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The Music Room => Composer Discussion => Topic started by: Archaic Torso of Apollo on April 18, 2007, 10:18:25 AM

Title: Christopher Rouse
Post by: Archaic Torso of Apollo on April 18, 2007, 10:18:25 AM
Recently I listened to several pieces by Rouse. After initially liking him a lot, and then not liking him very much, I'm back to liking him. I think he created some quite powerful work in the decade 1985-95. The little I've heard since that time hasn't impressed me nearly as much, though.

Specifically, I found the concertos for trombone, flute, and violin very fresh and strong pieces. He seems to have a natural knack as a concerto composer. The trombone cto. is very dark, gripping and oppressive, sort of like late Shostakovich but more dissonant and percussive. The flute cto. is very lyrical and threatens to spill into sentimentality at times, but never quite tips over. The violin cto. is more uneven, with some cheap "spectacular" orchestral effects, but still a highly entertaining piece.

On the other hand, I found his percussion cto. from 2000, Der gerettete Alberich, a total piece of shlock, which might be worth hearing once or twice just for laughs, but I can't imagine going back to it repeatedly.

Any other opinions on this composer?
Title: Re: Christopher Rouse
Post by: karlhenning on April 18, 2007, 10:23:20 AM
Maybe I haven't heard the right works, former Otto . . . none that I've heard made me want to go back for more.
Title: Re: Christopher Rouse
Post by: Brian on April 18, 2007, 05:22:12 PM
His Infernal Machine for orchestra is buckets of loud, fun, totally nonsensical insanity! Did I mention it's loud?  :)   Last year our local orchestra played it, and music director Larry Rachleff then said "We're going to play it a second time now." You could really tell what the audience thought of the work after he said that!  ;D 

It was fun even if it didn't mean much emotionally or any other -ally. My personal preference for "loud, fun, totally nonsensical insanity" is Timothy Kramer's Party Favors.
Title: Re: Christopher Rouse
Post by: Dundonnell on October 17, 2008, 05:45:54 PM
Having just listened for the first time to the new BIS issue of music by Christopher Rouse I thought that I might revive this thread.

I would be interested to know what other people think of Rouse. My own impressions are of a frustratingly uneven composer who seems to be unsure of which particular direction he wants to go in and who switches styles more for effect than any other more compelling reason. Perhaps I am being totally unfair and misreading him?

Before I bought the BIS disc I was familiar with the rather grim but imposing Symphony No.1(in the Baltimore Symphony Orchestra performance conducted by David Zinman, coupled with the extraordinary Phantasmata), the Symphony No.2 (on Telarc-Houston Symphony:Eschenbach) coupled with the gorgeously, heart-breakingly beautiful and moving Flute Concerto, the Violin Concerto coupled with the serene 'Rapture' and the fun 'Der Gerette Alberich' for percussion and orchestra(Ondine-Helsinki Philharmonic:Segerstam), and the Colorado Symphony disc with Marin Alsop conducting the Trombone Concerto, 'Gorgon' and 'Iscariot'.

The BIS disc doubles the Symphony No.1 and 'Iscariot' but adds the 2001 Clarinet Concerto. I must admit that this last piece came as rather a shock to me! It is certainly given a marvellous performance by Martin Frost but is in a much more advanced idiom. Rouse himself says "there is a silliness to this score that belies its second Viennese chromaticism" and tells us that he rolled a pair of dice every twelve bars to determine whether to introduce a passage of tonal harmony(he needed two sixes for that!).

I had thought that Rouse stood with John Corigliano and John Harbison as one of the foremost American composers of the generation aged from late 50s to 70 writing in a relatively conventional style. I like what Harbison I have heard but, as far as I am concerned, the jury is still out on Corigliano and Rouse puzzles me.

Any thoughts?
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on October 17, 2008, 10:58:52 PM
Quote from: Dundonnell on October 17, 2008, 05:45:54 PM
Any thoughts?

I still agree with my own earlier post above, that he produced some strong stuff in 1985-95, but that he's gotten less interesting since then.

Your description of the Clarinet Cto. (especially the bit about rolling dice), as well as pieces like Alberich, imply to me that he is running out of good ideas and becoming more gimmicky. Pieces like the 2nd Symphony, and the Trombone and Flute Ctos., still sound good to me though, and I do enjoy their grim powerful atmosphere. (I was lucky enough to hear the 2nd Sym. live and it made quite an impression.)
Title: Re: Christopher Rouse
Post by: pjme on October 20, 2008, 12:00:48 PM
The trombone concerto is a very strong work- moving and original. I'll go back to the flute concero and second sumphon,y which I bought only last year.

Next month a huge work for trombone, orchestra & electronics by Serge Verstockt will be premiered, coupled with RicHard Rijvos' NY concerto - for piano & orch.
These works can be heard in "November MUsic" - a short festival for contemporary music in Ghent.

Richard Rijnvos (N): NYConcerto
Serge Verstockt (Vl): Le Pouvoir du Temps

http://www.novembermusic.be/
Vlaams Radio Orkest/ Brussels Philharmonic
o.l.v. Celso Antunes
John Snijders piano
Tom Verschoore trombone
Tom Pauwels gitaar

Title: Re: Christopher Rouse
Post by: Guido on October 20, 2008, 02:34:12 PM
(http://ecx.images-amazon.com/images/I/21UkZolctwL._SL500_AA140_.jpg)

The concerto recorded by Yo-Yo Ma on this very fine CD is rather good, but perhaps overshadowed by the other works a shade. I like it though!
Title: Re: Christopher Rouse
Post by: Dundonnell on October 20, 2008, 03:08:00 PM
Quote from: Guido on October 20, 2008, 02:34:12 PM
(http://ecx.images-amazon.com/images/I/21UkZolctwL._SL500_AA140_.jpg)

The concerto recorded by Yo-Yo Ma on this very fine CD is rather good, but perhaps overshadowed by the other works a shade. I like it though!

Just bought for $1.99 on Amazon US :) Can't go wrong at that price :)

Didn't even know the disc existed! Thanks for the recommendation :)
Title: Re: Christopher Rouse
Post by: snyprrr on April 29, 2009, 06:18:07 PM
Rouse is the only composer I've met, at the classical music store I worked at in Baltimore, in the mid 90s. I remember he got the Petrassi 8 concerti (hmmm, come to think of it) along with other obvious "learning material." Uh, yea, THAT cool store is gone :'( :'( :'(.

Rouse is a very famous Baltimore name. I think they do real estate development. So...Rouse is the rich kid composer struggling to find his voice in an overcrowded field of rich kids. I sense he wonders why he is doing this (besides the fact that "he can").

I find him...mmm...ok...I mean, it's 2009 and everyone's a composer... but apparently he's getting the "record deals" just like any good rock star, so, good for him. But for me, he is kind of the epitome of "why do we have orchestral composers?"...I mean, the Baltimore Sym., sorry, isn't the most out there (lots of blue hairs in Baltimore)...they're going to be playing Mozart and Britten mostly...but I guess Rouse is a good networker (not that he lives in Baltimore anymore).

ok, I'll stop. I feel a polemic coming on.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on April 29, 2009, 10:14:59 PM
Quote from: snyprrr on April 29, 2009, 06:18:07 PM
But for me, he is kind of the epitome of "why do we have orchestral composers?"...

If I were a composer nowadays, I wouldn't write for a conventional orchestra. That field's too crowded. I would concentrate on other types of ensembles.

In that regard I got this CD a while ago:

(http://images.barnesandnoble.com/images/14300000/14309161.jpg)

None of these pieces are for a normal orchestra, and they all date from Rouse's "good period" (i.e. before the mid-90s).
Title: Re: Christopher Rouse
Post by: jowcol on April 30, 2009, 02:49:54 PM
I got the disc with Symphony 2 and the Flute Concerto.  Just reading about him made me think it would be a match made in heaven, but  the only part the really "clicked" with me was the stirring tragic middle movement of the flute concerto.   
Title: Re: Christopher Rouse
Post by: Dundonnell on May 01, 2009, 03:55:06 PM
Quote from: jowcol on April 30, 2009, 02:49:54 PM
I got the disc with Symphony 2 and the Flute Concerto.  Just reading about him made me think it would be a match made in heaven, but  the only part the really "clicked" with me was the stirring tragic middle movement of the flute concerto.   

Rouse has, I think, written some stirring music but he is-as I said above-a very uneven composer. The Flute Concerto is hauntingly, achingly beautiful though!
Title: Re: Christopher Rouse
Post by: Herman on October 22, 2009, 12:27:54 PM
Quote from: Dundonnell on October 17, 2008, 05:45:54 PM

I had thought that Rouse stood with John Corigliano and John Harbison as one of the foremost American composers of the generation aged from late 50s to 70 writing in a relatively conventional style. I like what Harbison I have heard but, as far as I am concerned, the jury is still out on Corigliano and Rouse puzzles me.

Any thoughts?

And you know what's so funny. There doesn't seem to be any Harbison posts on the Composer board! After rereading The Great Gatsby I was naturally curious whether there was any mention of his Gatsby opera.
Title: Re: Christopher Rouse
Post by: Superhorn on October 25, 2009, 06:42:29 AM
  I've been listening to Rouse's outrageous piece "Der Gerettete Alberich" (Alberich Saved") on Undine,
with Leif Segerstam and the Helsinki Philharmonic, with the dazzlingly brilliant percussion soloist Evelyn Glennie.
This piece is a brilliant take off on Wagner, and is enormous fun, but it helps to be familiar with Wagner's Ring to appreciate it.  In this strange but delightful piece, Rouse wonders what happens to the evil and greedy dwarf Alberich after the cataclysmic end of the Ring, when the Gods and every one else have perished. The composers plays around brilliantly with motifs from the Ring, and gives the percussion soloist a chance to have a ball, playing all manner of percussion instruments, including gourds and Jamaican steel drums !
  Also, even though Rouse has yet to write any operas, I think he should definitely give us at least one,whenever possible. His music is so theatrical. Does any one have ideas for a suitable topic for a Rouse opera, and suggestions on a librettist?
Title: Re: Christopher Rouse
Post by: snyprrr on September 21, 2010, 08:01:12 PM
BUMP.

I'm not sure why.

Write an SQ, Chris.
Title: Re: Christopher Rouse
Post by: Mirror Image on September 21, 2010, 08:12:37 PM
Quote from: jowcol on April 30, 2009, 02:49:54 PM
I got the disc with Symphony 2 and the Flute Concerto.  Just reading about him made me think it would be a match made in heaven, but  the only part the really "clicked" with me was the stirring tragic middle movement of the flute concerto.

This just proves my case what looks good on paper doesn't always measure up when a person actually hears the music itself.

Nothing remotely interests me in Berg in terms of description on paper, but who would've known I would end up enjoying his music?

This is why words cannot describe music. Music must be experienced first-hand.
Title: Re: Christopher Rouse
Post by: lescamil on September 21, 2010, 09:29:38 PM
Quote from: snyprrr on September 21, 2010, 08:01:12 PM
BUMP.

I'm not sure why.

Write an SQ, Chris.

