Carlos Surinach: Acrobats of God
BMOP/sound

Conductor Gil Rose and the Boston Modern Orchestra Project (BMOP) have a knack for bringing attention to composers less well-known than they should be, Spanish-American composer Carlos Surinach (1915-97) a perfect example. Born in Barcelona, he emigrated to the United States in 1951 and within a decade was creating vibrant ballet scores for famed choreographer Martha Graham, all three of them presented on this hour-long recording. Any release featuring such material automatically appeals for holding the promise of infectious dance content, and on that count Acrobats of God doesn't disappoint. Even better is the fact that joining the colourful scores Surinach wrote for Embattled Garden (1957) and Acrobats of God (1960) is his delightful one for The Owl and the Pussycat (1978), here enhanced by the narration of Cuban-American theatre artist Aliana de la Guardia.

Surinach created scores for other choreographers and dance companies besides Graham's, including the Joffrey Ballet, and no doubt a key part of his music's appeal lies in its incorporation of flamenco rhythms and melodies; he himself acknowledged that his music, even his most serious pieces, all involve dance. Yet his music is far from one-dimensional, as should be anticipated from a composer who not only studied in his native homeland but also in Germany, specifically at the Robert Schumann Conservatory in Dusseldorf, the Hochschule in Cologne, and the Preussische Akademie der Kunst in Berlin. It's therefore possible to identify aspects of both countries in Surinach's music, the rhythmic gestures associated with Spain and the technical finesse of the German composing tradition.

The recording begins with Acrobats of God, the second of his collaborations with Graham. The title derives from medieval times when monks were deemed “athletes of god” for their strenuous physical regimen and was intended by the choreographer to celebrate the art of dance and the discipline required to participate in it. Surinach's multi-part suite—five dances and four interludes—opens with a commanding “Fanfare” that captivates immediately for its striking glissando theme, rich orchestral colour, and tutti passages. Gentler by comparison is the first “Interlude,” even if its second half reintroduces some of the aggressive passages of the opening part. Subsequent movements accentuate different dance forms, with “Antique Dance” memorable for its mandolins and castanets and “Bolero” likewise sprinkled with mandolins and waltz-like rhythms. Particularly engaging is “Minuet” for its sweetly melodic themes and graceful rhythms. Each part, be it a dance or interlude, surprises the listener with unexpected turns, the music sometimes aggressive and blustery and at other times tender and lyrical.

Based on Edward Lear's beloved poem, The Owl and the Pussycat retains all the charm for which it's known in the composer's musical treatment. This enduring tale about creatures embarking on a journey and singing, dancing, eating, and celebrating during their travels is never less than endearing, especially when de la Guardia's delivery amplifies the story's playful and sweetly melancholic dimensions. After a glissando-like effect introduces the work portentously, the mood shifts when a spirited theme is voiced by the orchestra with xylophone and timpani leading the charge. Thereafter the piece advances through seven sections, each one highlighted by the narrator's inspired reading of Lear's text and Surinach's imaginative evocations. After the creatures venture out to sea in their “beautiful pea-green boat,” they sail away, “for a year and a day to the land where the Bong-Tree grows,” are eventually married “by the Turkey who lives on the hill,” and end their adventure dancing “by the light of the moon.” Listen for the narrator's pig-like snort, the composer's royal wedding music, and how effectively Surinach's witty score complements the poem's narrative with brilliant splashes of colour. Even in the absence of a visual component, his enchanting music makes it easy to picture the newly betrothed couple dancing during the work's final section.

The title of Embattled Garden, his first collaboration with Graham, alludes to the Garden of Eden, but explicit biblical references are absent in the production. A distinct Spanish character permeates the score, though filtered through the distinctive prism of Surinach's sensibility. The four-part work opens with regal flourishes of horns, cymbals, strings, and harps until the entrance of a solo clarinet imposes calm. The moment passes quickly, however, when the full ensemble returns with passionate dance rhythms and flamenco figures. After that powerful introduction, three dance numbers follow, the mysterious melodies of the first, “Tiento de Queja,” clothed in an alluring arrangement where English horn, timpani, harp, and violin play prominent roles. Whereas the second, “Tiento de Pena,” proves affecting when its flamenco melodies are expressed tenderly, the final dance, “Tiento de Alegria,” adjusts the focus to serpentine rhythms with seductive woodwinds and tempestuous brass and strings.

May 2023