It is somewhat sad to think that Jerome Moross will probably only ever be known generally as the composer of the indelible score to The Big Country. Of course that is a classic film score and only equalled in fame, I suspect, by Bernstein's Magnificent Seven and Morricone's Good, the Bad and the Ugly. Although many composers only famous for one classic really don't have much to offer outside that one fluke, Jerome Moross is not one of those composers as this superb disc sampling some of his symphonic concert music attests. If I were to put a label on Moross' style it would be a cross between all the finest qualities possessed by two of America's greatest composers, Aaron Copland and Leondard Bernstein. Like Copland, Moross takes the broad expanse of the American landscape and turns it into music, while much of this is edged with jazzy chromaticism in a way that Bernstein often favoured.
The album starts with the best; Moross' Symphony does not follow the conventions of the classical symphony structure, but quality of music is by far and away the most important aspect to a piece of music and Moross does not disappoint. Perhaps the highlight is the mini-concerto style second movement which has a stylish piano part that runs through the exciting orchestral writing, aided by terrific playing by John Alley. While I've never managed to work out the rules for writing a fugue, Moross certainly has and the finale to the Symphony is a superbly accomplished piece that makes for an unconventional, but thrilling ending to a stridently cheerful, but deftly complex composition.
I don't entirely understand the plot of The Last Judgement, it seems to revolve around a trial based on the story of Adam and Eve, but turned into a ballet set to Moross' music. If I read it correctly, then I must confess that I'm not entirely convinced that the music conjures up the kind of images that it is supposed to. A broadly American style of orchestral music does not really have the right feel for something which would perhaps be better summed up by a thundering Wagner opera or spikey Stravinsky tone poem. However, as pure music on its own terms it makes for a sprightly suite that highlights Moross' more jazzy inclinations. The Exorcising of the Evil One is not perhaps a title that would suggest jazz, but the off kilter rhythmic devices and very chromatic thematic material is very striking, while still firmly fitting in with the structure of the overall piece. Moross' modernistic jazzy touches suggest a more complex approach to harmony that is very appealing and refreshing.
Rounding out are a set of variations on a waltz and while non particularly stand out, the progression from variation to variation is quite striking as a whole. If nothing else, it amply demonstrate's Moross' technical ability to write such a fluid piece that still contains the kind of diversity a set of variations requires. Anyone with a fondness for The Big Country or for wonderfully wrought Americana in general will certainly enjoy every minute of Moross' music. The performance is fine and detailed, although I might have preferred a slightly crisper sound on occasion. Apart from that minor complaint, highly recommended.
Rating ~ 
Total Time ~ 57:47