He actually had three string quartets (of which the first two are recorded and the third will be premiered soon) and a piece called Compline for string quartet, harp, clarinet, and flute. The first two string quartets are from his so-called "good period" and are very gritty pieces that should please anyone who likes works similar to his first two symphonies. Compline is a much more restrained work that is in his new sort of more tonally oriented idiom, but it is still a decent work. Not one of my favorites, though.

On the topic of Rouse's latest music, I have heard two of his most recent orchestral works and I think my faith in him has been restored. I heard his Concerto for Orchestra (performed at the Cabrillo Festival in 2008) and Odna Zhizn (performed this year at the NY Phil). The Concerto for Orchestra is a very tightly structured work with a great deal of virtuosity, not much different from his Second Symphony, particularly the outer movements of that piece, in how a small amount of material gets transformed gradually over the whole work. It is a very explosive work that reminds one of his ear splitting pieces from the 1980s. Odna Zhizn is a more personal work, but it is still in a very advanced idiom that one doesn't find in his other recent works like Rapture or the Oboe Concerto. It reminded me of his work Iscariot, in how it seemed to be one constant rhapsodic meditation. Don't give up hope on Rouse! He is still one of my favorite composers, despite the questionable works he has produced over the past 10 years. If you can, listen to the Concerto for Orchestra, Odna Zhizn, or the Requiem (this one is another massive work not to be missed).
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on September 21, 2010, 10:21:18 PM
Quote from: lescamil on September 21, 2010, 09:29:38 PM
On the topic of Rouse's latest music, [informative summary snipped]

Thanks for that useful post - sounds like he's found his groove again. Odna Zhizn by the way is Russian for "one life." Do you have any info as to why he called it that?
Title: Re: Christopher Rouse
Post by: lescamil on September 21, 2010, 11:05:33 PM
Quote from: Velimir on September 21, 2010, 10:21:18 PM
Thanks for that useful post - sounds like he's found his groove again. Odna Zhizn by the way is Russian for "one life." Do you have any info as to why he called it that?

It was a musical portrait of a Russian friend of his. Alec Baldwin, in his commentary about the piece for the LA Phil, actually gave a very informative explanation of the piece on the radio (I wish I could provide it). He apparently used a new musical device that he hasn't used before: he translated the name of the person into music using a letter-to-note method in the work, but apparently Rouse didn't want to reveal much else about the person to the public. I couldn't hear that in the work, but it was a nice piece anyways.
Title: Re: Christopher Rouse
Post by: snyprrr on September 22, 2010, 06:13:49 AM
Quote from: lescamil on September 21, 2010, 09:29:38 PMhis so-called "good period"

That phrase should send shivers down any prospective Compser's spine! I wouldn't want to read that about myself, haha.
Title: Re: Christopher Rouse
Post by: lescamil on September 22, 2010, 11:39:37 AM
Quote from: snyprrr on September 22, 2010, 06:13:49 AM
That phrase should send shivers down any prospective Compser's spine! I wouldn't want to read that about myself, haha.

I don't like that term, really. I was using it for the sake of easy identification for those here that use that term. I just call it his period from the 1980s.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on September 22, 2010, 11:44:13 PM
Quote from: lescamil on September 22, 2010, 11:39:37 AM
I don't like that term, really.

Well I was just using it as a term of convenience...no shivers intended  :)

Quote from: lescamil on September 21, 2010, 09:29:38 PM
If you can, listen to the Concerto for Orchestra, Odna Zhizn, or the Requiem (this one is another massive work not to be missed).

Do you know if there are any recordings of these pieces in the works? I found 32 sec. worth of the CfO on YouTube, but that's just a snapshot.
Title: Re: Christopher Rouse
Post by: lescamil on September 23, 2010, 12:42:13 PM
Quote from: Velimir on September 22, 2010, 11:44:13 PM
Do you know if there are any recordings of these pieces in the works? I found 32 sec. worth of the CfO on YouTube, but that's just a snapshot.

None of them have been recorded commercially. Odna Zhizn was available on the NYPhil's website for some time. I heard the Requiem and Concerto for Orchestra through broadcasts online. Same goes for the Oboe Concerto, which I mentioned earlier. As you can tell, I am a very active online radio listener.
Title: Re: Christopher Rouse
Post by: snyprrr on January 05, 2011, 02:05:58 PM
Quote from: lescamil on September 21, 2010, 09:29:38 PM
He actually had three string quartets (of which the first two are recorded and the third will be premiered soon) and a piece called Compline for string quartet, harp, clarinet, and flute. The first two string quartets are from his so-called "good period" and are very gritty pieces that should please anyone who likes works similar to his first two symphonies. Compline is a much more restrained work that is in his new sort of more tonally oriented idiom, but it is still a decent work. Not one of my favorites, though.

On the topic of Rouse's latest music, I have heard two of his most recent orchestral works and I think my faith in him has been restored. I heard his Concerto for Orchestra (performed at the Cabrillo Festival in 2008) and Odna Zhizn (performed this year at the NY Phil). The Concerto for Orchestra is a very tightly structured work with a great deal of virtuosity, not much different from his Second Symphony, particularly the outer movements of that piece, in how a small amount of material gets transformed gradually over the whole work. It is a very explosive work that reminds one of his ear splitting pieces from the 1980s. Odna Zhizn is a more personal work, but it is still in a very advanced idiom that one doesn't find in his other recent works like Rapture or the Oboe Concerto. It reminded me of his work Iscariot, in how it seemed to be one constant rhapsodic meditation. Don't give up hope on Rouse! He is still one of my favorite composers, despite the questionable works he has produced over the past 10 years. If you can, listen to the Concerto for Orchestra, Odna Zhizn, or the Requiem (this one is another massive work not to be missed).

I hadn't seen that disc of SQs until yesterday. Sounds pretty good. I like the vehemence in No.1.
Title: Re: Christopher Rouse
Post by: Elnimio on January 07, 2011, 10:18:21 PM
His Gorgon suite is the loudest thing I've ever heard
Title: Rouse's Blouse
Post by: snyprrr on March 28, 2011, 08:50:38 PM
bump
Title: Re: Christopher Rouse
Post by: Mirror Image on March 28, 2011, 09:37:15 PM
Quote from: Elnimio on January 07, 2011, 10:18:21 PM
His Gorgon suite is the loudest thing I've ever heard

I thought that honor went to Jon Leifs? :D
Title: Re: Christopher Rouse
Post by: lescamil on March 28, 2011, 09:38:59 PM
Quote from: Mirror Image on March 28, 2011, 09:37:15 PM
I thought that honor went to Jon Leifs? :D

I can think of a few pieces louder than Hekla. One is definitely Gorgon. The ending will blast out your eardrums literally if you listen with headphones. Another work louder than Hekla is Corigliano's Circus Maximus.
Title: Re: Christopher Rouse
Post by: Mirror Image on March 28, 2011, 09:52:41 PM
Quote from: lescamil on March 28, 2011, 09:38:59 PM
I can think of a few pieces louder than Hekla. One is definitely Gorgon. The ending will blast out your eardrums literally if you listen with headphones. Another work louder than Hekla is Corigliano's Circus Maximus.

Hell, most of Leifs' output will put a hurting on the ol' eardrums. Yes, Gorgon is loud. I have not heard the Corigliano work you heard, but, then again, his music never interested that much anyway.
Title: Re: Christopher Rouse
Post by: lescamil on March 30, 2011, 01:07:57 PM
Here is something that might be interesting to some. It gives an insight to Rouse's musical influences in his early musical life.

http://www.youtube.com/watch?v=hMmEuQAuYLM&feature=player_embedded
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on December 21, 2012, 02:45:26 PM
I missed it (too busy moving house), but the CSO just premiered Rouse's new trumpet concerto. A review:

http://theclassicalreview.com/2012/12/chicago-symphonys-christopher-martin-scales-the-heights-in-world-premiere-of-rouses-rousing-trumpet-concerto/
Title: Re: Christopher Rouse
Post by: lescamil on December 21, 2012, 03:04:34 PM
I perused the score of Heimdall's Trumpet and it looks like an excellent piece. The trumpet part looks impossible and both soloist and orchestra alike have a ton of both lyrical and pyrotechnic displays. It ends with a Rouse trademark, a hammerblow to end it all. Too bad the world didn't end after its premiere. It would have been fitting. But because the world didn't end, we can all listen to it in February when it gets broadcasted. Rest assured I will post that recording here when it is available.
Title: Re: Christopher Rouse
Post by: snyprrr on December 22, 2012, 10:16:22 AM
This new trumpet concerto reinvigorates my resolve to continue 'trying' with Rouse. I still want to hear the other wind concertos.
Title: Re: Christopher Rouse
Post by: lescamil on December 22, 2012, 11:20:29 AM
Quote from: snyprrr on December 22, 2012, 10:16:22 AM
This new trumpet concerto reinvigorates my resolve to continue 'trying' with Rouse. I still want to hear the other wind concertos.

His wind concertos are a varied bunch. The Clarinet Concerto is a demented, whimsical piece. The Oboe Concerto is a bit dreamier and lyrical. The famous Trombone concerto is passionate and mournful with a violent middle movement. The even more famous Flute Concerto is the most accessible (and, ironically, my least favorite) and is the most crowd-pleasing of the lot. All are worth your time. Heimdall's Trumpet seems like a very strong work in his catalogue just from the score. For him being a composer that loves his strings and percussion, he does very well with winds.
Title: Re: Christopher Rouse
Post by: Madiel on September 25, 2013, 12:20:23 AM
My best friend just told me to add Rouse to the list of my composers to listen to (at some point, there's a queue).

The level of enthusiasm and activity on this thread is a bit concerning...
Title: Re: Christopher Rouse
Post by: Daverz on September 25, 2013, 12:31:53 AM
I'll have to have a Rouseathon the next time the neighbors are at work.
Title: Re: Christopher Rouse
Post by: kyjo on September 25, 2013, 02:42:30 AM
I'll contribute here later today when l have time......
Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 02:52:53 AM
Rouse enthusiasts: indulge me, and keep it short and sweet... Designate the three works which Make the Case. Just pow-pow-pow, three.

I don't want a list of 15 pieces you think well of. I want three signal successes. Go.
Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 02:53:34 AM
If you list more than three pieces, I ain't reading the post >:D
Title: Re: Christopher Rouse
Post by: amw on September 25, 2013, 07:23:26 AM
Quote from: karlhenning on September 25, 2013, 02:52:53 AM
Rouse enthusiasts: indulge me, and keep it short and sweet... Designate the three works which Make the Case. Just pow-pow-pow, three.

Wouldn't call myself an "enthusiast". But if you like stuff that's gloomy and very, very noisy, lots of "wie verrückt" bass clarinet multiphonics and deep piano clusters and nasty things being done to percussion instruments, you may enjoy Rouse's early period. Look for this at your local library/secondhand record shop/YouTube/etc:

[asin]B00004SC0N[/asin]

Rotae Passionis is for mixed ensemble and was for me the highlight (helped that my library had a score); the Concerto reminded me somewhat of the more angosciato midcentury composers (Hartmann/early Henze etc as well as Ginastera's (better) piece of the same title). The other two pieces are for percussion ensemble and his Opus 1 and 2 in some order, I think. If you like any of these things there are also some string quartets and Gorgon.

