CD Reviews
Philadelphia Philharmonia | Explosions in the Sky | The Philadelphia Orchestra
If the name of Romeo Cascarino doesn't rank near the top of famous Philadelphian composers, it may be due to the modesty and lack of self-promotion of the man himself. Fortunately for the posthumous reputation of the South Philly native (he died in 2002 at the age of 80), his cause has been taken up by Daily News writer Tom Di Nardo, the producer of this highly attractive collection of short orchestral tone poems. Di Nardo also produced Cascarino's only opera, William Penn, in 1982. The voice of Aaron Copland, who encouraged the young composer, is strongly felt in this material, which is blatantly post-Romantic. Cascarino, who was largely self-taught, had no use for the atonal styles that flourished for most of his career. "If they could write a melody, they would write a melody," he said of his contemporaries. Well, here is a big bouquet of his melodies, showing off an expansive range of dramatic impulses and moods. Excellent performances by this ad-hoc ensemble, consisting mainly of members of the Chamber Orchestra of Philadelphia.
Let's put this in cinema terms: With All of a Sudden I Miss Everyone, Explosions in the Sky has jumped from 16 mm to the Thomson Viper (the totally awesome all-digital camera used on Miami Vice and Zodiac). As on previous records, the listener is treated to dynamics as big and expansive as the horizons in their home state of Texas; All of a Sudden will no doubt please newcomers and diehards alike, as it's refined for the right amount of high-definition, wide-eyed emotional grandeur that is the group's trademark. However, the intense attention devoted to streamlining their sound leaves little room for unexpected surprises.
The Explosions in the Sky show at the Starlight Ballroom this Sunday is sold out.
If you would suspect that the inaugural concert showing off the largest concert hall organ in America would be a big, rather noisy affair, you would be correct. And here it is, captured in the fourth self-produced Philadelphia Orchestra recording from Ondine. This is a spectacular-sounding CD, with a huge dynamic range and gobs of ambience from Verizon Hall. The instrument itself, superbly played by the organist of Notre Dame, is remarkably versatile, immense, if never overwhelming, but also capable of great delicacy and extraordinary color. This is especially notable in the beautiful, spiritual Poulenc concerto, first heard in Paris in 1939. The Saint-Saëns "Organ" symphony has a rich tradition with this orchestra, as it was a favorite showpiece for Eugene Ormandy. Eschenbach's version is actually more interesting, showing a more daring sense of phrasing and a greater cumulative excitement. Barber's 1960 showpiece was written for this orchestra, and is gaudy and rambunctious, a bit of fun in small doses.
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