Canadian/American composer Michael S. Horwood really knows what he wants and how to get it, and this disc serves as the perfect introduction to his very enjoyable art. Horwood’s range of reference is very wide. The opening of the National Park Suite, with its stentorian trombones, might recall the stark nature music that opens Mahler’s Third Symphony–not because Horwood is imitating, but because he understands what such gestures mean. The Amusement Park Suite (each of its five movements is named for a different ride) closes with a brilliant “Roller Coaster” that’s a close cousin to Honegger’s Pacific 231 and Villa-Lobos’ Bachianas Brasileiras No. 2. Again, the comparison is not to Horwood’s disadvantage. The main tune is splendid, and I can only admire the fact that after the initial, very graphic wind-up and plunge, he busies himself with writing good music rather than remaining merely literal.
The two “serious” works on the program, Symphony No. 1 and Intravariations (for piano and orchestra), have all the same qualities of the lighter works: a deft orchestral touch and a real sense of purpose, an accuracy of expression and clarity of vision that let you know right away that you’re in good hands. In the opening “fragmented” (Horwood’s term) allegro of the symphony, he manages to emphasize its mosaic-like construction while at the same time imposing audible coherence on the arrangement and presentation of his material. “Fragmented” doesn’t mean “formless”. The second-movement Passacaglia funèbre offers the perfect contrast, while the perpetual motion finale provides an emotionally clinching conclusion. Though brief (less than 20 minutes), Horwood’s symphony packs a lot of expression into a small space.
Intravariations also is extremely inventive. The principal theme is memorable, with a brooding quality that contrasts well with its later variations. Horwood clearly has a fine feeling for musical form, and he fastens onto elements in the theme that permit you both to enjoy each variation as it comes while also making audible connections among them. Pianist Joseph Kubera plays with confident bravua, and throughout this program Ian Hobson and the Sinfonia Varsovia seem to be enjoying themselves in giving each work a 100 percent effort. Albany’s sonics are typically excellent, revealing all of the music’s color and impact in a warm, natural acoustic space. Collectors take note: this is 80 minutes of terrific music by a composer of real personality and style. Try it. I feel certain you’ll want more. [10/9/2007]
