Existing somewhat in the shadow of its more widely recognized counterparts in Cleveland and Cincinnati, the Columbus Symphony Orchestra (CSO) often struggles for visibility—even within its own city. The Cleveland Orchestra, one of the so-called "Big Five" American symphonies, boasts an impressive 477 documented albums on Discogs, while the Columbus Symphony has a mere seven. However, among these limited releases, the CSO’s recording of Roger Sessions' compositions, released by New World Records in 1987, stands out as a high water mark for the symphony.
Christian Badea, Conductor
Roger Sessions: Symphony No. 4 · Symphony No. 5 · Rhapsody For Orchestra
New World Records – NW 345-1
1987
Recorded on April 6, 1986, at the Ohio Theatre under the direction of conductor and artistic director Christian Badea, this album captures the symphony performing Sessions' Symphony No. 4, Symphony No. 5, and Rhapsody for Orchestra. Choosing Sessions' music was an ambitious move. As former Columbus Dispatch music critic Barbara Zuck aptly put it, "No one could ever accuse Sessions' music of being cuddly." His compositions, dense and intellectually rigorous, pose a challenge to both orchestras and audiences. But precisely because these works remain under-recorded, the CSO’s album remains the definitive rendition. Even decades later, if one seeks to experience Sessions' Symphony No. 4 or Symphony No. 5, this is the go-to recording.
New World Records, a label dedicated to "preserving neglected treasures of the past" and championing underrepresented American composers, deserves full credit for keeping this album in circulation. This wasn’t a commercial venture; it was a mission to elevate important but overlooked compositions.
At the time, Badea was adamant that Columbus had the potential to become a major symphonic presence. "The orchestra will make its debut recording on Sunday with fiendishly difficult works by Roger Sessions," he announced in 1986. "I think that the Columbus Symphony sounds much better than some small major orchestras right now." Technically, the CSO had self-released a recording of Beethoven’s Fifth Symphony in 1971, but the Sessions album marked a significant leap in ambition and artistry.
This recording also reflects a peak of the Columbus Symphony, which had more full-time musicians in 1986 than it does today. Despite aspirations to transition from a regional to a major orchestra, sustained growth has been elusive. Announcements, such as the 2024 proposal to build a new concert hall for the CSO, often generate skepticism rather than excitement, reflecting the city's complicated relationship with the arts. Columbus, a city striving to shed its "cow town" reputation while clinging to aspects of that identity, has yet to fully embrace its symphony as a cultural cornerstone.
Sessions’ music exists outside of easy categorization. It lacks the Americana of Ives or Copland, the jazz-inflected energy of Gershwin or Bernstein, and the avant-garde radicalism of Cage or Partch. Instead, Sessions pursued an intensely personal, rigorous compositional style, embracing extended forms and complex textures within a modernist framework. As Barbara Zuck noted in her review of the CSO’s recording, critics often find themselves fumbling for words when trying to describe his music—a sign of its singularity and difficulty.
Though the recording received positive reviews, some noted the orchestra’s technical limitations. The Plain Dealer wrote that the album places the "Columbus Symphony firmly on the map," while the Houston Chronicle praised the CSO’s commitment but remarked that it lacked the polish of an international-tier ensemble. Nonetheless, for those who engage with Sessions’ work, this recording remains an essential document, earning a Grammy nomination and an Opus magazine award.
While I don’t consider myself a classical music expert—I see it as the "last frontier" in my music appreciation journey—this album clearly represents a moment when the Columbus Symphony pushed itself artistically, taking on an uncompromising composer and creating something of lasting value. It’s also a reminder of what Columbus’ arts scene can achieve when ambition and opportunity align.
Christian Badea, speaking in 1989, made a case for an open-minded approach to music:
"It is very important for people to realize that there is no such thing as classical music, jazz, country, pop. I think it’s only good music or bad music. If people understand that they could love country music and enjoy pop music and at the same time go to symphonic concerts and have a thrilling experience... they may be surprised. Pleasantly."
Perhaps that’s the best way to approach this recording—not as a classical music artifact, but as an important and challenging piece of American musical history, brought to life by a symphony deserving of Columbus' support and appreciation.
Tracklist
Symphony No. 4
A1.1 I. Burlesque
A1.2 II. Elegy
A1.3 III. Pastorale
B1.1 I. Tranquillo
B1.2 II. Lento
B1.3 III. Allegro Deciso
Recorded At – Ohio Theatre, Columbus
Credits
Producer – Elizabeth Ostrow
Recording Engineer – John Newton
Assistant Engineer – Edward Abbott
Digital Editing – E. Amelia Rogers, Soundmirror, Inc.
Direct Metal Mastering - Robert C. Ludwig, Masterdisk
Cover Art – Theodoros Stamos
Cover Design – Bob Defrin
Composed By – Roger Sessions
Conductor – Christian Badea
Liner Notes – Martin Brody
Orchestra – Columbus Symphony Orchestra
Commentaires