The later stuff, meh.
Title: Re: Christopher Rouse
Post by: bhodges on September 25, 2013, 07:51:57 AM
Another vote for Rotae Passionis, which I've heard twice live (by two different groups) - haven't heard the recording above.

--Bruce
Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 08:14:52 AM
Thanks!
Title: Re: Christopher Rouse
Post by: kyjo on September 25, 2013, 11:28:26 AM
Quote from: karlhenning on September 25, 2013, 02:52:53 AM
Rouse enthusiasts: indulge me, and keep it short and sweet... Designate the three works which Make the Case. Just pow-pow-pow, three.

I don't want a list of 15 pieces you think well of. I want three signal successes. Go.

I would recommend this stellar Telarc disc as a starting point to explore Rouse's output, Karl:

[asin]B000003D2E[/asin]

The Flute Concerto is Rouse's best work IMO, and its slow movement (Elegy) alone is a masterpiece. This tragic, heartfelt movement is unlike anything else in Rouse's output in its heightened emotional intensity. The other movements are excellent as well, but the Elegy really deserves special mention: http://youtu.be/YF3_2ZzmLlE

The other two works are more typical, Rouseian crash-and-bang types of pieces than the Flute Concerto, but they're exciting, moody works no doubt. The outer movements of Symphony no. 2 are angry and defiant, while the slow movement, while not as heartbreaking as that of the Flute Concerto, is a moving creation: http://youtu.be/C0tYsOoHD6s

Phaeton, in its manic percussive outbursts and demonic cutting rhythms, should appeal to those who like their Rite of Spring. Rouse is a highly effective orchestrator and it shows in this work: http://youtu.be/loBE5_PrHAo

Hope this helps, Karl! :)

Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 11:35:27 AM
Thanks, Kyle!
Title: Re: Christopher Rouse
Post by: kyjo on September 25, 2013, 11:37:19 AM
Quote from: karlhenning on September 25, 2013, 11:35:27 AM
Thanks, Kyle!

My pleasure, Karl!
Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 12:01:40 PM
QuoteFlute Concerto

Program Note by the Composer

Although no universal credence for the Jungian concept of "genetic memory" exists, for me it seems a profoundly viable notion. Although both of my parents' families immigrated to America well before the Revolutionary War, I nonetheless still feel a deep ancestral tug of recognition whenever I am exposed to the arts and traditions of the British Isles, particularly those of Celtic origin.

I have attempted to reflect my responses to these stimuli in my flute concerto, a five-movement work cast in a somewhat loose arch form. The first and last movements bear the title "Amhrán" (Gaelic for "song") and are simple melodic elaborations for the solo flute over the accompaniment of orchestral strings. They were intended in a general way to evoke the traditions of Celtic, especially Irish, folk music but to couch the musical utterance in what I hoped would seem a more spiritual, even metaphysical, maner through the use of extremely slow tempi, perhaps not unlike some of the recordings of the Irish singer Enya.

The second and fourth movements are both fast in tempo. The second is a rather sprightly march which shares some of its material with the fourth, a scherzo which refers more and more as it progresses to that most Irish of dances, the jig. However, by the time the jig is stated in its most obvious form, the tempo has increased to the point that the music seems almost frantic and breathless in nature.

In a world of daily horrors too numerous and enormous to comprehend en masse, it seems that only isolated, individual tragedies serve to sensitize us to the potential harm man can do to his fellow. For me, one such instance was the abduction and brutal murder of the two-year old English lad James Bulger at the hands of a pair of ten-year old boys. I followed this case closely during the time I was composing my concerto and was unable to shake the horror of these events from my mind. The central movement of this work is an elegy dedicated to James Bulger's memory, a small token of remembrance for a life senselessly and cruelly snuffed out.

I completed my flute concerto in Fairport, New York on August 15, 1993, and it was composed through a joint commission from Richard and Jody Nordlof (for Carol Wincenc) and Borders Inc. (for the Detroit Symphony Orchestra). Its duration is approximately twenty-three minutes.

The orchestra required for the concerto's performance consists of three flutes, two oboes, two clarinets, two bassoons (2nd doubling on contrabassoon), four horns, two trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings. The percussion contingent consists of glockenspiel, xylophone, chimes, vibraphone, suspended cymbal, a pair of crash cymbals, rute, sandpaper blocks, tam-tam, tenor drum, snare drum, bass drum, and tambourine.

Christopher Rouse

© 1993 by Christopher Rouse
These program notes can be reproduced free of charge with the following credit:
Reprinted by kind permission of Christopher Rouse
Title: Re: Christopher Rouse
Post by: lescamil on September 25, 2013, 12:22:03 PM
You really think the Flute Concerto is Rouse's best work, kyjo? In my opinion, it's one of the middle of the road (leaning toward the bottom end) works of Rouse. Yes, the odd numbered movements show off his gift for heartfelt melodic invention, but the quicker sections totally lack the momentum you hear in his more characteristic quicker works. The more melodic movements don't really leave me feeling sympathetic to his aims in the work, either. The Symphony No. 2 from that Teldec disk is a real masterpiece, however. The middle movement is the antithesis of the Flute Concerto's Elegy. It shows his feelings toward Stephen Albert's death, a composer that was a great friend of his. It comes as a shocking event that changes the rest of the symphony. You can almost feel Rouse's anger and anguish at losing his friend.


I'll take a stab and say what three pieces of his I would choose as his greatest successes: Symphony No. 1, Trombone Concerto, and Phantasmata.

Phantasmata is the earliest work here, and it is perhaps the most successful of Rouse's less serious works. The first movement serves as a sort of quiet, atmospheric, otherworldly prelude to the other two movements, which are able to be performed alone. The second movement, The Infernal Machine, is a cheeky perpetuum mobile that shows off lots of rhythmic and textural invention. The last movement, Bump, was described by Rouse as a sort of "conga line in hell" because of the ever-present bass drum hit on beat 4.

The Symphony No. 1 is a one movement symphony that definitely shows off Rouse's love for the famous symphonists, and for his love of those composers that wrote great adagios, such Shostakovich, Sibelius, Hartmann, Pettersson, and Schuman (he cites them in his program notes). One can even hear a choir of Wagner tubas in certain parts of the work, as one would hear with Bruckner. There's also a fugato on the DSCH theme near the beginning. Toward the climax of the work (the biggest one, for there are a few), he even uses a Mahler hammer to punctuate it. There are some great chorale-like passages that show off some interesting harmonies and his gift for melody. However, it's a tragic work through and through, and it ends without a shred of optimism.

The Trombone Concerto is the work that won him his Pulitzer, and it was written in memory of Leonard Bernstein. There is a definite air of sadness in the outer movements, and he even quotes part of the Kaddish Symphony in the third movement. The very fast second movement is stereotypical Rouse, with percussion and lots of loud orchestral interjections. The trombone part is very acrobatic and virtuosic here, and the movement ends with 4 hammer blows. The third movement brings back some melodic material from the second movement, only slower and more passionate, and it closes the concerto much like how it began.
Title: Re: Christopher Rouse
Post by: kyjo on September 25, 2013, 12:43:13 PM
Quote from: lescamil on September 25, 2013, 12:22:03 PM
You really think the Flute Concerto is Rouse's best work, kyjo? In my opinion, it's one of the middle of the road (leaning toward the bottom end) works of Rouse. Yes, the odd numbered movements show off his gift for heartfelt melodic invention, but the quicker sections totally lack the momentum you hear in his more characteristic quicker works. The more melodic movements don't really leave me feeling sympathetic to his aims in the work, either. The Symphony No. 2 from that Teldec disk is a real masterpiece, however. The middle movement is the antithesis of the Flute Concerto's Elegy. It shows his feelings toward Stephen Albert's death, a composer that was a great friend of his. It comes as a shocking event that changes the rest of the symphony. You can almost feel Rouse's anger and anguish at losing his friend.


I'll take a stab and say what three pieces of his I would choose as his greatest successes: Symphony No. 1, Trombone Concerto, and Phantasmata.

Phantasmata is the earliest work here, and it is perhaps the most successful of Rouse's less serious works. The first movement serves as a sort of quiet, atmospheric, otherworldly prelude to the other two movements, which are able to be performed alone. The second movement, The Infernal Machine, is a cheeky perpetuum mobile that shows off lots of rhythmic and textural invention. The last movement, Bump, was described by Rouse as a sort of "conga line in hell" because of the ever-present bass drum hit on beat 4.

The Symphony No. 1 is a one movement symphony that definitely shows off Rouse's love for the famous symphonists, and for his love of those composers that wrote great adagios, such Shostakovich, Sibelius, Hartmann, Pettersson, and Schuman (he cites them in his program notes). One can even hear a choir of Wagner tubas in certain parts of the work, as one would hear with Bruckner. There's also a fugato on the DSCH theme near the beginning. Toward the climax of the work (the biggest one, for there are a few), he even uses a Mahler hammer to punctuate it. There are some great chorale-like passages that show off some interesting harmonies and his gift for melody. However, it's a tragic work through and through, and it ends without a shred of optimism.

The Trombone Concerto is the work that won him his Pulitzer, and it was written in memory of Leonard Bernstein. There is a definite air of sadness in the outer movements, and he even quotes part of the Kaddish Symphony in the third movement. The very fast second movement is stereotypical Rouse, with percussion and lots of loud orchestral interjections. The trombone part is very acrobatic and virtuosic here, and the movement ends with 4 hammer blows. The third movement brings back some melodic material from the second movement, only slower and more passionate, and it closes the concerto much like how it began.

Yes, I do think it's his best work (though not by a long shot), but each to his own. :) Nice descriptions of those works BTW. I should've mentioned Symphony no. 1 in my previous post. A powerful work indeed!
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on September 25, 2013, 02:06:14 PM
Quote from: karlhenning on September 25, 2013, 02:52:53 AM
Designate the three works which Make the Case. Just pow-pow-pow, three.

I'd go with the Trombone Concerto, 2nd Symphony, and the already-endorsed Rotae Passionis.
Title: Re: Christopher Rouse
Post by: Daverz on September 25, 2013, 02:29:25 PM
Warning: the Symphony No. 2 is REALLY LOUD.  If you set a "realistic" volume at the beginning, you'll be blown across the room by the drums.  Unfortunately this means that I can't play this work very often if I want to maintain good relations with the neighbors.
Title: Re: Christopher Rouse
Post by: TheGSMoeller on September 25, 2013, 02:54:43 PM
Quote from: karlhenning on September 25, 2013, 02:53:34 AM
If you list more than three pieces, I ain't reading the post >:D

Sorry I'm late...

Karolju, Flute Concerto and Karolju.  :D
Title: Re: Christopher Rouse
Post by: kyjo on September 25, 2013, 03:43:19 PM
Quote from: TheGSMoeller on September 25, 2013, 02:54:43 PM
Sorry I'm late...

