Top 10 Classical 2003: Philadelphia City Paper

Larry Bell is a Boston-based composer with roots in the rural South. In the tradition of Ives and Copland, he incorporates vernacular American music into traditional classical forms. This album of violin music, mostly based on 19th-century church hymns, is hauntingly beautiful, but never cloying.

Philadelphia City Paper, Peter Burwasser, December 2003

Larry Bell goes to Carolina in his mind for inspiration in the title piece in this recording of haunting and unabashedly romantic music for solo violin and violin and piano. The title composition is based on the theme of moonlight or, more precisely, other popular and classical compositions that refer to moonlight. Its title comes from the Wallace Stevens poem The Comedian as the Letter C where, on approaching Carolina, the comedian reflects, “The book of moonlight is not written yet nor half begun.” Bell expertly weaves American 19th century hymns and other vernacular music into a harmonic crazy quilt of sounds that manage to be both engagingly tonal and structurally modern. “In Memory of Roger Sessions” for solo violin consists of three short movements that quote generously from Sessions’ own work and end in an “imaginary” musical dialogue between Bell and Sessions. “Late Night Thoughts on Listening to Mahler’s Ninth Symphony” is based on a 1982 essay of the same title by the great biologist and humanist writer Lewis Thomas and uses a narrator, in this case Steve McConnell, to read from Thomas’ fearful thoughts on nuclear annihilation and loss of human experience. Bell seamlessly integrates musical quotations from Brahams and Beethoven, as well as Mahler, into the piece. “Just as I am” is based on an old Southern hymn and is dedicated to Ayano Ninomiya, a violinist whose lyrical playing and conviction brings Bell’s passionate agrarian vision of modern romanticism vividly to life. To paraphrase Forrest Gump, this is one box of chocolates where you don’t have to worry about getting the taffee.

Sequenza21.com, Jerry Bowles, January 2005

Larry Bell’s The Book of Moonlight Op.31 is, according to the composer’s words, “a set of nocturnes that refer to other music, both popular and classical, that centre round the theme of moonlight”. Incidentally, the title is taken from a poem by Wallace Stevens (“The book of moonlight is not written yet nor half begun”). As is often the case in Bell’s music, the composer draws on various sources as basic material for his own compositions. In this case, a melody Carolina Moon (written when the composer was fifteen), a song by John Lennon (Mr. Moonlight) as well as allusions to a piece by Sessions, Beethoven’s Mondschein Sonata and to “hoe-down fiddle music”. This fairly large-scale piece for violin and piano actually consists of two large outer sections separated by a short interlude; and the whole, however, is remarkably held together, for all the basic material’s diversity. The first section On Approaching Carolina (in three shorter sections) thus quotes Bell’s own tune as well as John Lennon’s and Sessions’. The interlude Mondschein appropriately alludes to Beethoven and a fragment from the Mondschein Sonata is woven into the accompaniment. The third section On Leaving Carolina (also in three shorter sections) revisits what the composer describes as “hoe-down fiddle music” followed by an Italian serenade of some sort before a final restatement of the opening tune.

In earlier reviews of discs of Bell’s music, I mentioned (I think) that he studied – among others – with Roger Sessions. So, In Memory of Roger Sessions Op.29 was written a few months after Sessions’ death. It is a short suite for solo violin in three movements : Elegy (a rhapsodic fantasy based on a theme from Sessions’ operaMontezuma), Parody (a scherzo of some sort and a real compositional tour de forcequoting from nine works of Sessions, and all over in less than three minutes!) andDialogue (an imagined conversation between Sessions and Bell, whose names are spelled as musical themes, and one in which Sessions has the last word!)

Just As I Am Op.62 is a short piece for violin and piano in two movements (Risolutoand Scorevolle) based on an old Southern hymn, a fragment of which is statedLontano to introduce the first movement (this has a slightly archaic tinge) and restatedLontano as a short peaceful coda.

Four Pieces in Familiar Style Op.41 is a short suite of four duos for two violins (played here by the same player) that may be compared to Bartòk’s own Duos, i.e. as didactic pieces for younger players. I hope that they may be as popular as Bartòk’s work.

