You certainly cannot pigeonhole the music of José Serebrier, if this survey is any guide. It does cover a broad period, from the youthful Symphony...

You certainly cannot pigeonhole the music of José Serebrier, if this survey is any guide. It does cover a broad period, from the youthful Symphony No. 1 of 1956 to the movie music for a film that was never made, in 2009. As related by the composer in the extensive program notes, all of these pieces have an interesting story behind them, none more so than the symphony. Serebrier was still a student at the Curtis Institute of Music in 1957 when, as he says, he literally bumped into a cello student on the street and spilled the pages of his manuscript onto the sidewalk. The cellist, Harvey Wolf, was on his way to join the Houston Symphony, then led by Leopold Stokowski, and suggested that he show the music to the great old man. Against all odds, Stokowski agreed to read the score, and liked it well enough to put it in the place of the Ives Fourth Symphony, which was giving his players trouble. Serebrier actually ignored the Curtis operator’s messages to return Stokowski’s phone calls, thinking it a student prank. Finally, Curtis director Efrem Zimbalist summoned the fledgling composer to his office; “What are you doing? Maestro Stokowski called me to say he’s been trying to reach you urgently for two days!”

It is not too hard to imagine what drew Stokowski to the music. It is a good showpiece, full of the kind of sweeping dramatic gestures that the wizard reveled in, as well as flashy writing for instrumentalists, especially in the brass. The rumbling opening has the flavor of Mahler as well.

The Violin Concerto...is subtitled “Winter,” an allusion to a dark, even bleak character, especially as the one-movement work begins, with a slow solo cadenza at the low end of the violin’s range. As if to signal the changes of the seasons, the work brightens as it proceeds, with subtly integrated quotes from Haydn, Glazunov, and Tchaikovsky, all of whom also wrote musical odes to winter. The conclusion is the emotional reverse of the beginning, a bright, raucous fanfare. This is an impressive, compact concerto, easily the best work on this program.

The performance is excellent; the Bournemouth band gives us rich and precise playing, and we can assume that the leadership is authoritative.

--Fanfare (Peter Burwasser)

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José Serebrier is obviously a very talented composer, and it's good that Naxos is giving him the opportunity to record his music under optimal conditions. The First Symphony is an impressive piece of work, especially for a Uruguayan teenage musician of just 18. Like most of Serebrier's work, there's a lyrical side to much of the material that's quite winning, but the style and "feel" of the music, its single-movement form, and its alternation of melodic episodes with powerfully rhythmic outbursts are quite modern as well as personal.

However, perhaps the two most enjoyable large works here are the Violin Concerto "Winter" (another single-movement piece lasting a bit more than 15 minutes, and wonderfully played by Philippe Quint) and the Music for an Imaginary Film (2009). Actually the film was real; it just became imaginary when a strike forced its cancellation and Serebrier got stuck with the music he had already written. It's extremely colorful and fun.

The two short "tango" pieces have obvious appeal as encores or musical "calling cards"...given Serebrier's gifts as a conductor there's nothing to criticize here regarding the performances, and the engineering is very good also. Recommended wholeheartedly.

--ClassicsToday.com (David Hurwitz)