Karolju, Flute Concerto and Karolju.  :D

Karolju is a really spirited work. I listen to it every Christmas and it's a great alternative to the traditional carols.
Title: Re: Christopher Rouse
Post by: Karl Henning on September 25, 2013, 04:22:48 PM
Thank you all!
Title: Re: Christopher Rouse
Post by: lescamil on September 25, 2013, 05:22:54 PM
Quote from: Daverz on September 25, 2013, 02:29:25 PM
Warning: the Symphony No. 2 is REALLY LOUD.  If you set a "realistic" volume at the beginning, you'll be blown across the room by the drums.  Unfortunately this means that I can't play this work very often if I want to maintain good relations with the neighbors.

Rouse's Gorgon is a bit louder than the Symphony No. 2, and the Symphony No. 1 has a few moments that are louder as well. The Cello Concerto's first movement is also a bit louder. There's one moment near the middle that will scare you if you don't know it's coming.

Also, agreed on Karolju. I typically hate Christmas music, but for this I will make an exception. It's a neat idea, and it isn't the typical Rouse that will send you flying across the room.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on May 29, 2014, 06:24:36 PM
finally, the 3rd Symphony

Tonight, I listened to bits & pieces of the brand new 3rd Symphony, in a radio broadcast of what I assume was its first performance, NYPO under Gilbert. What was interesting is that I switched the radio on, and didn't know what it was until they announced it at the end. So I was coming to it cold, as it were.

My first impressions were 1. wow, this is noisy as hell; 2. that's good, because it's also exciting, but sometimes that's not so good, because the music sounds too congested at times; 3. this slow movement sounds like a cool updating of Prokofiev or some similar composer.

It does sound like Rouse has resurrected his older self ("crush the audience with my powerful rock-influenced sonics") for this one. Which may be a good thing, but I have to hear it complete, under better conditions, to really know.
Title: Re: Christopher Rouse
Post by: snyprrr on May 29, 2014, 06:41:21 PM
Quote from: Velimir on May 29, 2014, 06:24:36 PM
finally, the 3rd Symphony

Tonight, I listened to bits & pieces of the brand new 3rd Symphony, in a radio broadcast of what I assume was its first performance, NYPO under Gilbert. What was interesting is that I switched the radio on, and didn't know what it was until they announced it at the end. So I was coming to it cold, as it were.

My first impressions were 1. wow, this is noisy as hell; 2. that's good, because it's also exciting, but sometimes that's not so good, because the music sounds too congested at times; 3. this slow movement sounds like a cool updating of Prokofiev or some similar composer.

It does sound like Rouse has resurrected his older self ("crush the audience with my powerful rock-influenced sonics") for this one. Which may be a good thing, but I have to hear it complete, under better conditions, to really know.

ugh, I felt some heartbreak with your "noisy as hell" because that's exactly the phrase I would use to denote what drain me concerning Rouse, and similar proponents of a hyper-Petterssonian cacophony in the name of, I suppose, Romantic Expressionism. I mean, does Ferneyhough come off as "noisy as hell"? Surely there is a Complexity that does not end in these... assualts. It's just so 1993, 1983-6... 1979... when was the last time (Schnittke?) someone was allowed to get away with this? I recall the very first climax (early on) in Schnittke's 1st Cello Concerto, and it last for just a few moments, and he moves on to something else- it returns (and, there IS "noise" in Schnittke, but more controlled than Rouse I'm sure), but Schnittke seems to do the "crash bang" thing a bit better than Rouse? Sometimes (lately) I can grow weary of Pettersson, who must be in Rouse's fondness (I'm almost absolutely sure of it).

I've always WANTED to like Rouse's music. Sold him a CD once.

I'd like to sample the Trombone Concerto. (and then just call it)
Title: Re: Christopher Rouse
Post by: TheGSMoeller on May 29, 2014, 06:46:10 PM
Quote from: snyprrr on May 29, 2014, 06:41:21 PM

I'd like to sample the Trombone Concerto. (and then just call it)

Sample the whole piece. It's noise-ingly awesome! 
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on May 29, 2014, 07:16:22 PM
Found a review. Turns out this wasn't the world premiere. Probably the NY premiere. And my suspicion about Prokofiev was correct:

http://weblogs.baltimoresun.com/entertainment/classicalmusic/2012/11/bso_gives_east_coast_premiere.html

Quote from: snyprrr on May 29, 2014, 06:41:21 PM
Sometimes (lately) I can grow weary of Pettersson, who must be in Rouse's fondness (I'm almost absolutely sure of it).

I believe Rouse has cited Pettersson as an influence. The problem for me, when you cite Pettersson as an influence, is that you'd better have something like AP's crappy life experiences and adversities to make his style work. Otherwise, you're just fakin' it.
Title: Re: Christopher Rouse
Post by: snyprrr on May 29, 2014, 07:33:47 PM
Quote from: Velimir on May 29, 2014, 07:16:22 PM
Found a review. Turns out this wasn't the world premiere. Probably the NY premiere. And my suspicion about Prokofiev was correct:

http://weblogs.baltimoresun.com/entertainment/classicalmusic/2012/11/bso_gives_east_coast_premiere.html

I believe Rouse has cited Pettersson as an influence. The problem for me, when you cite Pettersson as an influence, is that you'd better have something like AP's crappy life experiences and adversities to make his style work. Otherwise, you're just fakin' it.

mmmmmm $:) :-*
Title: Re: Christopher Rouse
Post by: Brian on November 23, 2014, 07:26:07 PM
Here is BIS CEO Robert von Bahr talking about the Flute Concerto:

"OK, time for a personal confession. When I was laid up on the cut-up table for an operation for pancreatic cancer (which, after the very extensive operation, it was ascertained that I didn't have in the first place...) I had negotiated with the doctors' team that I was allowed to listen to something when they put me under - against regulations - this because the operation itself was quite risky and I was stubborn. So I chose the Christopher Rouse Flute Concerto, played by my wife, Sharon Bezaly, the Royal Stockholm PO under Alan Gilbert as the piece I wanted to be the last thing I heard, should I not wake up. In a similar situation I would still choose that piece, a requiem over a small British boy that was tortured to death by two other small boys - a horrible thing. The music is simply fantastic and something I would urge anyone to really listen to, but with closed eyes and mobiles turned off. Music at its very best."
Title: Re: Christopher Rouse
Post by: snyprrr on November 24, 2014, 07:33:43 AM
Quote from: Brian on November 23, 2014, 07:26:07 PM
Here is BIS CEO Robert von Bahr talking about the Flute Concerto:

"OK, time for a personal confession. When I was laid up on the cut-up table for an operation for pancreatic cancer (which, after the very extensive operation, it was ascertained that I didn't have in the first place...) I had negotiated with the doctors' team that I was allowed to listen to something when they put me under - against regulations - this because the operation itself was quite risky and I was stubborn. So I chose the Christopher Rouse Flute Concerto, played by my wife, Sharon Bezaly, the Royal Stockholm PO under Alan Gilbert as the piece I wanted to be the last thing I heard, should I not wake up. In a similar situation I would still choose that piece, a requiem over a small British boy that was tortured to death by two other small boys - a horrible thing. The music is simply fantastic and something I would urge anyone to really listen to, but with closed eyes and mobiles turned off. Music at its very best."

well, that's what I call Advocacy!! haha--- have not heard the FC yet,,,... must.... not... go... to .... doctor....
Title: Re: Christopher Rouse
Post by: Mirror Image on May 24, 2016, 07:05:07 PM
Someone wrote here (I believe it was Colin) and said that Rouse was, basically, 'all over the stylistic map'. I don't really view this as something that's a criticism in the way Colin (or whoever said it) seemed to express. I look at it as he's got more in composer's 'toolbox' and isn't afraid to take inspiration from many different sources. It doesn't really matter what direction Rouse goes in because the end result always sounds like 'Rouse music' for lack of a better phrase. I will say I haven't enjoyed everything I've heard and I believe I even criticized him myself on this very thread, but since hearing this new Alan Gilbert/New York Philharmonic recording, I've been getting back into his music slowly.
Title: Re: Christopher Rouse
Post by: lescamil on May 25, 2016, 01:05:50 AM
I consider myself a Rouse fan, admiring quite a few of his works and thinking him a rather consistent composer (not really a toolbox composer), but I have never liked the flute concerto. I think this is the one work that epitomizes many of the snide criticisms that are thrown at Rouse, namely that it is saccharine, superficial, and musically incoherent to my ears. I might just be missing the boat here, since it is possibly his most frequently performed piece outside of Rapture, a work I have just recently come around to. Perhaps the flute concerto will get its time with me soon, but not now.
Title: Re: Christopher Rouse
Post by: Mirror Image on May 25, 2016, 03:27:45 AM
Quote from: lescamil on May 25, 2016, 01:05:50 AM
I consider myself a Rouse fan, admiring quite a few of his works and thinking him a rather consistent composer (not really a toolbox composer), but I have never liked the flute concerto. I think this is the one work that epitomizes many of the snide criticisms that are thrown at Rouse, namely that it is saccharine, superficial, and musically incoherent to my ears. I might just be missing the boat here, since it is possibly his most frequently performed piece outside of Rapture, a work I have just recently come around to. Perhaps the flute concerto will get its time with me soon, but not now.

Personally, I love the Flute Concerto, but can't get onboard with the Clarinet Concerto. Haven't heard his Violin Concerto or Cello Concerto in ages. Need to remedy this rather soon. The Trombone Concerto is wicked fun as well.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on May 29, 2016, 11:55:51 AM
Disc of Last Week

(http://ecx.images-amazon.com/images/I/711X3ALp4tL._SX355_.jpg)

This was de facto "Disc of the Week" for a few people here last week. Just had my first listen.

We have 2 symphonies and 2 tone poems (or whatever they're called nowadays). The 3rd Symphony (my first experience of which to be found upthread) is a "re-composition" of Prokofiev's 2nd Symphony - which in turn was apparently based on LvB Op. 111. It's an exciting and very busy piece, and its range of expression is very broad. Amidst all the noise, a very string-heavy variation stands out at one point: think of the Tallis Fantasia, or even Pettersson's "lyrical islands." One listen doesn't tell me how well the whole thing stands up structurally, but I look forward to coming back to this.

Ditto with the 4th Symphony, also in 2 movements. This one seems to mirror the structure of Lutoslawski's 2nd ("hesitant - direct"), but in this case it's more like "happy - morose." On first listen, this symphony is even more interesting than #3. The emotional contrast of the movements is weird and compelling.

