Subtitled "The Big Apple, A New York Symphony," Johan De Meij's Symphony No. 2 has all the hubbub and hustle associated with that city, and more than a little of its garishness. This brash work might seem cobbled together from material for an abandoned Broadway musical, so obvious are its tunes and showy fanfares. Formally, this is not a symphony: the first movement, "Skyline," is loosely patched together, a medley/overture instead of a developmental construction; the "Times Square Cadenza" is a brief distraction of ...
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Subtitled "The Big Apple, A New York Symphony," Johan De Meij's Symphony No. 2 has all the hubbub and hustle associated with that city, and more than a little of its garishness. This brash work might seem cobbled together from material for an abandoned Broadway musical, so obvious are its tunes and showy fanfares. Formally, this is not a symphony: the first movement, "Skyline," is loosely patched together, a medley/overture instead of a developmental construction; the "Times Square Cadenza" is a brief distraction of recorded crowd noises over ominous tam-tam strokes; and "Gotham," the bombastic, over-long finale, is rife with devices familiar to anyone who has heard the soundtracks of John Williams or Ennio Morricone. Taken together, these movements make up a mediocre tone poem, perhaps tolerable as pop concert fare, but too crass to be taken seriously. Slonimsky's Earbox by John Adams is more interesting for its appropriations of Stravinsky, its clever nod to Slonimsky's Thesaurus of Scales and...
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