Hummel: Mozart’s Symphonies Nos.
38, 39 and 40 Arranged for Flute, Violin, Cello and Piano. Uwe Grodd,
flute; Friedemann Eichhorn, violin; Martin Rummel, cello; Roland Krüger, piano. Naxos. $9.99.
Rossini: Complete Overtures,
Volume 4—Il barbiere di Siviglia; Il Turco in Italia; Sinfonia in E-flat;
Ricciardo e Zoraide; Torvaldo e Dorliska; Armida; Le Comte Ory; Bianca e
Falliero. Prague Sinfonia Orchestra conducted by Christian Benda. Naxos.
$9.99.
Glière: Symphony No. 3,
“Il’ya Muromets.” Buffalo Philharmonic Orchestra conducted by JoAnn
Falletta. Naxos $9.99.
Beethoven: Piano Concerto No. 1;
Mozart: Piano Concerto No. 12. Leon Fleisher, piano; Kölner Rundfunk-Sinfonie-Orchester
conducted by André Cluytens
(Beethoven) and Georg Ludwig Jochum (Mozart). ICA Classics. $16.99.
Mozart: Symphony No. 35; Richard
Strauss: Till Eulenspiegels Lustige Streiche; Brahms: Symphony No. 1.
Berliner Philharmoniker conducted by Herbert von Karajan. Andromeda. $14.99 (2
CDs).
The standard classical-music
repertoire is filled with so much beauty and so many attractions that it is
easy to dwell within it constantly, rarely if ever exposing oneself to music
that is off the beaten track. But at some point, for most people, the familiar,
no matter how grand and beautifully performed, will begin to pall, and that is
the time to explore less-known music – which can actually be done while hewing
very closely to works with which most classical-music lovers are already thoroughly
familiar. If that sounds like a contradiction, consider Mozart’s onetime house
guest and pupil, Johann Nepomuk Hummel, and the tribute he paid to his adored
master by arranging some of Mozart’s symphonies as chamber music. No matter how
well one knows Mozart’s Symphonies Nos. 38, 39 and 40, it is unlikely that he
or she is familiar with the Hummel arrangements that are quite wonderfully
performed by Uwe Grodd, Friedemann Eichhorn, Martin Rummel and Roland Krüger on a new Naxos CD. Krüger takes the lead here – Hummel, a
superb pianist himself, gave most of the thematic material to the piano – but
these arrangements give plenty of scope to the other instruments as well. And
they are not “mere” arrangements: Hummel inserted new accent patterns and changed
some of the dynamics of the symphonies to try to bring out characteristics that
he considered particularly significant. Whether or not one agrees with what
Hummel did, the fact is that he worked with great skill and with full
appreciation – near-reverence – for these works, producing versions with a
fascinating sound (thanks in large part to attractive use of the flute) and
considerable musical interest beyond their curiosity value. This is a disc that
will send listeners back to the orchestral versions of the symphonies with a new
understanding of what Mozart created and a new appreciation of his original
instrumentation – a state of affairs of which Hummel would surely have
approved.
There is nothing unfamiliar
in the instrumentation of the Rossini overtures included in the fourth and
final Naxos volume featuring the Prague Sinfonia Orchestra under Christian
Benda. The exploration here comes from the music itself. Yes, the CD includes
one of the best-known Rossini overtures of all, to Il barbiere di Siviglia – a work already heard in Volume 1 of this
series as the overture to Elisabetta,
Regina d’Inghilterra, Rossini never having hesitated to reuse and recycle
his own music. Another of the composer’s most popular overtures, to Il Turco in Italia, is here as well. But
the remaining works on the CD are much less known. They include the early Sinfonia in E-flat that the composer
later adapted – in another instance of self-borrowing – to create the overture
to his first operatic hit, La cambiale di
matrimonio. And the remaining overtures are all tuneful and very adeptly
constructed, from the very brief one to Le
Comte Ory to the more-extended openings to Armida, Ricciardo e Zoraide,
Torvaldo e Dorliska, and Bianca e
Falliero. The creativity of Rossini’s overtures, and indeed of his operas,
is sometimes underestimated because the composer was so facile at producing
fine music and did use and reuse forms as well as actual sections of works (or
entire pieces). But just as it is a mistake to consider Rossini’s operas
formulaic – Armida, for example,
calls for six (!) tenors – it is wrong to think of his overtures as all cut
from the same musical cloth. As this very fine series has shown since its first
volume, there is a great deal of variety as well as a great deal of pleasure in
Rossini’s overtures, whether frequently performed or not.