Otherwise, Prospero's Rooms is a fun/scary piece which would fit nicely on any symphonic Halloween program, assuming such existed. Odna Zhizn is rather cluttered, and is apparently based on some gimmickry involving names; I'll keep trying with this one.
Title: Re: Christopher Rouse
Post by: Mirror Image on May 29, 2016, 01:31:45 PM
Glad you enjoyed this new recording. It certainly made a great impression on me and also helped reintroduce the composer to me.
Title: Re: Christopher Rouse
Post by: Rons_talking on May 31, 2016, 07:46:35 AM
I've been listening to Rouse's work on Spotify this morning (in light of this thread) and have felt compelled to comment.
1. He seems to be a master of his craft. The first two Symphonies are very well wrought and exciting. So is the Trombone Concerto as well as the VC.
2. Here's the "but" part: Rouse's music seems to have almost no sense of intraspection and pathos. It's as if he wakes up, sees his latest comission and without delay, begins composing in whatever style suites the requirement. I don't feel there's anything being expressed but his love of theatrical exposition. He does this very well and has composed some good music but (for me) there is little heart beneath the notes. That said, I find the music attractive and will listen to more (maybe)of his work.
3. He doesn't seem to like the letter p at all.
I apologize to his followers up above...not my cup of tea.
Title: Re: Christopher Rouse
Post by: Mirror Image on May 31, 2016, 07:57:45 AM
No need to apologize Rons_talking. You like what you like, but if I may offer a rebuttal. There are several works from Rouse that don't do anything for me and I felt they're just one orchestral explosion after another with no rhyme or reason and, as you mentioned, heart, but there are several works that do, IMHO, offer the listener more than an onslaught of percussion and do give way to a composer who's deeply expressing a concern of his and one that really touched me recently was his "Flute Concerto". Interesting you like the Symphonies 1 & 2 as I don't like these works at all and they just sound 'empty' for lack of a better word. It seems his Symphonies 3 & 4 finally get something right and I've enjoyed both of these works immensely.
Title: Re: Christopher Rouse
Post by: relm1 on May 31, 2016, 08:00:56 AM
I agree that he is a very fine composer (but known to be extremely loud when heard live in concert).  I highly recommend the new disc of Symphony No. 3 and 4, Odnz Shizn, and Prospero's Room.  A very full and exciting disc of new music showcasing his tenure with NY Phil/Alan Gilbert.  Also highly recommended is his Oboe Concerto which is on Spotify but I don't think is available on disc (it is part of the New York Philharmonic broadcasts). 

I was at the premiere of his Requiem and sat just five feet behind the chorus and percussion...a very unfortunate place to be since their were so many fffff percussion smashes.
Title: Re: Christopher Rouse
Post by: Ken B on May 31, 2016, 09:06:15 AM
Quoteseems to have almost no sense of intraspection and pathos. It's as if he wakes up... and without delay, begins ... in whatever style suites the requirement. I don't feel there's anything being expressed but his love of theatrical exposition. He does this very well [but] there is little heart .... He doesn't seem to like the letter p at all.

So he's Donald Trump.
Title: Re: Christopher Rouse
Post by: Brian on September 21, 2019, 05:56:48 PM
Christopher Rouse has died aged 70.  :(

One of my favorite composers of recent years.
Title: Re: Christopher Rouse
Post by: SymphonicAddict on September 21, 2019, 06:13:35 PM
Too bad news, me too! His legacy will never be die! The last work I listened from him was his 5th Symphony in a broadcast recording. An extraordinary piece. Excellent Rouse stuff.
Title: Re: Christopher Rouse
Post by: Brian on September 21, 2019, 06:25:55 PM
Quote from: SymphonicAddict on September 21, 2019, 06:13:35 PM
Too bad news, me too! His legacy will never be die! The last work I listened from him was his 5th Symphony in a broadcast recording. An extraordinary piece. Excellent Rouse stuff.
I saw the premiere of that symphony in Dallas. It's tremendous. The New York Philharmonic recording is also extraordinary, as is his flute concerto, which is best summed up by this:

Quote from: Brian on November 23, 2014, 07:26:07 PM
Here is BIS CEO Robert von Bahr talking about the Flute Concerto:

"OK, time for a personal confession. When I was laid up on the cut-up table for an operation for pancreatic cancer (which, after the very extensive operation, it was ascertained that I didn't have in the first place...) I had negotiated with the doctors' team that I was allowed to listen to something when they put me under - against regulations - this because the operation itself was quite risky and I was stubborn. So I chose the Christopher Rouse Flute Concerto, played by my wife, Sharon Bezaly, the Royal Stockholm PO under Alan Gilbert as the piece I wanted to be the last thing I heard, should I not wake up. In a similar situation I would still choose that piece, a requiem over a small British boy that was tortured to death by two other small boys - a horrible thing. The music is simply fantastic and something I would urge anyone to really listen to, but with closed eyes and mobiles turned off. Music at its very best."
Title: Re: Christopher Rouse
Post by: schnittkease on September 21, 2019, 10:39:56 PM
RIP. Nothing profound to add, just that 70 is a bit too young.
Title: Re: Christopher Rouse
Post by: vandermolen on September 21, 2019, 11:44:51 PM
Quote from: schnittkease on September 21, 2019, 10:39:56 PM
RIP. Nothing profound to add, just that 70 is a bit too young.
+1
Title: Re: Christopher Rouse
Post by: Maestro267 on September 22, 2019, 04:56:00 AM
Terrible news to receive. It's a real shame I didn't get any of his works in my collection while he was still here.

I don't know if it will happen now, but Boosey & Hawkes' website says his Symphony No. 6 is due to be premiered in around 4 weeks' time.
Title: Re: Christopher Rouse
Post by: Kontrapunctus on September 22, 2019, 08:35:09 AM
I was so sad to hear about his passing. I attended the West Coast premiere of his Guitar Concerto several years ago, and I recently enjoyed hearing the premiere of his new Organ Concerto with the Philadelphia Orch on Sirius XM. I hope The Phil records it. I'm not a fan of a lot of contemporary composers, but his music speaks to me with its combination of visceral intensity and melody.
Title: Re: Christopher Rouse
Post by: Mirror Image on October 14, 2019, 02:12:28 PM
I'm late to the party I know, but it's absolutely terrible news that Rouse has passed away! I had no idea. What a composer! That last recording of his music on Dacapo with Alan Gilbert and the New York Philharmonic was an instant favorite. All of those pieces were superb. His Flute Concerto is also a favorite of mine. A shame he's left of us and 70 yrs. old is still relatively young by today's standards. RIP, Maestro Rouse.
Title: Re: Christopher Rouse
Post by: Mirror Image on May 25, 2020, 07:24:05 AM
Some interesting videos of Rouse just in case some of you haven't seen them:

https://www.youtube.com/v/Bvtnht0ZmFw

https://www.youtube.com/v/XZ88zPr_fnk

Title: Re: Christopher Rouse
Post by: Mirror Image on May 25, 2020, 07:31:53 AM
I listened to the 2nd symphony last night (Gilbert on BIS) and, man, what a tremendous work this is --- it's quite Sibelian in compactness. There is some ferocious percussion sections in the last movement that made this former percussionist crack a smile. To anyone who does own the Gilbert conducted recordings of Rouse's music, run, don't walk, over to your nearest e-retailer and buy those albums.

Title: Re: Christopher Rouse
Post by: relm1 on May 25, 2020, 04:31:09 PM
Rouse was a very fine composer and I deeply miss his loss.  I so much wish he had composer another symphony.  Six feels incomplete, but seven feels like a cycle.  He was a fabulous man too.  Humorous and intellectual.  And I feel like I look like him in the age of corona with hair too long and a beard. 
Title: Re: Christopher Rouse
Post by: Mirror Image on May 25, 2020, 05:13:30 PM
Quote from: relm1 on May 25, 2020, 04:31:09 PM
Rouse was a very fine composer and I deeply miss his loss.  I so much wish he had composer another symphony.  Six feels incomplete, but seven feels like a cycle.  He was a fabulous man too.  Humorous and intellectual.  And I feel like I look like him in the age of corona with hair too long and a beard.

He was a composer of immense talent and, most of all, heart. Even when there's a huge battery of percussion pounding away, I never felt this to be empty or simply orchestral gesturing of any kind. It actually meant something within the context of the piece. Yes, he seemed like a lovely man.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on October 07, 2020, 06:05:14 PM
Rouse's 5th Symphony is out. This looks like a must-buy disc. Anyone heard it?

https://www.classicstoday.com/review/rousing-rouse-fifth-and-concerto-for-orchestra-on-naxos/
Title: Re: Christopher Rouse
Post by: relm1 on October 08, 2020, 05:56:02 AM
Quote from: Archaic Torso of Apollo on October 07, 2020, 06:05:14 PM
Rouse's 5th Symphony is out. This looks like a must-buy disc. Anyone heard it?

https://www.classicstoday.com/review/rousing-rouse-fifth-and-concerto-for-orchestra-on-naxos/

Yes, I heard it and enjoyed it.  Fine performances and really liked the Concerto for Orchestra as well.
Title: Re: Christopher Rouse
Post by: Brian on October 08, 2020, 06:05:47 AM
Quote from: Archaic Torso of Apollo on October 07, 2020, 06:05:14 PM
Rouse's 5th Symphony is out. This looks like a must-buy disc. Anyone heard it?

https://www.classicstoday.com/review/rousing-rouse-fifth-and-concerto-for-orchestra-on-naxos/
I saw the live world premiere of the Fifth. I'd agree this is a must buy. The Fifth is very loosely inspired by Beethoven's Fifth - in that the opening motif is on the same rhythm and there's a scherzo which leads into the finale - but overall it's typically thrilling, combative Rouse. The finale contains the most bass drum I've ever heard in a work. Rouse came onstage afterwards and looked very frail; we could tell he was in his last years. He did apparently manage to complete a Sixth Symphony.

Streamed "Supplica" and it was everything that the symphony was not - quiet, tender, lyrical, much smaller orchestral force.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on October 08, 2020, 07:08:39 AM
Quote from: Brian on October 08, 2020, 06:05:47 AM
The Fifth is very loosely inspired by Beethoven's Fifth - in that the opening motif is on the same rhythm and there's a scherzo which leads into the finale - but overall it's typically thrilling, combative Rouse.

Interesting approach. He did a similar thing with the 3rd Symphony (based on Prokofiev's 2nd).

If you didn't know it was based on LvB 5, would you have guessed it?
Title: Re: Christopher Rouse
Post by: Maestro267 on October 09, 2020, 03:12:52 AM
Quote from: Brian on October 08, 2020, 06:05:47 AM
He did apparently manage to complete a Sixth Symphony.

Yes, premiered October 2019 in Cincinnati. NYT review: https://www.nytimes.com/2019/10/20/arts/music/rouse-cincinnati-symphony-review.html (https://www.nytimes.com/2019/10/20/arts/music/rouse-cincinnati-symphony-review.html)
Title: Re: Christopher Rouse
Post by: Brian on October 10, 2020, 05:54:29 PM
Quote from: Archaic Torso of Apollo on October 08, 2020, 07:08:39 AM
If you didn't know it was based on LvB 5, would you have guessed it?
The first few bars are quite obvious - but after that, the relationship is very abstract and not at all clear at the surface level. No quotes are anything like that.
Title: Re: Christopher Rouse
Post by: Brahmsian on January 23, 2021, 10:06:13 AM
Quote from: Brian on October 08, 2020, 06:05:47 AM

Streamed "Supplica" and it was everything that the symphony was not - quiet, tender, lyrical, much smaller orchestral force.

