Robert Burns Arnot: The Christmas Symphony
Wiener Klassische

Robert Burns Arnot: Molokai: A Treacherous Crossing
Wiener Klassische

If Robert Burns Arnot had his way, a Third Viennese School would emerge to reinstate the tonal glories of Haydn, Mozart, and Brahms. Without stating it outright, the Vermont-based composer, medical doctor, and author would appear to be sympathetic to the views of conservative future historians who might deem the music of the Second Viennese School an aberration for its embrace of twelve-tone writing and atonality. Arnot's music builds on the enduring harmonic foundation established by the First Viennese school and the Romantic period and entices with its melodic pop-classical character. Still, as enthusiastic a champion as he is of early composers, he's not averse to recognizing the value of later ones such as Debussy and Messiaen, and he even has a kind word for The Rolling Stones in noting, for example, the band's use of a B flat Mixolydian harmonic progression in “Jumpin' Jack Flash.” Consistent with that, one of the three works on Molokai: A Treacherous Crossing is titled Symphony No. 4: The Birth of Rock and Roll.

In all his works, Arnot draws on the musical legacies of others and his own thorough grounding in music theory and background as an instrumentalist. He joined the New England Conservatory at the age of twelve and studied trumpet under the direction of Boston Pops trombonist Paul Gay. Arnot's interest in composition blossomed early, and consequently he dedicated years at the Conservatory to the study of composition, theory, styles, and techniques. His passion for learning has never abated, and to enhance his writing he's learned to play piano, flute, violin, cello, and drums. Often favouring sonata form, he incorporates into his material drama, motivic development, rhythmic flair, counterpoint, and harmonic progressions. Sensitive to the effects of different keys, he modulates between moods as one movement leads to the next and structures material so that it evolves from exposition to development and recapitulation.

Two recent releases provide a solid account of his music. The first, Molokai: A Treacherous Crossing, features world premiere recordings by the Czech Studio Orchestra and conductor Mikel Toms of the Symphony No. 2: Molokai, Symphony No. 3: Birth of the Romantik, and the aforementioned fourth symphony; the second release, the shorter of the two, is Christmas-themed and arrives just in time for the winter season. His symphonies aren't Brucknerian behemoths, a typical Arnot symphony being pocket-sized by comparison. There's something to be said for brevity, however, and the four movements in his third and fourth symphonies are direct and unfussy. While the second symphony is presented as single-movement work of fifteen minutes duration, it's comprised of five sections performed without interruption. Symphonies three and four, on the other hand, adhere to a four-movement sonata-like form.

Titled after the dangerous Pacific ocean crossing that connects the Hawaiian island of Molokai to Oahu, the second symphony is described in programmatic detail by Arnot in liner notes, but the work functions perfectly well as a pure instrumental expression. Like the other two works, this one works through “Sonata,” “Andante,” “Minuet and Trio,” and “Rondo” episodes after its initial “Overture.” Florid, bird-like flute trills introduce the piece as the music swells into being with elemental force. String glissandos and horns evoke the immensity of the ocean setting and the dangers posed by its rising waves. The tumult of the opening minutes gives way to a calmer section, though the thrill of intense activity is never far away. While declamatory horns imbue the work with a triumphant air during one passage, subdued woodwinds and strings add a melancholy tone to another; elsewhere, a playful part adds levity to a work that's often sober. Each section follows fluidly from the one before as the piece pursues its journey with determination before resolving with a reprise of the flutes that initiated it.

In the writing of Symphony No. 3: Birth of the Romantik, Arnot used works by composers of the First Viennese school as building blocks for his own creation. As exuberant and expressive as the second, the work exudes a more conspicuous classical feel in the “Sonata,” which also acts as an overture of sorts. Whereas the “Romanza” movement is invitingly warm and soothing, “Minuet and Trio” engages for the plainspoken charm of its dance rhythms and melodies. The suitably dramatic “Finale” crowns the work with a robust statement that alternates between brooding and triumphant. In the title of his fourth symphony, Arnot pays tribute to rock musicians who've built on the foundation of classical music (in liner notes, he cites The Rolling Stones, The Beatles, and Elton John). Don't let the title mislead, however: it's a classical symphony, full stop, that, similar to the third symphony, moves from a spirited and occasionally pastoral folk-tinged “Sonata” to a luscious “Romanze,” regal “Minuet and Trio,” and celebratory “Rondo.”

On his second 2024 release, Arnot pairs his six-part The Christmas Symphony with the single-movement A Visit from St. Nicholas, both works conveying the wonder of the season and both treated to inspired performances by the Vienna Synchros Orchestra under conductor Bernhard Voss's direction. Sparkling orchestral details—jingle bells, celesta, glockenspiel, and otherwise—instantly brand the works as Christmas-themed. Slightly calling to mind “The First Noel,” a woodwind melody introduces “Overture,” after which the movement blossoms into a lovely, joy-filled evocation of the festive season. While shimmering strings, celesta, and tolling bells hint at the chilly outdoors in the opening moments of “Winter Variations,” the feel inside is warm and cozy. The settled mood changes, however, with the advent of a regal fanfare, until, again, the activity level diminishes for the lyrical “Romanze.” Introduced by wild flurries of string arpeggios, “Winter Storm” is naturally turbulent, though a central episode brings a few moments of quiet when the storm calms. A combination of flute, clarinet, oboe, and strings lends “Prelude & Sonata” a peaceful, pastoral quality, though the tone abruptly changes when the music turns exuberant and majestic. A succinct “Finale” ushers the work to a celebratory close in keeping with the spirit of Christmas Day. Scenes change quickly when the symphony's six movements total slightly more than sixteen minutes, with three under two minutes in length and only one pushing past five. Short also at seven minutes, the accompanying work, A Visit from St. Nicholas, elaborates on the material in the symphony's “Overture” by building on its ABA form, the result an exultant and orchestrally vivid scene-painting that would be an ideal opener for a symphony orchestra's Christmas-themed concert.

November 2024