Bernard Herrmann’s reputation as a composer rests with his movie scores for Orson Welles and Alfred Hitchcock, but he also wrote several concert works. The dramatic cantata Moby Dick for two soloists, male chorus and large orchestra was composed between 1936 and 1938, before Herrmann’s film work began in earnest. Melville’s existential novel had long been the composer’s obsession, but today it is difficult to buy into the tale of Captain Ahab’s struggle with the great white whale. I confess my own opinion of whaling, namely that it is a barbaric and disgusting practice, colours my appreciation of the piece. (The novel is famously impenetrable.)
Herrmann’s score is dramatic and skilfully orchestrated, befitting a born film composer, with tension deftly maintained throughout the work’s 46 minutes. On the downside there is a dearth of memorable thematic material, and the occasional use of Sprechstimme gives the work
a dated radio-play quality.
Michael Schønwandt and his Danish forces could not make a better case for Moby Dick. The orchestra and chorus are distinguished by tightness of ensemble and commitment to the drama. The soloists show a similar level of involvement – Wilson-Johnson’s shout of “Death to Moby Dick!” is throat-rippingly exciting – but both voices wobble precariously under pressure.
The Sinfonietta from Herrmann’s brief Schönberg-influenced period is a sour piece and nowhere near as attractive as his Clarinet Quintet Souvenirs de Voyage, or his symphony. Hopefully, Chandos and Schønwandt will record the latter.
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