Just as Rossini is generally
known for only a handful of his overtures and a smaller handful of his operas, the
music of Reinhold Glière
(1875-1956) is generally heard only in performances of his Horn Concerto and his
ballet The Red Poppy, particularly
the Russian Sailor’s Dance from the
stage work. But there is a great deal more worth exploring in this composer’s
music, which includes three early symphonies – of which the huge Third is
Mahlerian in scale and scope and dates to 1911, the year of Mahler’s death.
More a set of connected tone poems than a fully integrated symphony – many
listeners will no doubt be reminded of Tchaikovsky’s Manfred – Glière’s
Third is known as “Il’ya Muromets” because it revolves around that legendary
Russian hero (much as Tchaikovsky’s work focuses on Byron’s Manfred). The Glière work requires a very large
orchestra that includes eight horns, two harps and a celesta, and it needs a
conductor who can sustain the scene-setting as well as the dramatic elements
without allowing the 70-minute work to flag (Tchaikovsky’s Manfred is shorter by some 20 minutes). JoAnn Falletta and the
Buffalo Philharmonic acquit themselves splendidly in their recording for Naxos,
with the orchestra rising to the occasion with warmth and grandeur of sound and
Falletta doing a first-rate job of contrasting Glière’s instances of extreme quiet with those of overwhelming
massed sonority. The story, well-known in Russia but exotic elsewhere, is
similar to those of many other legendary heroes, with Il’ya rising from
powerlessness to become a great warrior, capable of defeating supernatural foes
as well as earthbound ones – until led by his hubris to challenge the Celestial Army, resulting in the defeat of
his forces and their being turned to stone. Glière’s grand-scale music is evocative and highly expressive, very
much in the Romantic mode. Falletta’s accomplished conducting brings it to
vivid life and should lead to a reconsideration of Glière’s music in general – perhaps even to a revival of interest in
his other two symphonies.
Interestingly, it is not
necessary to venture into unfamiliar repertoire in order to do some
off-the-beaten-track musical exploration. Another way to broaden one’s horizons
is to delve into unfamiliar performances of well-known works – particularly by
listening to historic renditions by artists with soaring reputations, but ones
concertgoers can no longer hear, for one reason or another. ICA Classics and
Andromeda make this sort of exploration possible through their releases of
music that is very well-known indeed – but not in the performances offered on
these CDs. Leon Fleisher, before severe problems with his hands forced him off
the concert stage for decades, was an absolutely phenomenal interpreter of the
music of Beethoven, Mozart and others. The March 1960 live performance of
Beethoven’s First Piano Concerto and March 1957 live recording of Mozart’s Concerto
No. 12 (K. 414) show just why Fleisher (born 1928) left so many concertgoers
awestruck. The fluidity of these performances, the lightness of touch and
absolute command of the instrument under Fleisher’s hands, add up to a highly
involving and engaging experience even though the ICA Classics monophonic sound
is only so-so and both conductors are more workmanlike than inspired when
leading the Kölner
Rundfunk-Sinfonie-Orchester (subsequently renamed WDR Sinfonieorchester Köln). Fleisher has only been able to
perform again with both hands within the last few years – his first CD release
marking the occasion was in fact called “Two Hands” – and the pianist no longer
gives concerts like the ones memorialized here. So this recording, although it
gets a (+++) rating because of its sound and the less-than-stellar (although
perfectly adequate) conducting, will be a real and rare treat for anyone
wondering what all the fuss was about Fleisher in his youth.
Similarly, those interested
in the continuing fascinating with the personality and musical abilities of
Herbert von Karajan (1908-1989) will be delighted to discover the two-CD set of
the concert he gave at Constitution Hall in Washington, D.C., in February 1955
– the first time the Berlin Philharmonic appeared in the United States after
World War II, which had ended a decade before. The political importance of the
concert was extremely high, a fact that makes the way it opens – with the
national anthems of both the United States and Germany – especially significant.
In many ways, this concert cemented the postwar geopolitical order, in which
the United States and West Germany (with East Germany still under control of
the Soviet Union) were firm allies against the spread of Communism. Many modern
listeners will find the historical realities quaint, even irrelevant, but even
they will be moved by the power and intensity that Karajan and the orchestra
bring to this concert, especially in their grand and glorious handling of
Brahms’ First Symphony. As with the Fleisher disc, this two-CD set is lacking
in excellence when it comes to sound; no one will buy it as a first (or even
second) version of the Brahms, much less as a definitive version of the Mozart
and Strauss works. That makes this (+++) release one for those interested in
Karajan’s conducting skill, his role as a musical ambassador in the years after
World War II, and his ability to galvanize an orchestra and an audience with
precisely played, finely honed performances of familiar works that sound poised,
fresh and beautifully balanced under his leadership. This recording explores a
vanished time and vanished set of political realities, and at the same time
celebrates the enduring power of music that is both familiar and undeniably
great.
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