Berlioz: Symphonie Fantastique;
Overture to “Béatrice et Bénédict.” Scottish
Chamber Orchestra conducted by Robin Ticciati. Linn Records. $22.99 (SACD).
Shostakovich: Symphonies Nos. 9
and 15. Radio-Sinfonieorchester Stuttgart des SWR conducted by Andrey
Boreyko. Hänssler Classic.
$18.99.
Tchaikovsky: Symphonies Nos. 2
and 3. Deutsche Radio Philharmonie Saarbrücken Kaiserslautern conducted by Christoph Poppen. Oehms.
$16.99.
Even well-worn symphonic
paths can take new twists and turns in the hands of conductors unencumbered by
a belief that performances have always been done a certain way and must
therefore continue to be done that way. Berlioz’
Symphonie Fantastique invites
performance by a large orchestra, for example, but 29-year-old Robin Ticciati
tackles it with the Scottish Chamber Orchestra, of which he has been Principal
Conductor since the 2009-10 season. This
is scarcely a tiny orchestra – it has more than 60 players – but it is not the
90-to-100-member behemoth more often heard performing this work. The results are refreshing. Inner voices come through much more clearly
than usual, woodwinds and especially brass attain prominence against the
strings beyond what is usually heard, and the reading as a whole has a
transparency and lightness that is unfamiliar in this well-known and
still-fascinating work. The smaller
orchestral size works particularly well in the first three movements, and
Ticciati’s willingness to take chances – in making parts of Un bal genuinely frenetic, for example –
pays high dividends. The extended
introduction to the first movement proves a very meaningful scene-setter,
establishing the dreamlike atmosphere that pervades the entire symphony, while
the thunder in the concluding bars of the Scène
aux champs nicely anticipates the drama to come in the Marche au supplice. That
movement and the finale, though, show the limitations of this chamber-music
performance: neither has the weight and drama that it should, and it would have
been better if Ticciati had conducted the finale with greater abandon, a higher
sense of drama and some more-perverse snarls and sarcasm in the appropriate
instruments – the whole thing is a touch too urbane. Nevertheless, this is an excellent reading in
most ways, revealing details of Berlioz’ wonderful orchestration that are not
always apparent and showing that even a piece as often played as this one can
still have a fresh feeling in the right hands.
Ticciati couples the symphony with the Béatrice et Bénédict overture,
which skips along lightly and features more lovely details of orchestration,
although here too a little greater sense of fun and abandon would have been
welcome. It is almost as if this
youthful conductor is holding himself back from being too high-spirited.
Andrey Boreyko is
older (age 55), but his Shostakovich Symphony No. 9 has fervor and barely
suppressed sarcasm (bordering on nastiness) that make it sound as if the
composer was cocking a snook at the Soviet musical establishment – perhaps a
bit more overtly than Shostakovich intended, although there is little doubt
that he thumbed his nose at the expectation of a grand triumphal symphony (with
the important No. 9) to mark the end of World War II. Boreyko conducts this work with a kind of
youthful glee that relates it clearly to the composer’s very first symphony,
which was indeed the product of a teenager.
From the brightness and sarcasm of the piccolo in the first movement to
the deliberately overdone percussion of the finale, this is a performance
packed with attitude, played with great relish by the Radio-Sinfonieorchester
Stuttgart des SWR and zipping along at breakneck speed at the very end – to
such an extent that it practically becomes a cartoon version of a symphonic
conclusion (the audience at the live performance hesitates a bit before
applauding, almost as if it cannot quite believe what it has just heard). Boreyko’s handling of Shostakovich’s final
symphony, No. 15, is quite different but equally fine. There is lightness at the start here as well,
but the first-movement bassoon and trumpet (for example) have more-mature roles
to play than does the piccolo in No. 9 – even though the opening movement of
No. 15 contains the famous repeated quotations from Rossini’s William Tell. Indeed, this symphony is pervaded by quotes
from other composers and from Shostakovich’s own earlier works, to such an
extent that it risks slipping into the mode of a pastiche. But Boreyko never lets it do this: he finds a
cohesiveness here that escapes many other conductors. The brass chorale that opens the second
movement, for example, immediately establishes a sound world different from
that of the Allegretto that precedes
it, but Boreyko manages to preserve an emotional connection between the
movements despite their musical contrasts.
The bridge from the second movement to the lighter third is skillfully
handled as the mood shifts yet again, but Boreyko knows that this music is less
snide than that in Symphony No. 9, and he handles its touches of percussion and
woodwind accordingly. And then, in the
finale, Boreyko makes it clear that the varied emotions of the first three
movements all come together: depth of feeling, reminiscence, lightness of
touch, nostalgia, recollection of earlier works, and a kind of summation of the
music-making that Shostakovich has done before.
This is not a depressive movement, for all that it begins with a
quotation of the “Death” leitmotif from Wagner’s Die Walküre and concludes with a final
chord under which the composer wrote morendo.
The movement is more a summation of a
variety of disparate feelings, eventually attaining a degree of stasis, if not
exactly peacefulness. Boreyko paces this
movement carefully, paying close attention to details of the orchestration, and
brings the work – also recorded live – to a wholly apt conclusion.
Christoph Poppen is a
year older than Boreyko and has many of the same sensitivities. They have been on fine display in his
Tchaikovsky cycle for Oehms, which is now almost complete: with the release of
his reading of Symphonies Nos. 2 and 3, only No. 5 has not yet appeared. The new CD, which like Boreyko’s also consists
of live recordings, has far more plusses than minuses, but it gets a (+++)
reading, primarily because of some issues in the performance of No. 3. The “Little Russian,” No. 2, gets a
well-paced reading that keeps this generally bright minor-key symphony moving
very nicely, without even a hint of the darkness that would pervade the
composer’s later symphonic works. Only
the finale is a trifle unsatisfactory here, with its second theme taken rather
too slowly and without as much exuberance as the movement needs for full
effectiveness. On the whole, though, No.
2 comes across well. Not so No. 3 –
Tchaikovsky’s only major-key symphony, and a work that seems to trip up a great
many conductors: even Herbert von Karajan, who was never at his best in Tchaikovsky,
simply did not know what to do with this work and gave it some of his
least-compelling performances. This is
Tchaikovsky’s most balletic symphony, so rhythmic vitality is an absolute
necessity: even, dancelike rhythms are crucial to its effect. Poppen’s performance, though, lacks a sense
of overall organization, and tends to be a mixture of excellent orchestral
playing (in the brass and the pizzicato string sections, for example) with
uncertainty of pacing: a pronounced slowdown in the first movement, followed by
an uncalled-for speedup, is perhaps the most egregious example of this, but it
is scarcely the only one. Ultimately,
what is lacking in this performance is warmth: Poppen leads No. 3 in a rather
cool, detached manner that is quite different from his handling of the other
Tchaikovsky symphonies released by Oehms to date, with the result that even the
fine work by the musicians of the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern is at the
service of a less-than-compelling interpretation. Elements of this CD are very fine, but as a
whole it is a touch disappointing.
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