David Diamond's symphonies have found their way into numerous record collections. Now, Cedille Records has produced the only CD devoted to his chamber music, including world premiere recordings of three works. The varied program unfolds like a well-planned concert, with Diamond's modernist-influenced works interspersed with his neo-Romantic ones, and earlier works alternating with later pieces. The energetic, neoclassical, tonally centered Quintet in B minor for Flute, String Trio and Piano (1937), appearing on CD for the first time, is followed by the world-premiere recording of the Concert Piece for Horn and String Trio (1978). With elements of atonality and dissonance but still basically lyrical, the Concert Piece is a complete contrast in sonority, mood, and atmosphere. In the vivacious, contrapuntal Partita for Oboe, Bassoon, and Piano (1935), which helped launch the young composer's career, Diamond retains a traditional form but fills it with contemporary themes, harmonies, and rhythms -- as did Stravinsky and Schoenberg. The world premiere recording of the seamlessly flowing yet imaginatively varied Chaconne for Violin and Piano (1948) is followed by the premiere of Diamond's Woodwind Quintet (1958), a work reflecting the composer's exposure to Schoenberg's 12-tone serial technique, as refracted through Diamond's uniquely faceted musical personality. It starts with serial procedure but transcends formula, winding up with instruments exchanging fragments that coalesce into lively melodic exchanges as they move toward a witty conclusion. "Mr. Diamond provided us with many insights concerning the Wind Quintet's composition, including his consultations with Schoenberg regarding serial technique as it relates in some ways to this amazing work," says CCM oboist Michael Henoch. CCM consulted with Diamond throughout the project. "He critiqued many of our taped concert performances of these works before we actually recorded them for Cedille," Henoch says. "His advice was invaluable to us." Concert audiences find the Diamond works engaging and enjoyable, Henoch observes. "The typical reaction is, 'Why haven't we heard this before?' CCM has long prided itself on the diversity of its programming. "That each of these compositions has a different instrumentation plays to the strengths of the ensemble's considerable resources," Henoch adds.