Late Night Thoughts on Listening to Mahler’s Ninth Symphony Op.35 (to give it its full title) is a piece for violin/narrator and piano that may of course be performed (as here) by a narrator, a violinist and a pianist. (To some extent, I think that it might be preferable this way.) The text is drawn from the eponymous essay by Lewis Thomas ruminating on diverse subjects such as war, death and music. The author comments on Mahler’s Ninth Symphony, but also on Brahms and Beethoven so that the music includes a number of quotes from and allusions to the music of these composers as well as from a piece by Larry Bell (The Idea of Order at Key West Op.13, a concerto for soprano, violin and orchestra composed in 1981). The music is based on the opening measures of the final movement of Mahler’s Ninth Symphony. This intensely serious and honest piece, however, does somewhat outstay its welcome (i.e. as far as this writer is concerned) because it deals with very serious concerns that possibly should have deserved a more in-depth treatment. Incidentally, Bell’s also composed another piece including a narrator (The Black Cat Op.28 – narrator, cello and piano) that may ultimately be more satisfying just because it simply tells a story. This is nevertheless a quite substantial work, and one that certainly tell us much about Bell’s love of Mahler’s music (he did so again later in his trio Mahler in Blue Light Op.43for alto saxophone, cello and piano some time later).

This generously filled release of Bell’s music for violin is rounded off by the simple, straightforward and delightful lullaby Sleep Song Op.18.

As I have repeatedly noted in earlier reviews, Larry Bell’s music is superbly crafted, always well written for the instruments, straightforward and utterly communicative. All these pieces fit that description, and the disc as a whole is very enjoyable indeed, especially when the music is played with so much conviction and commitment as here. The recording may be a bit too close for some tastes, but nothing serious enough to deter anyone from enjoying it.

Hubert Culot-Musicweb-intenational.com, April 2005

Hubert Culot, MusicWeb.uk (March 2004)

Over the last few months, I reviewed several recordings of works by Larry Bell. At that time, I remarked that this composerís music was the direct heir of Copland and, as such, presented a sort of present-day Americana. None worst for that, I must say, for he is a composer who wants to communicate in direct terms, regardless of any current trends and fashions. Though fairly traditional, his music approaches the American symphonic tradition in a most refreshing way, which is to my mind his most endearing quality. The four orchestral works here are all fairly recent and were composed over the years 1996-1999. They confirmed my first impression, although listening to his Second Symphony also brings Virgil Thomson and his popular Symphony on a Hymn Tune to mind. Indeed, Bellís Symphony No.2 “Idumea” Op.40 is based on a Southern hymn tune which runs throughout the symphony, albeit in hugely varied guise. The first movement, a “monothematic sonata form” (the composerís words) mostly based on the hymn tune, is followed by a perky Scherzo. The slow movementDouble Variations alternates an original tune and the basic hymn tune, whereas the final movement is a lively rondo.

Song and Dance Op.44, subtitled Divertimento for Chamber Orchestra, is a more relaxed and lighter work indulging in popular dance music. A delightful, unpretentious work to be enjoyed for what it is worth, that could (should) become a popular concert opener.

The very title of the Short Symphony for Band Op.47 obliquely pays some tribute to two works that Bell admittedly admires, viz. Coplandís Short Symphony and Persichettiís Symphony No.6 Op.69 for band. (Persichetti was one of Bellís teachers, Roger Sessions was another.) Again in four short movements, based this time on five madrigals composed in 1996 to texts by Wallace Stevens, this is quite appealing.

The Sentimental Muse Op.45 was commissioned by Kathryn Sleeper who gave the first performance in 1998. The composer tells us that it is mostly based on two melodies. One of them appeared in Bellís set of twelve preludes and fugues for pianoReminiscences and Reflections Op.46 (available on North/South N/S R 1032, to be reviewed shortly) whereas the second is “a little sentimental tune”. The first movement, roughly in sonata form, makes play of these tunes, as does the third movement which also briefly glances back at the “sentimental tune”. There are not that many successful bassoon concertos around, so Bellís essay is a most welcome addition to the repertoire.

These attractive and enjoyable pieces are all well served by very fine performances and recording. If you are in tune with the American symphonic tradition of Copland, Piston or Thomson, then Larry Bellís superbly crafted music is for you. Anyway, this beautifully produced release is the best possible introduction to his music and may safely be recommended.

I have already been able to review a number of recordings of Larry Bell’s orchestral and chamber music. This is however the first disc featuring his vocal music and including works from both ends of his composing career.

