman Dances |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
Grand Pianola Music |
John Adams, Composer
John Adams, Conductor John Adams, Composer John Alley, Piano Judith Rees, Soprano London Sinfonietta Nicole Tibbels, Soprano Shelagh Sutherland, Piano Teresa Shaw, Mezzo soprano |
Fearful symmetries |
John Adams, Composer
John Adams, Conductor John Adams, Composer St Luke's Orchestra |
Nixon in China, Movement: Beginning |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Soldiers of heaven hold the sky |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: The people are the heroes now |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Landing of the Spirit of '76 |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Your flight was smooth, I hope? |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: News has a kind of mystery |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Ladies and gentlemen, Comrades and friends |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Mr Premier, distinguished guests |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Cheers |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: This is prophetic! |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Interlude |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Oh what a day, I thought I'd die! |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Whip her to death |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: I am the wife of Mao Tse-tung |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Let us examine what you did |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: When I woke up |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: I have no offspring |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: I can keep still |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: After that - The sweat had soaked my uniform |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: Peking watches the stars |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: You won at poker |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
Nixon in China, Movement: I am old and I cannot sleep |
John Adams, Composer
Carolann Page, Soprano Edo de Waart, Conductor James Maddalena, Baritone John Adams, Composer John Duykers, Tenor Mari Opatz, Mezzo soprano Marion Dry, Mezzo soprano Sanford Sylvan, Baritone St Luke's Orchestra Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Trudy Ellen Craney, Soprano |
(The) Wound-dresser |
John Adams, Composer
Chris Gekker, Trumpet John Adams, Conductor John Adams, Composer Naoko Tanaka, Violin Sanford Sylvan, Baritone St Luke's Orchestra |
Christian Zeal and Activity |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
Thoreau |
Charles Ives, Composer
Charles Ives, Composer Dawn Upshaw, Soprano John Adams, Conductor St Luke's Orchestra |
Down East |
Charles Ives, Composer
Charles Ives, Composer Dawn Upshaw, Soprano John Adams, Conductor St Luke's Orchestra |
Cradle Song |
Charles Ives, Composer
Charles Ives, Composer Dawn Upshaw, Soprano John Adams, Conductor St Luke's Orchestra |
At the river |
Charles Ives, Composer
Charles Ives, Composer Dawn Upshaw, Soprano John Adams, Conductor St Luke's Orchestra |
Serenity |
Charles Ives, Composer
Charles Ives, Composer Dawn Upshaw, Soprano John Adams, Conductor St Luke's Orchestra |
Eros Piano |
John Adams, Composer
John Adams, Composer John Adams, Conductor Paul Crossley, Piano St Luke's Orchestra |
(The) Death of Klinghoffer, Movement: Chorus of the exiled Palestinians |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Chorus of the exiled Jews |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: It was just after 1:15 |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: My Grandsun Didi, who was two |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Give these orders |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: So I said to my grandson |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: We are sorry for you |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Night Chorus |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Chorus of Hagar and the Angel |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: I've never been a violent man |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: You are always complaining of your suffering |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Aria of the Falling Body |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
(The) Death of Klinghoffer, Movement: Day Chorus |
John Adams, Composer
Eugene Perry, Baritone James Maddalena, Baritone Janice Felty, Mezzo soprano John Adams, Composer Kent Nagano, Conductor London Opera Chorus Lyon Opera Orchestra Richard Cooke, Conductor Sanford Sylvan, Baritone Sheila Nadler, Mezzo soprano Stephanie Friedman, Mezzo soprano Thomas Hammons, Baritone Thomas Young, Tenor |
Tromba Lontana |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
Short Ride in a Fast Machine |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
Common Tones in Simple Time |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
El Dorado |
John Adams, Composer
Hallé Orchestra John Adams, Composer Kent Nagano, Conductor |
Harmonielehre |
John Adams, Composer
Edo de Waart, Conductor John Adams, Composer San Francisco Symphony Orchestra |
Concerto for Violin and Orchestra |
John Adams, Composer
