Ernst Toch’s short symphonic career was framed by serious illness: his First appeared after he had suffered a severe heart attack at the age of 61 in 1948, while Nos. 5-7 were written in under a year-and-a-half, shortly before his death from cancer in October 1964.
Those who know Toch’s scores such as the Geographical Fugue (1930) or the Pinocchio Overture (1945) may find the three final symphonies rather elusive at first; even the Pulitzer Prize-winning Third Symphony (11/57, now available on EMI Matrix) offers relatively few clues to their nature. The Fifth (1962-3), based on the well-known Biblical story of Jephtha, is the least convincing symphonically, though an otherwise effective and subtle score, originally and more correctly styled Rhapsodic Poem. No. 6 (1963), by contrast, is almost Toch’s ‘Pastoral’ Symphony, a genial, playful work with very occasional touches of Prokofiev in the cast of its melodies. The Sixth is the most immediately appealing of the three here, for although No. 7 (1963-4) shares much of its predecessor’s relaxed charm, this final symphony proves more elusive in spirit and its conclusion – on a loud unsupported cymbal smash – is simultaneously forceful and enigmatic.
The performances are all committed and well played – preferable in Jephta to the Louisville version – and cleanly recorded. The notes are provided by the composer’s grandson, Lawrence Weschler. Toch’s distinctive muse does not yield up its secrets swiftly, so start with No. 6, and then move to the others; your patience will be rewarded in full. A disc to make one sit up and take notice.'