The earliest work here, Four Sacred Songs Op.20, composed in 1984, was written “as studies for a larger orchestral work”: Sacred Symphonies Op.23 available on VMM 3016 reviewed here some time ago. Each song is a setting of a familiar – to American ears at least – hymn tune text. As might be expected, these settings are generally simple and straightforward, as befits the popular origin of the texts. The composer can nevertheless take one by surprise, as in the inconclusive coda of the overtly optimistic second song, whereas the third song Stand up, stand up, for Jesus is considerably more tense and harmonically more astringent. The final song, in much the same vein as the opening one, provides an appeased, meditative conclusion.

The Immortal Beloved Op.50 is based on the three letters that Beethoven wrote to Antonie Brentano in July 1912. The music is “permeated with references to Beethoven’s cycle An die ferne Geliebte” briefly quoted at the very end of the third and final song. This is not the first time that Bell has written a piece inspired by or alluding to older composers’ life and works: Mahler puts in an appearance in the trio Mahler in Blue Light Op.43 and Late Night and Thoughts Op.35. By so doing, he somewhat puts himself in the shade although his own personality is by no mean obliterated. Bell nevertheless stays somewhat in the background, particularly in this song-cycle.

The third song-cycle recorded here is more recent still. Songs of Time and Eternity Op.64 sets words by Emily Dickinson. The composer says that “songs 2, 3 and 4 are preoccupied with the afterlife and a healthy religious scepticism” whereas “the perspective of songs 1 and 5 ranges from a childlike wonder about the future to an adult’s obsessions with romantic memory”. Sorry for this long quote, but these words perfectly sum up the emotional and poetic content of the cycle. As a consequence, the music is remarkably varied and contrasted, at times disarmingly simple in the beautiful first song Will there really be a “Morning” which brought Samuel Barber to mind. It is slightly ironic in the second song Going to Heaven!, utterly serious and dramatic in the third song – probably the most classically conceived of the entire cycle – somewhat troubled in the fourth song (hints of John Ireland here) and warmly lyrical in the beautifully moving final song.

The most striking characteristic of these three song-cycles is the singer-friendly, expressive vocal writing that flows almost effortlessly, with telling effects in spite of some deceptively simple inner logic.

Larry Bell’s gift for memorable tunes is again put to good use in Songs of Innocence and Experience Op.55, a joint commission from the New England Conservatory Preparatory School and the Boston Modern Orchestra Project. Ii is scored for children’s chorus and orchestra, although there also exists a version for soprano and piano (Ten Poems of William Blake Op.53). The work falls into two parts of clearly different character: Songs of Innocence and Songs of Experience. The former is appropriately lighter in mood and playful, whereas the latter is more serious and weighty, with at its centre a solo setting The Sick Rose as well as a splendid treatment of The Tyger. The cantata concludes with a beautiful setting of The Voice of the Ancient Bard. The music is supremely crafted for young performers yet with enough to challenge their performing skills and make it worth the effort. Just listen to what these youngsters make of the often tricky rhythms of Spring. The two solo items, Infant Joy in the first part and The Sick Rose in the second part are sung with considerable aplomb. This is a very attractive work, much in the same vein as Howard Blake. It generously repays its young performers’ efforts and makes for a most rewarding experience for players and listeners alike.

With the pianist-composer in command, these readings of the three song-cycles have a definite ring of authenticity, and are warmly recorded. The energy and commitment of the young performers in the Blake cantata is slightly let down by what I think is a live recording, though the recorded sound is quite acceptable. This does not in any way diminish their formidable achievement.

In short, a generously filled release that sheds light on another facet of Larry Bell’s varied output. As I have already mentioned in earlier reviews, his music is tuneful, colourful, expressive and inventive for all its classical layout.

Hubert Culot-www.musicweb-international.com (March 2006)

The neo-tonal music of Larry Bell evokes sharply different reactions from critics, as illustrated by the back-to-back reviews by Thomas McClain and Mark Lehman (M/A 2004). At the risk of sounding bland, I have a view somewhere in between. There is no denying the brightness and tunefulness of this resourceful composer, but his music can wear thin after a while.

The program of songs offers a bit of variety an that it traverses the robust tonality of Bell’s present style (The Immortal Beloved) as well as the stormy dissonance of his earlier one (Four Sacred Songs). Some of the songs here (Will there Really Be a Morning?, from Songs of Time and Eternity) are close to pop or Broadway. Bell certainly knows how to spin a lyrical line (Heart! We Will Forget Him!); he remains a formidable force on the tonal side of the contemporary divide.

