Dylan Thomas TrilogyJohn Corigliano

A Dylan Thomas Trilogy


Sir Thomas Allen, baritone; Ty Jackson, boy soprano; John Tessier, tenor; Nashville Symphony Chorus; Nashville Symphony Orchestra; Leonard Slatkin, conductor

This is the first large-scale composition that I have heard from John Corigliano in quite some time. Back in the mid-90s, I was really taken with his music. My favorite works were his Clarinet Concerto, Three Hallucinations, parts of his Symphony #1, and the opera Ghosts of Versailles. What I enjoyed most about his music were his vibrant colors and wild textures. His music used, to my ears, contemporary techniques in a very approachable emotional package. This was my perspective as a grad student over a decade ago, please do not substitute it as “the truth.”

All that being said, A Dylan Thomas Trilogy contains precious little of the materials that initially drew me to Corigliano’s music. This sound is much more conservative from just about every aspect and, to my ears, it loses a great amount of personality because of it. Each movement of the 5-part trilogy (two prologues surround the first “real” movement, Fern Hill) is pure Romanticism without any of the techniques, style, or personality that made Corigliano stand out in the first place.

Don’t get me wrong, the whole disc is well performed and the music is lovely. Corigliano knows what he is doing and how to write the music that he wants to hear. It Just sounds as though it could have been written by anyone. Few of the traits that I enjoyed from earlier Corigliano works are present. The second prologue is vibrant and hints at some of the playful moments from Ghosts, as does the opening of the Poem from October movement. It doesn’t take long, though, until the music transitions back to the fairly pedestrian Romanticism that makes up the bulk of this piece.

Is it unfair for me to judge Corigliano’s music this way because I haven’t kept speed with his stylistic evolution? Perhaps. No need to blast me in the Comments section for this. It is merely my opinion, substitute your own as needed. I’ll say it again: the music is very pretty and well performed. I just don’t take anything special from it. I identify the music as attractive, but not memorable. If you are a fan of Romanticism (no neo- prefix needed here), then you will most likely enjoy this disc. If you, like me, still enjoy doing impersonations of his Clarinet Concerto even though I haven’t heard the work in over 12 years, you might want to check out something else.

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