Gidon Kremer, Violin John Adams, Composer Kent Nagano, Conductor London Symphony Orchestra |
Chamber Symphony |
John Adams, Composer
John Adams, Composer John Adams, Conductor London Sinfonietta |
Hoodoo Zephyr, Movement: Disappointment Lake |
John Adams, Composer
John Adams, Composer John Adams, Synthesizer |
Hoodoo Zephyr, Movement: Tundra |
John Adams, Composer
John Adams, Synthesizer John Adams, Composer |
Hoodoo Zephyr, Movement: Hoodo Zephyr |
John Adams, Composer
John Adams, Synthesizer John Adams, Composer |
Gnarly Buttons |
John Adams, Composer
John Adams, Composer John Adams, Conductor London Sinfonietta Michael Collins, Clarinet |
I was looking at the ceiling and then I saw the sky |
John Adams, Composer
(Anonymous) Ensemble Angela Teek, Singer Audra McDonald, Soprano Darius de Haas, Singer John Adams, Conductor John Adams, Composer Marin Mazzie, Singer Michael McElroy, Singer Richard Muenz, Tenor Welly Yang, Singer |
Lollapalooza |
John Adams, Composer
Hallé Orchestra John Adams, Composer Kent Nagano, Conductor |
John's Book of Alleged Dances |
John Adams, Composer
John Adams, Composer Kronos Quartet |
Slonimsky's Earbox |
John Adams, Composer
Hallé Orchestra John Adams, Composer Kent Nagano, Conductor |
Author: Rob Cowan
Call me indulgent, but I just cannot resist retrospectives - and this one is better produced than most. Quite aside from its purely aesthetic appeal (imaginative artwork and stylish annotation), 'The John Adams Earbox' affords us the invaluable opportunity of weighing up the relative virtues of a major modern composer whose style is still developing. It's all there, at least everything released by Nonesuch, and the consistently fine sound quality (much of it produced by Wilhelm Hellweg) helps keep the listener's attentions centred firmly on the music.
'Minimalism' is far too limiting a term for Adams's work, but it's still fairly central to his creative formula, and anyone hooked on Reich, Glass or their various disciples will probably love what's on offer here. And yet pulsing sequences and foot-tapping potential are only part of the plot, certainly in the more recent works. The later Adams has a rather more complex story to tell.
Most of 'Earbox' is reissued material, and the chance to re-hear and reassess finds me, generally speaking, reacting most positively to those works that made the strongest impression on me first time around. I still love the post-Reichian musings of Hoodoo Zephyr (with its 'synthesizers, samplers and a large stockpile of sounds and timbres') whereas Gnarly Buttons, though intense and superbly played by clarinettist Michael Collins, strikes me as musically less memorable. The original CD coupling wasJohn's Book of Alleged Dances, pungently played by the Kronos and still sounding mischievously provocative.
Three new items are more enjoyable than especially significant. Adams's San Francisco recording of Harmonium for chorus and orchestra occupies a richer sound-frame than its fine ECM predecessor (with the same orchestra) under the work's dedicatee, Edo de Waart. The choral contribution is marginally better on the new version, but de Waart keeps the tighter hold on line and rhythm. Parallel comparisons reveal that while Sir Simon Rattle's City of Birmingham Symphony Orchestra version of the epic Harmonielehre is monumentally imposing, de Waart and his players (on the older Nonesuch recording reissued here) sound more comfortable with the rhythmic writing in Part 3. Kent Nagano directs the Halle Orchestra in the colourful orchestral essaySlonimsky's Earbox ('Stravinsky's Earbox' might have been a better title, given the opening's debt to Le Chant du Rossignol) and the loopy, brazenly aggressive Lollapalooza (written for Rattle). They also give us a fine reading of that slightly eerie study in textural opposites, El Dorado.
Extended extracts from the operas Nixon in China and The Death of Klinghoffer incline me to view the librettos as more effective than the music. I'm sure that, in the theatre, the stage action helps; but when it comes to I was looking at the Ceiling and then I saw the Sky, the power of the words (dealing with inner-city tensions) is unpretentiously - and often emotively - mirrored in Adams's song-like treatment of them. Here, the balance between spoken narrative and its musical counterpart is better gauged. Although the idiom is vaguely 'pop' (or something close to it), the urgent passage from one song to the next - and the intensity of the subject matter - add up to something altogether more absorbing, more real than the operas (at least to these ears).
Fans on the lookout for A Short Ride in a Fast Machine will find it as the second of Two Fanfares for Orchestra. Again de Waart offers the best option (more natural than any rival), much as he does for The Chairman Dances, whereas the marvellous, madcap Chamber Symphony - still my favourite Adams piece - is marginally better served by Sian Edwards on RCA. Incidentally, I was delighted that DJF featured it as one of his favoured American symphonies (Awards issue).
Shaker Loops and Grand Pianola Music find Adams indulging the joyous abandon of his own work, though his poetic sensibilities are better exhibited in the tragi-lyricalThe Wound-Dresser, perhaps the most moving work in the collection. Grand Pianola Music is exciting, no doubt about it, but heard for the tenth time (or so), that cheesy tune at the end starts to pall.
