Kenneth Fuchs' artistry reaches fruition with the prodigious help of John Wilson

​I have been collecting CDs of Kenneth Fuchs’ music over the years and have found much to enjoy. However, I often hear a pleasant sameness to it (not unlike how I would describe the music of Alan Hovhaness), sometimes lacking originality and inspirational creativity. There have been a few standouts, though, which keep me coming back for more. For example, his String Quartets #2-4 (played by The American String Quartet on a 2000 Albany CD) are exemplary. I also greatly enjoyed his 2016 Piano Concerto (played by Jeffrey Biegel) and a 2012 Naxos orchestral collection played by the LSO, which includes two terrific pieces, Atlantic Riband and Discovery the Wild. Fuchs has certainly benefited from the advocacy of the fabulous conductor JoAnn Falletta on the Naxos recordings. She can bring music to life in ways which make it instantly approachable, appealing and gratifying - affording it every opportunity to be accessible and enjoyed by many.
 
However, none of what has come before prepared me for the excellence heard on this new Chandos collection from John Wilson and his incredible Sinfonia of London. As good as the LSO sounds on Naxos, Chandos takes it to a whole other level of musical and sonic satisfaction. One is instantly immersed in the music - drenched in sumptuous orchestral color, zestful vitality and thrilling dynamics. This orchestra, as recorded by the Chandos engineers, shimmers with vibrancy and effervescent exuberance. And once again I must proclaim this string section to be completely unmatched by any other orchestra today. They are absolutely magnificent. 
 
The music of Kenneth Fuchs has been described as the very essence of Americana. With scarcely a hint of the forefathers of American music (Copland, Gershwin, Still, et al), his music is descriptive and compelling - falling squarely into more contemporary styles without resorting to shallow, atonal modernism. The music contained on this collection is flavored with splashes of Michael Torke, color and energy of Paul Creston and chordal harmonies of Alan Hovhaness. And like John Adams, Fuchs' skills at orchestration are paramount. He can make almost anything (or almost nothing) interesting just with varied, colorful, lavish scoring. And with John Wilson on the podium, it all comes to life as never before imagined. 
 
Starting the program with a trilogy called Cloud Slant, we hear what is, in my estimation, a true masterpiece. Fuchs subtitles it “Concerto for Orchestra”, which I’m not sure necessarily fits. However, it certainly is a dazzling display featuring every section of the orchestra with swirling waves of sound alternating with rich washes of color and glimmering brilliance. The first movement, “Blue Fall”, reminds me very much of Torke’s vivacious Javelin, while the 3rd movement, “Cloud Slant”, is remarkably reminiscent of Britten's Four Sea Interludes. The central section, “Flood”, is even more uniquely Fuchs, featuring lush, shimmering strings vibrant with air and texture, brimming with anticipation. John Wilson can glean the slimmest of musical lines and coax his strings (and later, the horns) into making them soar. And the music simply blossoms.
 
If I had initially deemed the opening work Fuchs’ masterpiece, I was reevaluating that observation after hearing his magnificent flute concerto, entitled Solitary the Thrush (which references lines from Whitman’s elegy, When Lilacs Last in the Dooryard Bloom’d.) Knowing the composer’s primary instrument is (was) the flute, it’s perhaps odd that only now, some 50 years into his career, has he embarked on writing a flute concerto.
 
It’s not a traditional “concerto” though, at least not structurally. Rather than laid out in the typical 3 movements, it is instead cast in just one, with contrasting, continuous, free-flowing sections within it. Even more notably, it is scored for not just the regular “C” flute, but also the alto flute as well. The latter is featured in the expansive Adagietto central section and again in the final slow section at the very end.  
 
This concerto strays even further from the traditional in that it’s not a vehicle for virtuoso fireworks. Rather, it is spacious, atmospheric and pensive, imbued with expansive harmonies punctuated by interesting interjections from the orchestra. Fuchs has a gift for writing melodious lines; but even more, it is his ability to create atmosphere which is most impressive. All through I was captivated by the interplay between solo flute and orchestral players - from violins to the English Horn, and especially with the orchestral piccolo - as if engaged in ongoing conversations.
 
