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Thursday, April 9, 2020
James Lentini, Through Time and Place, Bronislaw Martinu Philharmonic Orchestra, etc.
A program of select Lentini orchestral works from 1994-2010 has been getting my listening ear in the last few weeks. Through Time and Place (Navona NV6273) covers some five ambitious and adventurous works for wind symphony, symphony orchestra and one for soprano, chorus and orchestra. As we come to expect from Navona, for this program the production values are uniformly high; performances range from the quite respectable to the very good. There are a fair number of organizations involved--the Bohuslav Martinu Philharmonic Orchestra under Anthony Iannaccone, the Sofia Philharmonic Orchestra under Ricardo Averbach, The Wayne State University Symphony Chorus and Orchestra under Norah Duncan IV, The Wayne State University Wind Symphony under Douglas Bianchi and the Krakow Philharmonic Orchestra under Jerzy Swoboda.
The music has a uniformly expressive demeanor that takes full advantage of the tonal nuances available in contemporary performing groups via nicely orchestrated and complex layering of interlocking sectional interplay. This is exemplary American Contemporary Modern with a harmonically involved tonality as rooted in American Central-Modernists such as William Schumann and other post-Copland compositional voices, and then perhaps a shade of the fanfare-like unfoldings of Edgard Varese. James Lentini holds his own by expressing a personal take on this style set. All five works have a pronounced dramatic and timbral tensileness that stand up under close scrutiny.
The "Three Sacred Meditations" (2000) for soprano Dana Lentini, chorus and orchestra is perhaps the most ambitious of the works along with the recent "Through Time and Place (Symphony No. 1)" (2010). Nonetheless there is well put-together, absorbing orchestral additions in "Sinfonia di Festa" (1996), the dramatically ravishing "Dreamscape" (1994) and the mysteriously moving wind symphony work "The Angel's Journey" (1998), the latter two certainly personal favorites and definite highlights of the program.
Anyone who likes to engage in exploring present-day orchestral Modernism in the USA will no doubt find this volume of definite interest. James Lentini has a voice that deserves a hearing. Bravo.