The Ballet Suite from The Incredible Flutist became Walter Piston’s most famous and best-loved work. Full of good tunes, clever rhythmic figures, and bubbling over with good-natured enthusiasm–not to mention the all-American sound of the circus and a barking dog–it has continued to delight audiences since its premiere in 1940. Leonard Bernstein’s performance has abundant drive, energy, and élan, and emerges as one of the best in the catalog. Marc Bliztstein’s Airborne Symphony, for narrator, tenor and baritone soloists, chorus, and large orchestra, is a huge, sprawling paean to flying that you will either love or hate. Some will find it so much kitsch; others, myself included, will love its high drama and theatrical flair, delighting in its use of jazz and Broadway idioms with passing nods to Stravinsky and Copland. It is also easy to hear how it influenced Bernstein’s own Mass. An added bonus is the opportunity to hear Orson Welles’ booming speaking voice, always a good thing in my book. He handles his assignment with obvious relish, and the two vocal soloists are excellent too. They and the chorus project the texts with exemplary diction, and the orchestra is splendid. The Edward Hill Prelude for Orchestra is a well crafted if not thoroughly memorable filler. The recordings are all quite good–the Piston and Blitzstein are in stereo and present a wide sound stage with exceptionally well-balanced sonorities, from rock solid bass to crisp highs (catch the struck cymbal passages in the Piston for their remarkable presence). [6/24/2000]