Above all, the playing of the solo part by Adam Walker is truly wondrous. I have noted before the vivid characterization in his playing and his glorious tone, and these qualities are everywhere in evidence here. The varied tonal colors and speed of vibrato, the vibrant pianissimos, the glistening upper octave and astounding dynamic range engage the listener in every phrase. And his sound on the alto flute is haunting without being noticeably dark, breathy or overtly “whoo-ey”, as is so often the case. His beguiling sound is consistent on both instruments - so much so that one almost doesn’t notice when he switches from one to the other, until we hear that plaintive lower range of the alto. 
 
What a gorgeous piece of music this is. And what ravishing flute playing. I can’t remember the last time I was so affected by a new piece of music. As a matter of fact, I was so profoundly moved by it, I had to take some time before I could continue on with the rest of the program. This, along with his aforementioned early string quartets (1993-1998) and Cloud Slant, must surely be considered among Fuchs' very finest creations.
 
Pacific Vision is a short, spirited work for strings, which is certainly appropriate for this orchestra to play, given its marvelous string section. It is the most overtly “American” of the entire program, with an energetic, outdoorsy feel interspersed with sweetly singing, lyrical interludes. It displays some dashing violin writing, including the deliberate use of the open E string and rapid glissandos up to harmonic high Es, reminiscent of some good ol’ country fiddling. But it’s all in good taste - never crude like an Arkansas hoedown, but certainly evoking the fun times of the County fair. And honestly, it was heartening to hear these musicians let their hair down and revel in their singular virtuosity. Even in something this seemingly lighthearted, they still put their all into it.
 
Elsewhere, this string section shines with vibrant singing lines and airy textures, accentuated by crisp, articulate bowing. The shimmering vibrato Wilson elicits from this group is quite extraordinary.
 
The final work, despite its title, Quiet in the Land, is more serious – and very dramatic. It is much more symphonic in nature than anything else on the program, featuring the percussion and brass more prominently. There is an enormous dynamic range, with spectacular climaxes so massive they bring to mind a thunderstorm on the plains (ala Ferde Grofe) or perhaps a mighty storm at sea (Britten again.) But there are quiet passages too - the calm under a moonlit sky ominous with apprehension and anticipation. The piece ends with more of the incredible atmosphere Fuchs is masterful at portraying, and the still of the night takes us to the end of a wonderful concert.
 
I can’t emphasize strongly enough the contribution of this amazing orchestra to the success of this music. Their playing goes beyond the routine we typically hear in orchestral recordings today. Freshness and spontaneity permeate every note with an irresistible sense of discovering something new and wonderful.
 
The booklet goes into great detail as to the origins of each work - including who commissioned them, who premiered them and what inspired the composer to write them. I’ll not go into detail here as I’d encourage everyone who enjoys orchestral music to buy this disc and read about it at your leisure.
 
Finally, I cannot conclude without discussing the recorded sound. This is a multi-channel SACD (for those of us who still value such things) and is a stellar example of the superiority of the higher-quality format over standard CD. The effortless dynamic range, the lush acoustic, the massive power of a symphony orchestra at full tilt filling the hall, and the rich orchestral colors - all combine to produce a stupendous listening experience. This, along with this team's Rachmaninoff and “Hollywood Soundstage” albums, is a demonstration-worthy recording which simply exemplifies the state-of-the-art. They are among the very best-sounding full-scale orchestral recordings I have heard.
 
This disc should appeal to anyone who loves orchestral music. And even if the very idea of an entire program consisting of pleasant, tonal, approachable Americana isn’t really something you’d be drawn to, you should hear what a sensational recording this is. And even more, witness how a modern symphony orchestra should play. It harkens back to the day when orchestras still had character and enthusiasm, inspired by a conductor capable of molding them into something extraordinary. What an incredibly rare thing that is today.