Which leaves the lyrical Christian Zeal and Activity, Eros Piano (with Paul Crossley), Adams's orchestration of Five Songs by Charles Ives (featuring soprano Dawn Upshaw), Common Tones in Simple Time and the Violin Concerto (with Gidon Kremer). For me, the last is by far the best, a restlessly spiralling masterpiece where mobility and harmonic interest form a powerful alliance. Nowadays, Adams tends to pack more meat on the musical bone, hold your interest more securely, and rely rather less on the seduction of rhythm. Works like Hoodoo Zephyr, Shaker Loops, Grand Pianola Music, even Harmonium, are great for motorway driving. You can watch dawn rise or dusk fall while bombing along a highway, and the music invariably fits the mood. It's nearly always on the move, and yet there's thought there too, and great skill. But for me the Violin Concerto and Chamber Symphony suggest that Adams's next retrospective will be more a 'mind-stretcher' than an 'earbox'.'
'Minimalism' is far too limiting a term for Adams's work, but it's still fairly central to his creative formula, and anyone hooked on Reich, Glass or their various disciples will probably love what's on offer here. And yet pulsing sequences and foot-tapping potential are only part of the plot, certainly in the more recent works. The later Adams has a rather more complex story to tell.
Most of 'Earbox' is reissued material, and the chance to re-hear and reassess finds me, generally speaking, reacting most positively to those works that made the strongest impression on me first time around. I still love the post-Reichian musings of Hoodoo Zephyr (with its 'synthesizers, samplers and a large stockpile of sounds and timbres') whereas Gnarly Buttons, though intense and superbly played by clarinettist Michael Collins, strikes me as musically less memorable. The original CD coupling was
Three new items are more enjoyable than especially significant. Adams's San Francisco recording of Harmonium for chorus and orchestra occupies a richer sound-frame than its fine ECM predecessor (with the same orchestra) under the work's dedicatee, Edo de Waart. The choral contribution is marginally better on the new version, but de Waart keeps the tighter hold on line and rhythm. Parallel comparisons reveal that while Sir Simon Rattle's City of Birmingham Symphony Orchestra version of the epic Harmonielehre is monumentally imposing, de Waart and his players (on the older Nonesuch recording reissued here) sound more comfortable with the rhythmic writing in Part 3. Kent Nagano directs the Halle Orchestra in the colourful orchestral essay
Extended extracts from the operas Nixon in China and The Death of Klinghoffer incline me to view the librettos as more effective than the music. I'm sure that, in the theatre, the stage action helps; but when it comes to I was looking at the Ceiling and then I saw the Sky, the power of the words (dealing with inner-city tensions) is unpretentiously - and often emotively - mirrored in Adams's song-like treatment of them. Here, the balance between spoken narrative and its musical counterpart is better gauged. Although the idiom is vaguely 'pop' (or something close to it), the urgent passage from one song to the next - and the intensity of the subject matter - add up to something altogether more absorbing, more real than the operas (at least to these ears).
Fans on the lookout for A Short Ride in a Fast Machine will find it as the second of Two Fanfares for Orchestra. Again de Waart offers the best option (more natural than any rival), much as he does for The Chairman Dances, whereas the marvellous, madcap Chamber Symphony - still my favourite Adams piece - is marginally better served by Sian Edwards on RCA. Incidentally, I was delighted that DJF featured it as one of his favoured American symphonies (Awards issue).
Shaker Loops and Grand Pianola Music find Adams indulging the joyous abandon of his own work, though his poetic sensibilities are better exhibited in the tragi-lyrical
Which leaves the lyrical Christian Zeal and Activity, Eros Piano (with Paul Crossley), Adams's orchestration of Five Songs by Charles Ives (featuring soprano Dawn Upshaw), Common Tones in Simple Time and the Violin Concerto (with Gidon Kremer). For me, the last is by far the best, a restlessly spiralling masterpiece where mobility and harmonic interest form a powerful alliance. Nowadays, Adams tends to pack more meat on the musical bone, hold your interest more securely, and rely rather less on the seduction of rhythm. Works like Hoodoo Zephyr, Shaker Loops, Grand Pianola Music, even Harmonium, are great for motorway driving. You can watch dawn rise or dusk fall while bombing along a highway, and the music invariably fits the mood. It's nearly always on the move, and yet there's thought there too, and great skill. But for me the Violin Concerto and Chamber Symphony suggest that Adams's next retrospective will be more a 'mind-stretcher' than an 'earbox'.'
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