Mezzo D’Anna Fortunato is a bit wobbly for my taste; the orchestra under Benjamin Zander and choruses under Jean Meltaus have a bright, vibrant sound admirably suited for the child-like Songs of Innocence and Experience.

Jack Sullivan-American Record Guide May/June 2006

Music for Strings CD Review

Larry Thomas Bell: String Quartet No. 3 (Homage to Beethoven); Celestial Refrain; Tarab; Albany TROY986; Borromeo Quartet, John Muratore, Tarab Cello Ensemble (60:01) A number of recordings are available of the chamber and orchestral music of American composer Larry Bell (b. 1952). However, this new Albany disc, containing three works, is the best single-disc introduction to his work currently available. It is a magnificent release that displays well the vitality and creativity of Bell’s music. Resident for many years in Boston, Larry Thomas Bell is on the faculty of the New England Conservatory and the Berklee College of Music and taught for a number of the years both at Boston Conservatory and the Juilliard School. A student of Vincent Persichetti and Roger Sessions, Bell has been awarded the Rome Prize and fellowships from the Guggenheim and Rockefeller Foundations. Though he has composed a number of orchestral works, he is best known for his personal and compelling works for chamber ensemble and solo forces (particularly his own instrument, the piano), some of which such as his Mahler in Blue Light, op. 43 (1996) have become modern classics.

Each of the three works on this Albany release represents one of the musical “strains” that runs throughout the composer’s entire catalogue and comprise the elements of Bell’s personal style. String Quartet No. 3 (Homage to Beethoven), op. 71 (2004) showcases the stylistic connection that Bell’s music makes with the past, particularly the music of the Romantic period. Celestial Refrain, op. 24 (1985) for solo guitar, draws upon the sounds and idiom American folk hymnody, particularly those hymns of the South that Bell heard as a child and began incorporating into his music (both through direct quotation and through original material in a similar style) in the 1980’s. Finally, Tarab, op. 66 (2003) for double cello quartet, draws upon the complexities of rhythm and temporal proportions (inspired, in Bell’s case, by the music of Elliott Carter, but presented within a more accessible, and largely diatonic musical language than Carter uses). Nearly every one of Bell’s compositions draws upon these different elements to greater and lesser extents, and this single release showcases three of Bell’s pieces in which these elements are each presented clearly and synthesized into Bell’s stylistic voice.

The extended String Quartet No. 3 (Homage to Beethoven) pays tribute to Beethoven’s music (particularly the late string quartets) in its structural and developmental complexities. The seven movements of the work, however, explore a very different emotional terrain from Beethoven’s own late quarters. In his notes on the work, Bell remarks on the sense of “lightness and humor” that pervades the work. It is a piece full of rich, beautiful textures that is performed exquisitely by the Borromeo Quartet.

Celestial Refrain, performed by guitarist John Muratore, is a set of “double” variations upon folk-like hymn material (two contrasting ideas, one slow and one fast), originally from the composer’s orchestral work Sacred Symphonies. In this work, Bell achieves a perfect balance between stasis and activity and presents musical material that is tuneful and memorable.

Tarab is named after its commissioners, the Tarab Cello Ensemble, and takes its title from the term within Islamic music implying a sense of ecstasy, usually derived from the rhythmic experience of music. Bell describes the piece as articulating his interest in “high-ratio polyrhythms”, which he exploits by setting up a contrasting and referential textures between the two cello quartets. As is true with the best of Bell’s “rhythmic experiments”, they are deployed in service of an exceptionally musical impulse; the listener needs to know nothing about polyrhythms to enjoy the “sacred space” that Bell creates.

These three superlative works are representative of what this reviewer believes is the best sort of new music being written today—accessible, yet sophisticated. On a first listen, the listener is seduced by the beauty of sounds and melodies and clarity of textures. On subsequent listens, one continues to discover further treasures in the unfolding of internal references and the organic sense of musical development that Bell employs.

This disc was a highlight of the myriad new discs of American released in 2007 and certainly the best new release of chamber music that I heard all year. Strongly and urgently recommended.

– Carson Cooman, Vol. 22 / No. 2 the journal of the Living Music Foundation Spring 2008