I get to hear this piece tonight with the Winnipeg Symphony Orchestra as a livestream event as part of the Winnipeg New Music Festival.

Will be my introduction to the music of Rouse.
Title: Re: Christopher Rouse
Post by: TheGSMoeller on June 02, 2021, 04:32:13 AM
Quote from: OrchestralNut on January 23, 2021, 10:06:13 AM
I get to hear this piece tonight with the Winnipeg Symphony Orchestra as a livestream event as part of the Winnipeg New Music Festival.

Will be my introduction to the music of Rouse.

Hey, Ray, how was the performance of Supplica?
Title: Re: Christopher Rouse
Post by: Brahmsian on June 02, 2021, 04:49:45 AM
Quote from: TheGSMoeller on June 02, 2021, 04:32:13 AM
Hey, Ray, how was the performance of Supplica?

Hi Greg!

It really was terrific. I was very impressed with the work!
Title: Re: Christopher Rouse
Post by: TheGSMoeller on June 02, 2021, 10:48:10 AM
Quote from: OrchestralNut on June 02, 2021, 04:49:45 AM
Hi Greg!

It really was terrific. I was very impressed with the work!

That's great, Ray. I haven't read through this thread so I'm sure you've probably received a good amount of Rouse recommendations here, but my top choice is always the Flute Concerto. Not only is it an amazing work, but I think it is the epitome of Rouse's musical style. There are moments of lyrical serenity similar to Supplica, and also the more thornier, and heavier side of his music. A perfect mix of Rouse's sound.
Title: Re: Christopher Rouse
Post by: Mirror Image on June 02, 2021, 07:08:32 PM
Quote from: TheGSMoeller on June 02, 2021, 10:48:10 AM
That's great, Ray. I haven't read through this thread so I'm sure you've probably received a good amount of Rouse recommendations here, but my top choice is always the Flute Concerto. Not only is it an amazing work, but I think it is the epitome of Rouse's musical style. There are moments of lyrical serenity similar to Supplica, and also the more thornier, and heavier side of his music. A perfect mix of Rouse's sound.

I can only agree about the Flute Concerto --- it's a gem.
Title: Re: Christopher Rouse
Post by: DavidUK on April 28, 2022, 11:48:03 AM
Quote from: Mirror Image on June 02, 2021, 07:08:32 PM
I can only agree about the Flute Concerto --- it's a gem.

Which has just been playing on Radio 3 in concert.  I missed the beginning but what I heard sounded excellent.
Title: Re: Christopher Rouse
Post by: Mirror Image on April 28, 2022, 07:41:09 PM
Quote from: DavidUK on April 28, 2022, 11:48:03 AM
Which has just been playing on Radio 3 in concert.  I missed the beginning but what I heard sounded excellent.

Buy the Bezaly/Gilbert recording of it on BIS!
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on May 04, 2022, 08:40:50 AM
Quote from: Archaic Torso of Apollo on October 07, 2020, 06:05:14 PM
Rouse's 5th Symphony is out. This looks like a must-buy disc. Anyone heard it?


Well, now I've heard it. The entire disc gets a thumbs-up from me, but based on a couple of listens, I like the Concerto for Orchestra and Supplica somewhat better than the 5th Symphony.

The symphony alternates moody and exciting episodes, and held my attention, but I'm not sure how well it holds together structurally. I don't really have such doubts about the other two pieces. Supplica reminded me that Rouse does the atmospheric tone-poem thing really well (see pieces like Phaeton, Rapture, and Prospero's Rooms).

My preferred Rouse symphonies remain 2 and 3. 4 and 5 are interesting but I'm not quite convinced. Haven't heard 1.

Nashville Symphony sounds very good on this (hooray for "America's Music City").
Title: Re: Christopher Rouse
Post by: Mirror Image on May 04, 2022, 08:51:39 AM
Quote from: Archaic Torso of Apollo on May 04, 2022, 08:40:50 AM
Well, now I've heard it. The entire disc gets a thumbs-up from me, but based on a couple of listens, I like the Concerto for Orchestra and Supplica somewhat better than the 5th Symphony.

The symphony alternates moody and exciting episodes, and held my attention, but I'm not sure how well it holds together structurally. I don't really have such doubts about the other two pieces. Supplica reminded me that Rouse does the atmospheric tone-poem thing really well (see pieces like Phaeton, Rapture, and Prospero's Rooms).

My preferred Rouse symphonies remain 2 and 3. 4 and 5 are interesting but I'm not quite convinced. Haven't heard 1.

Nashville Symphony sounds very good on this (hooray for "America's Music City").

I like Rouse's 3rd symphony very much. I like the 2nd symphony quite a bit, but I'm honestly more taken with his concerti like the Trombone Concerto and Flute Concerto for example. I also LOVE works like Gorgon, Iscariot, Rapture and Odna Zhizn.
Title: Re: Christopher Rouse
Post by: foxandpeng on July 07, 2022, 01:31:54 PM
Cross posted from the WAYLT thread...

Definitely time to explore Rouse. Shamefully overlooked by me, so far. Iscariot is equally fascinating.

Quote from: foxandpeng on July 07, 2022, 01:23:29 PM
Christopher Rouse
Symphony 1
Flute Concerto
Alan Gilbert
Royal Stockholm Symphony Orchestra


Very much enjoying Christopher Rouse's Flute Concerto and Symphony 1 today. Darkness and dissonance, beauty and colour, pain and anguish. Considering that the flute concerto is dedicated to the memory of the murdered Liverpool toddler, James Bulger, the dreadful collapse of beauty into brokenness is understandable.

Much to explore in Rouse, I think.
Title: Re: Christopher Rouse
Post by: Brian on May 30, 2023, 04:42:30 PM
Was just reading his Wikipedia page and discovered he wrote a concerto for string orchestra "commissioned by Absolut Vodka"!
Title: Re: Christopher Rouse
Post by: relm1 on May 30, 2023, 05:06:45 PM
Quote from: Brian on May 30, 2023, 04:42:30 PMWas just reading his Wikipedia page and discovered he wrote a concerto for string orchestra "commissioned by Absolut Vodka"!

Who do you think commissioned this from Andy Warhol? 
(https://artplease.com/wp-content/uploads/2023/03/Andy_Warhol_Absolut_Vodka-1.jpg)
https://artplease.com/artworks/andy-warhol-absolut-vodka/

Like many corporations, Absolute Vodka commissions new art as part of their interest in cultural impact.
Title: Re: Christopher Rouse
Post by: Brian on May 31, 2023, 08:00:01 AM
(https://static.qobuz.com/images/covers/68/37/0603497103768_600.jpg)

I don't know what got it in my head yesterday to look up Christopher Rouse and read about his career - I think I was thinking about assembling an "American violin concertos" program with sequels to the Barber - but it inspired a little mini-marathon. Reading through this thread was a very interesting experience. We clearly have a small group of Rouse fans, or at least students of the composer. The past posts also delineate a clear four-act trajectory in his work:

pre-1985: the young rebel, avant garde influenced
1985-1995: what Apollo once called his "interesting period," with an unusual mixture of stillness, loudness, direct emotional appeals, and play
1995-2010: a slightly bored composer experimenting with games, chance, name-spelling, and other gimmicks
2011-2019: cancer diagnosis refocuses his energy and creates a more personal, emotional, urgent expressiveness

Symphony No. 1 (1986) - a huge single-movement structure, primarily slow (though not primarily quiet). It's like the arc of the first movement of Shostakovich's Sixth, but tonally more like late (post-1986) Penderecki in its anguish and abstraction. I guess you could also draw comparisons to DSCH Eleventh (the alternations of hushed stillness and violence), Kalevi Aho (who also mostly worked later), and even Prokofiev's Romeo and Juliet. Rouse directly credits Shostakovich, Sibelius, Hartmann, and Bruckner as influences. Near the end (23'), there is a direct quote of Bruckner's Seventh on Wagner tubas, but the quote doesn't last as long as you'd expect. It's not like Metamorphosen. It's underpinned the whole piece's motivic content, but he just gives you a glance.

Still, now I'm talking about comparison points instead of taking Rouse on his own. That's not fair to any composer. It is a gripping experience even at adagio tempo. Even when you're caught up in some of the big, violent climaxes, this is clearly a work where you have to take the long view, to sit back a bit and process the full structure. What he has to express, he expresses very slowly and patiently. In a way, this would be a difficult piece to experience live, because it requires intense focus but does not reward it too frequently. The last few minutes of hushed string prayer are truly expressive and beautiful. Quiet ending.

Phantasmata (1981, 1985) - The two dates are because "The Infernal Machine" was written first, then the other two pieces later. Any can be played separately; I saw "The Infernal Machine" live when I was a teenager (note visible at the start of this thread!). "The Evestrum of Juan de la Cruz in the Sagrada Familia at 3 A.M." is for strings and percussion only and is a good example of a possible complaint about Rouse: when he isn't being very loud, he is being very quiet. He is so committed to extremes, there are not a lot of middles. This is a very soft, small, watercolor-like string piece with only a handful of big, sweeping gestures to get the attention. "The Infernal Machine" is so quick, so perpetual-motion, that it cannot really be too loud without swamping the sound. It's full of interesting textures and sounds instead, and loads of solos for everybody. "Bump," which Rouse described as a conga line in hell, is the most fun to me, and lives up exactly to that promise. Love hearing a bit of baritone saxophone.

(https://static.qobuz.com/images/covers/29/16/0761195101629_600.jpg)

Rapture (2000) - Probably the "easiest" and most crowd-pleasing Rouse work to program at a concert. At 13 minutes, Rapture moves in one great big crescendo and one great big accelerando, from a slow, calm opening that brings Sibelius to mind with its "healing" brass prayers, to a crash-bang joyous ending full of cymbal and timpani rolls. Though the word "Rapture" does not indicate a religious inspiration, you can definitely tell some secular form of joyous experience is happening here. It's Rouse's least dissonant work, the one with the fewest surprise outbursts, and the most straightforwardly happy. Even if you lean toward the doom-and-gloom school of music, though, you'll find much to appreciate in the orchestration skill and structural craft.

Violin Concerto (1991) - Well, anyone who writes a concerto for Cho-Liang Lin has my respect. One of the most underrated violinists of our time. This one is in two movements, Barcarola and Toccata, of 13 and 11 minutes. The barcarolle allows the violinist to wax rhapsodic and melodic in an environment that tosses back and forth between moods. When the violinist briefly takes a break near the beginning, a classic Rouse outburst steps in. But, although he has lots of percussion at work, he is careful to allow the violinist center stage, with writing that is more romantic than metal. There is a fast section in this first movement, and a moderately gloomy orchestral climax leading to a muted cadenza.

This leads very neatly into the fast cadenza, which is full of all kinds of orchestral excitement with a great violin line laid on top. The music often tangles itself into dissonant knots and then teases itself apart again. At 3', I catch a great big quote of Beethoven's Seventh Symphony. After a brief slow interlude section, the violin gets to fiddle a whole bunch at the end. This is a fun, smart, balanced piece that avoids some of the Rouseian "traps" of too-extreme dynamics and too-static landscapes. It's well-made for concert display. I do wish that there was a little more "explanation" to the structure of the finale, in the end sequence where we go slow violin solo, orchestra suddenly speeds things up, fast violin solo, ending. It does feel like he realized he didn't have enough solos and just tossed them all in at the end. But at least they're fun (and incredibly hard!).

