Joseph Tal’s last three symphonies continue the progression from consonance and motivic simplicity to increasingly complex structures and an all-out abandonment of tonality. The result is that what began as an intriguingly distinct and original voice (in Nos. 1-3, type Q7879 in Search Reviews) has wound up sounding pretty much like any other 20th century composer writing in the modernist idiom. Symphony No. 4 begins in a flourish of colorful orchestral effects, most prominent being the percussion (Tal employs a large battery, including the obligatory xylophone and bongo drums), set in a constantly shifting musical landscape in which few thematic ideas are heard long enough or often enough to create a sense of cohesion. Ditto for the Fifth Symphony, though here Tal’s continued mastery of atmospheric orchestration (his use of the saxophone is particularly effective) and ability to construct dramatic episodes makes the music sound perfectly suited to any modern action film.
Symphony No. 6 is pretty much in the same vein, though here Tal advances his orchestral technique with some arresting writing for the brass (the opening paragraph contains a prolonged and powerfully effective virtuoso brass passage). The work is similar to Symphony No. 3 in that Tal assigns musical episodes to individual orchestral sections, as if each were taking its turn in the overall discussion. If for nothing else, the music fascinates through its novel textures and vibrant energy while maintaining an agitated, conflicted mood throughout. Those who find such a thing intriguing will greatly enjoy this release. The performances are top notch, with Israel Yinon skillfully navigating the NDR Radiophilharmonie through these dense and challenging scores. CPO’s recording has a warmer cast than the previous release yet still projects substantial sonic impact. However, if the only thing you liked about the first disc was the tuneful Symphony No. 1, then this new one is not for you.
