Zdeněk Fibich: Orchestral
Works, Volume 2—Symphony No. 2; At Twilight—Idyll for Orchestra; Selanka—Idyll
for Clarinet and Orchestra. Irvin Venyš, clarinet; Czech National Symphony Orchestra conducted by Marek
Štilec. Naxos. $9.99.
Leevi Madetoja: Symphonies Nos. 1
and 3; Okon Fuoko Suite. Helsinki Philharmonic Orchestra conducted by John
Storgårds. Ondine. $16.99.
Ernest John Moeran: Rhapsodies
Nos. 1 and 2; Rhapsody in F-sharp minor; Overture for a Masque; In the Mountain
Country. Benjamin Frith, piano; Ulster Orchestra conducted by JoAnn
Falletta. Naxos. $9.99.
The importance of folk music
in the works of 20th-century composers such as Bartók and Kodály is universally acknowledged and respected. Its significance
is also well-known in 19th-century works whose provenance is in the
folk-music area even though the actual tunes may not come from the folk-music
tradition or may misconstrue or misinterpret it – as in Brahms’ Hungarian Dances and Liszt’s Hungarian Rhapsodies. In both those
centuries, the dominance of certain composers in specific regions has tended to
keep the music of other area composers off listeners’ radar screens, as in the
case of Czech composer Zdeněk
Fibich (1850-1900). Fibich lived at the same time as Smetana and Dvořák and explored much of the same
musical territory, although his works hew closely enough to the models of
Schumann and Weber so they seem less inventive than those of the better-known
composers. Still, Fibich was a genuinely creative force and not merely a
craftsman skillfully assembling musical structures, and his Symphony No. 2
shows particular ability in balancing the Germanic elements of his time with
folk influences. There is a programmatic feeling to the work, likely because
many of its themes derive from Fibich’s own piano works – which, unlike the
symphony itself, do have an explicit
program, dealing with the composer’s intense romantic relationship with a
former student. The symphony has a pleasant lilt, with folkloric sounds rather
than actual themes, and shows considerable skill in its balance of polyphony
and lyricism. It is very well played by the Czech National Symphony Orchestra
under Marek Štilec, and the
ensemble also does a fine job with the two idyllic, languorous works that fill
out this Naxos CD. At Twilight takes
after Wagner more than Schumann in harmony and orchestration, although not in
scale or scope – those are modest, and the piece’s pleasantly meandering pace
reflects its origin as an attempted musical depiction of walks taken by Fibich
and friends on an island in Prague. Selanka
is equally pleasant and just about as indolent, the clarinet solos using the
instrument’s lyrical capabilities rather than calling on the performer for any major
bursts of virtuosity. Fibich’s music certainly expands the nationalist
tendencies of his better-known contemporaries, breaking no new ground formally
but offering distinctive style in well-crafted compositions.
The nationalistic and folk
elements in the music of Leevi Madetoja (1887-1947) are those of Finland, and
in particular of Madetoja’s home region, Ostrobothnia, whose traditional music strongly
influenced much that Madetoja wrote. Just as it is inevitable to see Fibich in
the light of Smetana and Dvořák,
it is inevitable to compare Madetoja to Sibelius, whose work was a far more
successful melding of Germanic and uniquely Nordic characteristics – and moved
beyond that merger into genuinely new areas. Sibelius had come further when he
stopped composing in the 1920s than Madetoja did even by the mid-1940s, but
that does not mean that Madetoja’s work is unworthy of performance. His
Symphony No. 3 (1922-26), in particular, has considerable value, packing a
great deal of drama and intensity, as well as emotion, into its half-hour
length; and this work is the highlight of the new Ondine CD featuring the
Helsinki Philharmonic Orchestra under conductor John Storgårds. A previous Ondine disc offered
Madetoja’s moving Symphony No. 2 (1916-18), a work clearly of World War I. The
Symphony No. 3 absorbs the horrors and gloom of the Great War and moves beyond
them, not exactly to acceptance but to a level of understanding. It is a
well-made, well-thought-out work that is tuneful and dramatic enough to have
been excerpted for use in a Finnish movie called The Man without a Past. The other music on this CD also shows
considerable compositional strength. Symphony No. 1 (1914-16) is already a
mature work in which Madetoja has largely found his own voice, although it is
not as strongly knitted as No. 2. And the Okon
Fuoko Suite (1925-27), taken from a one-act ballet, is tuneful, danceable
and altogether lighter in tone than the symphonies. Madetoja trod some of the
same musical and folkloric territory as Sibelius, writing a symphonic poem
called Väinämöinen Sows the Wilderness
(based on the Kalevala, which so
influenced Sibelius) and even creating his own Kullervo tone poem in 1913 – 21 years after Sibelius’ five-movement
work. It is perhaps inevitable that a fine but lesser talent such as Madetoja’s
should fall into obscurity beside a blazing one like that of Sibelius, but
Madetoja’s music is strong enough on its own to be worthy of at least
occasional revival.
So are the works of Ernest
John Moeran (1894-1950), a dedicated folklorist who incorporated folk-music-like
tunes into a great deal of what he wrote – but often created the melodies
himself, using his knowledge of real folk music to produce themes that sound
like folk music but are in fact original. Although born in England, Moeran is
best thought of as an Anglo-Irish composer: his father was Irish and Moeran
spent much of his life in Ireland. The folk music that Moeran incorporated into
his works was as often English as Irish – he spent considerable time collecting
some 150 folk songs in Norfolk and Suffolk. There are plenty of folk elements
to be found in the works on a new Naxos CD featuring the Ulster Orchestra under
JoAnn Falletta. Rhapsody No. 1 (1922)
and Rhapsody No. 2 (1924; revised 1941)
are both highly melodious and scored with considerable skill. Rhapsody No. 3 (1943) is effectively a
piano concerto, and Benjamin Frith plays this unabashedly popular-sounding work
with a sure touch and plenty of spirit. The other pieces on this disc are the
impressionistic In the Mountain Country
(1921), Moeran’s first orchestral work, and the pleasant and nicely scored Overture for a Masque (1944). Moeran’s
works lie in the shadow of those of Ralph Vaughan Williams and John Ireland,
contemporaries who integrated folk motifs into their music more thoroughly and
somewhat more successfully – although it would be a mistake to think that
Moeran was only a folk-influenced
composer, since some of his pieces are dark rather than pastoral in
orientation. Still, Moeran’s inherent conservatism in matters of structure and
harmony shows him to be more a craftsman than an innovator, and although he
does have a personal compositional style, it differs from those of his
contemporaries mostly in fairly minor ways. Falletta gives the music on this CD
its full due, and the works are due
more attention than Moeran’s music generally receives; but it is understandable
that Moeran is not considered to be at the same level as several other nationalist
and folk-influenced composers who lived and wrote at the same time.
No comments:
Post a Comment