Der gerettete Alberich (1997) - Even though this is programmed at the start of the CD, I saved it to the end out of dread, based on Apollo's posts above. It is a Wagner pastiche that starts with the famous ending of the Ring operas and ends with the famous beginning. Sure enough, silliness starts immediately, as the big opening Wagner quote is immediately followed by a solo cadenza that sounds like the percussionist is trying and failing to start an old-timey car. Maybe a Model T. The rest of the movement is at least mostly sober, just with a continual running percussion commentary.

Percussion concertos are much, much more fun in person because of the visual elements of both the playing and the scampering around between instruments. Here, since that element is not present, you don't really get that effect. You could easily listen to the piece on CD and imagine it's the work of 3-4 percussionists running around. Slow movements are also a problem. Here, though, Rouse creates his own trouble by having the slow movement lead straight into the finale - which begins with a rock/salsa outburst, soloist perched on a rock drum set. It's very silly indeed, and then leads into a section where Wagner quotes, awakened with rage perhaps by the sacrilege of the salsa bit, return with vengeance.

In general, like Apollo, I find the piece rather silly, although at least I don't know enough about Wagner to be offended  ;D The finale, oddly, is most compelling to me, because I constructed the mental narrative of Wagner awakening from the dead to punish Rouse for his rock/pop silliness. The music perfectly fits that little image. Plus, there's a cadenza, and me like when drum goes bang. Overall, though, this is definitely less substantial than some of the other music I heard today. Maybe not less substantial than the violin concerto, actually - just sillier.
Title: Re: Christopher Rouse
Post by: foxandpeng on May 31, 2023, 03:06:38 PM
Quote from: Brian on May 31, 2023, 08:00:01 AM(https://static.qobuz.com/images/covers/68/37/0603497103768_600.jpg)

I don't know what got it in my head yesterday to look up Christopher Rouse and read about his career - I think I was thinking about assembling an "American violin concertos" program with sequels to the Barber - but it inspired a little mini-marathon. Reading through this thread was a very interesting experience. We clearly have a small group of Rouse fans, or at least students of the composer. The past posts also delineate a clear four-act trajectory in his work:

pre-1985: the young rebel, avant garde influenced
1985-1995: what Apollo once called his "interesting period," with an unusual mixture of stillness, loudness, direct emotional appeals, and play
1995-2010: a slightly bored composer experimenting with games, chance, name-spelling, and other gimmicks
2011-2019: cancer diagnosis refocuses his energy and creates a more personal, emotional, urgent expressiveness

Symphony No. 1 (1986) - a huge single-movement structure, primarily slow (though not primarily quiet). It's like the arc of the first movement of Shostakovich's Sixth, but tonally more like late (post-1986) Penderecki in its anguish and abstraction. I guess you could also draw comparisons to DSCH Eleventh (the alternations of hushed stillness and violence), Kalevi Aho (who also mostly worked later), and even Prokofiev's Romeo and Juliet. Rouse directly credits Shostakovich, Sibelius, Hartmann, and Bruckner as influences. Near the end (23'), there is a direct quote of Bruckner's Seventh on Wagner tubas, but the quote doesn't last as long as you'd expect. It's not like Metamorphosen. It's underpinned the whole piece's motivic content, but he just gives you a glance.

Still, now I'm talking about comparison points instead of taking Rouse on his own. That's not fair to any composer. It is a gripping experience even at adagio tempo. Even when you're caught up in some of the big, violent climaxes, this is clearly a work where you have to take the long view, to sit back a bit and process the full structure. What he has to express, he expresses very slowly and patiently. In a way, this would be a difficult piece to experience live, because it requires intense focus but does not reward it too frequently. The last few minutes of hushed string prayer are truly expressive and beautiful. Quiet ending.

Phantasmata (1981, 1985) - The two dates are because "The Infernal Machine" was written first, then the other two pieces later. Any can be played separately; I saw "The Infernal Machine" live when I was a teenager (note visible at the start of this thread!). "The Evestrum of Juan de la Cruz in the Sagrada Familia at 3 A.M." is for strings and percussion only and is a good example of a possible complaint about Rouse: when he isn't being very loud, he is being very quiet. He is so committed to extremes, there are not a lot of middles. This is a very soft, small, watercolor-like string piece with only a handful of big, sweeping gestures to get the attention. "The Infernal Machine" is so quick, so perpetual-motion, that it cannot really be too loud without swamping the sound. It's full of interesting textures and sounds instead, and loads of solos for everybody. "Bump," which Rouse described as a conga line in hell, is the most fun to me, and lives up exactly to that promise. Love hearing a bit of baritone saxophone.

(https://static.qobuz.com/images/covers/29/16/0761195101629_600.jpg)

Rapture (2000) - Probably the "easiest" and most crowd-pleasing Rouse work to program at a concert. At 13 minutes, Rapture moves in one great big crescendo and one great big accelerando, from a slow, calm opening that brings Sibelius to mind with its "healing" brass prayers, to a crash-bang joyous ending full of cymbal and timpani rolls. Though the word "Rapture" does not indicate a religious inspiration, you can definitely tell some secular form of joyous experience is happening here. It's Rouse's least dissonant work, the one with the fewest surprise outbursts, and the most straightforwardly happy. Even if you lean toward the doom-and-gloom school of music, though, you'll find much to appreciate in the orchestration skill and structural craft.

Violin Concerto (1991) - Well, anyone who writes a concerto for Cho-Liang Lin has my respect. One of the most underrated violinists of our time. This one is in two movements, Barcarola and Toccata, of 13 and 11 minutes. The barcarolle allows the violinist to wax rhapsodic and melodic in an environment that tosses back and forth between moods. When the violinist briefly takes a break near the beginning, a classic Rouse outburst steps in. But, although he has lots of percussion at work, he is careful to allow the violinist center stage, with writing that is more romantic than metal. There is a fast section in this first movement, and a moderately gloomy orchestral climax leading to a muted cadenza.

This leads very neatly into the fast cadenza, which is full of all kinds of orchestral excitement with a great violin line laid on top. The music often tangles itself into dissonant knots and then teases itself apart again. At 3', I catch a great big quote of Beethoven's Seventh Symphony. After a brief slow interlude section, the violin gets to fiddle a whole bunch at the end. This is a fun, smart, balanced piece that avoids some of the Rouseian "traps" of too-extreme dynamics and too-static landscapes. It's well-made for concert display. I do wish that there was a little more "explanation" to the structure of the finale, in the end sequence where we go slow violin solo, orchestra suddenly speeds things up, fast violin solo, ending. It does feel like he realized he didn't have enough solos and just tossed them all in at the end. But at least they're fun (and incredibly hard!).

Der gerettete Alberich (1997) - Even though this is programmed at the start of the CD, I saved it to the end out of dread, based on Apollo's posts above. It is a Wagner pastiche that starts with the famous ending of the Ring operas and ends with the famous beginning. Sure enough, silliness starts immediately, as the big opening Wagner quote is immediately followed by a solo cadenza that sounds like the percussionist is trying and failing to start an old-timey car. Maybe a Model T. The rest of the movement is at least mostly sober, just with a continual running percussion commentary.

Percussion concertos are much, much more fun in person because of the visual elements of both the playing and the scampering around between instruments. Here, since that element is not present, you don't really get that effect. You could easily listen to the piece on CD and imagine it's the work of 3-4 percussionists running around. Slow movements are also a problem. Here, though, Rouse creates his own trouble by having the slow movement lead straight into the finale - which begins with a rock/salsa outburst, soloist perched on a rock drum set. It's very silly indeed, and then leads into a section where Wagner quotes, awakened with rage perhaps by the sacrilege of the salsa bit, return with vengeance.

In general, like Apollo, I find the piece rather silly, although at least I don't know enough about Wagner to be offended  ;D The finale, oddly, is most compelling to me, because I constructed the mental narrative of Wagner awakening from the dead to punish Rouse for his rock/pop silliness. The music perfectly fits that little image. Plus, there's a cadenza, and me like when drum goes bang. Overall, though, this is definitely less substantial than some of the other music I heard today. Maybe not less substantial than the violin concerto, actually - just sillier.

"We clearly have a small group of Rouse fans, or at least students of the composer."

We most certainly do! Rouse is excellent. Helpful post, sir!
Title: Re: Christopher Rouse
Post by: relm1 on May 31, 2023, 05:30:19 PM
Quote from: Brian on May 31, 2023, 08:00:01 AM(https://static.qobuz.com/images/covers/68/37/0603497103768_600.jpg)

I don't know what got it in my head yesterday to look up Christopher Rouse and read about his career - I think I was thinking about assembling an "American violin concertos" program with sequels to the Barber - but it inspired a little mini-marathon. Reading through this thread was a very interesting experience. We clearly have a small group of Rouse fans, or at least students of the composer. The past posts also delineate a clear four-act trajectory in his work:

pre-1985: the young rebel, avant garde influenced
1985-1995: what Apollo once called his "interesting period," with an unusual mixture of stillness, loudness, direct emotional appeals, and play
1995-2010: a slightly bored composer experimenting with games, chance, name-spelling, and other gimmicks
2011-2019: cancer diagnosis refocuses his energy and creates a more personal, emotional, urgent expressiveness

Symphony No. 1 (1986) - a huge single-movement structure, primarily slow (though not primarily quiet). It's like the arc of the first movement of Shostakovich's Sixth, but tonally more like late (post-1986) Penderecki in its anguish and abstraction. I guess you could also draw comparisons to DSCH Eleventh (the alternations of hushed stillness and violence), Kalevi Aho (who also mostly worked later), and even Prokofiev's Romeo and Juliet. Rouse directly credits Shostakovich, Sibelius, Hartmann, and Bruckner as influences. Near the end (23'), there is a direct quote of Bruckner's Seventh on Wagner tubas, but the quote doesn't last as long as you'd expect. It's not like Metamorphosen. It's underpinned the whole piece's motivic content, but he just gives you a glance.

Still, now I'm talking about comparison points instead of taking Rouse on his own. That's not fair to any composer. It is a gripping experience even at adagio tempo. Even when you're caught up in some of the big, violent climaxes, this is clearly a work where you have to take the long view, to sit back a bit and process the full structure. What he has to express, he expresses very slowly and patiently. In a way, this would be a difficult piece to experience live, because it requires intense focus but does not reward it too frequently. The last few minutes of hushed string prayer are truly expressive and beautiful. Quiet ending.

Phantasmata (1981, 1985) - The two dates are because "The Infernal Machine" was written first, then the other two pieces later. Any can be played separately; I saw "The Infernal Machine" live when I was a teenager (note visible at the start of this thread!). "The Evestrum of Juan de la Cruz in the Sagrada Familia at 3 A.M." is for strings and percussion only and is a good example of a possible complaint about Rouse: when he isn't being very loud, he is being very quiet. He is so committed to extremes, there are not a lot of middles. This is a very soft, small, watercolor-like string piece with only a handful of big, sweeping gestures to get the attention. "The Infernal Machine" is so quick, so perpetual-motion, that it cannot really be too loud without swamping the sound. It's full of interesting textures and sounds instead, and loads of solos for everybody. "Bump," which Rouse described as a conga line in hell, is the most fun to me, and lives up exactly to that promise. Love hearing a bit of baritone saxophone.

(https://static.qobuz.com/images/covers/29/16/0761195101629_600.jpg)

Rapture (2000) - Probably the "easiest" and most crowd-pleasing Rouse work to program at a concert. At 13 minutes, Rapture moves in one great big crescendo and one great big accelerando, from a slow, calm opening that brings Sibelius to mind with its "healing" brass prayers, to a crash-bang joyous ending full of cymbal and timpani rolls. Though the word "Rapture" does not indicate a religious inspiration, you can definitely tell some secular form of joyous experience is happening here. It's Rouse's least dissonant work, the one with the fewest surprise outbursts, and the most straightforwardly happy. Even if you lean toward the doom-and-gloom school of music, though, you'll find much to appreciate in the orchestration skill and structural craft.

Violin Concerto (1991) - Well, anyone who writes a concerto for Cho-Liang Lin has my respect. One of the most underrated violinists of our time. This one is in two movements, Barcarola and Toccata, of 13 and 11 minutes. The barcarolle allows the violinist to wax rhapsodic and melodic in an environment that tosses back and forth between moods. When the violinist briefly takes a break near the beginning, a classic Rouse outburst steps in. But, although he has lots of percussion at work, he is careful to allow the violinist center stage, with writing that is more romantic than metal. There is a fast section in this first movement, and a moderately gloomy orchestral climax leading to a muted cadenza.

This leads very neatly into the fast cadenza, which is full of all kinds of orchestral excitement with a great violin line laid on top. The music often tangles itself into dissonant knots and then teases itself apart again. At 3', I catch a great big quote of Beethoven's Seventh Symphony. After a brief slow interlude section, the violin gets to fiddle a whole bunch at the end. This is a fun, smart, balanced piece that avoids some of the Rouseian "traps" of too-extreme dynamics and too-static landscapes. It's well-made for concert display. I do wish that there was a little more "explanation" to the structure of the finale, in the end sequence where we go slow violin solo, orchestra suddenly speeds things up, fast violin solo, ending. It does feel like he realized he didn't have enough solos and just tossed them all in at the end. But at least they're fun (and incredibly hard!).

Der gerettete Alberich (1997) - Even though this is programmed at the start of the CD, I saved it to the end out of dread, based on Apollo's posts above. It is a Wagner pastiche that starts with the famous ending of the Ring operas and ends with the famous beginning. Sure enough, silliness starts immediately, as the big opening Wagner quote is immediately followed by a solo cadenza that sounds like the percussionist is trying and failing to start an old-timey car. Maybe a Model T. The rest of the movement is at least mostly sober, just with a continual running percussion commentary.

Percussion concertos are much, much more fun in person because of the visual elements of both the playing and the scampering around between instruments. Here, since that element is not present, you don't really get that effect. You could easily listen to the piece on CD and imagine it's the work of 3-4 percussionists running around. Slow movements are also a problem. Here, though, Rouse creates his own trouble by having the slow movement lead straight into the finale - which begins with a rock/salsa outburst, soloist perched on a rock drum set. It's very silly indeed, and then leads into a section where Wagner quotes, awakened with rage perhaps by the sacrilege of the salsa bit, return with vengeance.

In general, like Apollo, I find the piece rather silly, although at least I don't know enough about Wagner to be offended  ;D The finale, oddly, is most compelling to me, because I constructed the mental narrative of Wagner awakening from the dead to punish Rouse for his rock/pop silliness. The music perfectly fits that little image. Plus, there's a cadenza, and me like when drum goes bang. Overall, though, this is definitely less substantial than some of the other music I heard today. Maybe not less substantial than the violin concerto, actually - just sillier.

I've heard multiple Rouse performances including No. 1 with Christoph Eschenbach/Houston Symphony live.  It was fantastic.  I don't know why you would say "...this would be a difficult piece to experience live, because it requires intense focus but does not reward it too frequently."  Not at all.  It was very well received and full of immediacy.  Also quotes of Allan Pettersson. 

I was at the Requiem premiere with the composer in attendance and the trombone concerto plus other works (orchestral works I forgot what they were).  Generally, always well received and very wide dynamic range but I thought this was similar to Schnittke, Kincheli, and other Eastern European composers of the same period where music went from ppp to fff without transition. 

He was friendly and verbose.  Loved chatting about music...sometimes far too long!  Think someone showing their vacation slides. 
Title: Re: Christopher Rouse
Post by: Brian on June 01, 2023, 08:35:05 AM
(https://static.qobuz.com/images/covers/uc/ce/ecfq9uxygceuc_600.jpg)

First listen to the Trombone Concerto and I can immediately understand why it has been so popular in this thread. It is moody, atmospheric, builds in very steady, clear arcs of volume and power, gives Joseph Alessi a lot of work to do, and (through its pursuit of slower, darker moods) really showcases the trombone well as a solo instrument. I love the chaotic moment where all the orchestral trombones erupt as well. I will have to listen again sometime elsewhere, as my office proved a less than ideal setting: even with good headphones, the steady air circulation and machine whirring meant that in the first 3 minutes, I didn't hear anything. For such a limited experience, a good one. It also reminded me a lot of Kalevi Aho.

Gorgon is the loudest Rouse I have encountered yet, 16 minutes of nonstop pounding, blamming, wailing, and air-raiding. Iscariot is an "old friend," one I've heard several times on the BIS recording, though in this context it suffers a bit as a short encore after two big pieces that absolutely dominate one's attention.

Quote from: relm1 on May 31, 2023, 05:30:19 PMI've heard multiple Rouse performances including No. 1 with Christoph Eschenbach/Houston Symphony live.  It was fantastic.  I don't know why you would say "...this would be a difficult piece to experience live, because it requires intense focus but does not reward it too frequently."  Not at all.  It was very well received and full of immediacy.  Also quotes of Allan Pettersson. 
Thanks! I guess also one's ears are better prepared for sudden dynamic changes in live concert than over headphones. I haven't seen No. 1 live but have seen some of his other stuff live, including the world premiere of No. 5 (on a previous page in this thread).
Title: Re: Christopher Rouse
Post by: Brian on June 01, 2023, 09:25:12 AM
(https://static.qobuz.com/images/covers/26/61/0886971156126_600.jpg)

Karolju has one of the weirdest backstories of any classical work I've ever encountered. Rouse wanted to write a cycle of festive Christmas carols, so he started without a commission or a text. Then, when the commission came, instead of retrofitting real texts to the music, he simply made up texts in a variety of languages. The texts don't make any sense whatsoever, because they're a mix of Christmas greetings and random words Rouse thought sounded good. They're intended for non-speakers of the language to hear and think, "that sounds like it's about Christmas," even though they're not!

The music is totally lovely, festive, charming, with lots of resonant brass, sincere good humor, and joyous melody. There are glancing quotes of previous Christmas works too (like the Czech movement quoting the melody that goes with "don we now our gay apparel"). But ultimately the sincerity and meaning of it is open for question. In a way, Karolju offers uncomfortable metaphorical readings about the [choose your preferred noun:] postmodernism, irony, or superficiality of today's society: the way that we can create a cheery Christmas work with loads of singing, even though the singing means nothing whatsoever.

Then again, I've listened to a lot of Christmas songs where I can understand the words. And the words often stink. With the abundant musical charm, this is better than "Wonderful Christmastime," "Baby It's Cold Outside," or "Grandma Got Run Over By a Reindeer"!

The coupling is an excerpt of fourteen of Lutoslawski's Twenty Polish Christmas Carols. The cuts - 11 minutes' worth, on a disc that had 13 minutes of room for more tracks - are a true pity. But we have the Antoni Wit recording on Naxos, at least, and I listen to that disc every holiday season. Rodrigo's short Retablo de Navidad rounds things out.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on September 01, 2023, 06:21:27 PM
I found out that Rouse wrote an Organ Concerto. I hope it'll be recorded - all I could find was the finale, on YouTube:

https://www.youtube.com/watch?v=VxV1T3IrJsM
Title: Re: Christopher Rouse
Post by: AnotherSpin on September 01, 2023, 10:31:19 PM
Tried listening Christopher Rouse for the first time. An album with a clarinet concerto and the first symphony. Haven't found much to latch on to yet. Relaxed a bit on the Wagnerian motifs in the symphony.
Title: Re: Christopher Rouse
Post by: AnotherSpin on September 02, 2023, 05:15:22 AM
Another Rouse album, with the 3rd and 4th Symphonies. It's getting better, maybe I'm getting acclimated to it. The Siegfrieds Trauermusik quote at the end of the 4th is pretty amusing.
Title: Re: Christopher Rouse
Post by: relm1 on September 02, 2023, 06:35:12 AM
Quote from: Archaic Torso of Apollo on September 01, 2023, 06:21:27 PMI found out that Rouse wrote an Organ Concerto. I hope it'll be recorded - all I could find was the finale, on YouTube:

https://www.youtube.com/watch?v=VxV1T3IrJsM
Quote from: Archaic Torso of Apollo on September 01, 2023, 06:21:27 PMI found out that Rouse wrote an Organ Concerto. I hope it'll be recorded - all I could find was the finale, on YouTube:

https://www.youtube.com/watch?v=VxV1T3IrJsM

I heard it performed; it was fantastic! Dark, menacing and powerful!  Definitely hope it gets a good recording.
Title: Re: Christopher Rouse
Post by: Archaic Torso of Apollo on September 02, 2023, 07:17:04 AM
Quote from: relm1 on September 02, 2023, 06:35:12 AMI heard it performed; it was fantastic! Dark, menacing and powerful!  Definitely hope it gets a good recording.

He's been a consistently good concerto composer. Where'd you hear it, BTW?
Title: Re: Christopher Rouse
Post by: relm1 on September 03, 2023, 06:04:04 AM
Quote from: Archaic Torso of Apollo on September 02, 2023, 07:17:04 AMHe's been a consistently good concerto composer. Where'd you hear it, BTW?

I was at this concert.  I can't remember what else was on the program but it was a great program I recall but the Rouse was especially a thrill.

https://www.laphil.com/musicdb/pieces/2555/organ-concerto-west-coast-premiere-la-phil-co-commission (https://www.laphil.com/musicdb/pieces/2555/organ-concerto-west-coast-premiere-la-phil-co-commission)

I believe I had the full concerto from a broadcast too.  Rouse had a very long history with LA Phil so I saw several of his works premiered there including the Requiem where I was on the first row right next to the organ and chorus!  I could read their parts.  I'm surprised that one hasn't been released as far as I know but it was a 90 minute massive choral orchestral work and very loud!