Tchaikovsky: Symphony No. 6.
Wiener Symphoniker conducted by Philippe Jordan. Wiener Symphoniker. $18.99.
Reznicek: Symphonies Nos. 3 and
4. Robert-Schumann-Philharmonie conducted by Frank Beermann. CPO. $16.99.
Tchaikovsky’s “Pathétique” is something of a rite of
passage for music directors of the Vienna Symphony Orchestra, which presumably is
one reason the storied ensemble’s new leader, Philippe Jordan, has recorded it
early in his tenure. Another reason may simply be a desire to find something
new to say about a work that is one of the best-known in all classical music –
one that feels as if it has been performed and recorded by pretty much
everyone, pretty much everywhere. Jordan’s Tchaikovsky Sixth may not be the
first choice for all listeners, but it does combine very-high-quality playing
and some genuinely attentive interpretation to produce a reading with a very
strong effect. Indeed, the nature of that effect is one reason this is such a
fine rendition of the symphony: it is not
“tragic,” as in so many other performances, but filled with pathos – “pathetic”
in the meaning intended by its title. Jordan produces a big sound with
considerable sensitivity to structural elements and fine emphasis in the winds
and brass for the first movement, which emerges with some of the same tone-poem
feeling as the opening movement of the composer’s Symphony No. 4. The
succeeding waltz in its oddly surreal 5/4 time is gentle here, not grotesque or
overstated, its rhythms flowing naturally even though they are, for a waltz,
quite unnatural. The brilliance of the third movement is downplayed as well:
this is a thoroughly controlled
Tchaikovsky Sixth, one that does not sprawl and beg and scrape the bottom of
the emotional barrel. The playing is exceptionally fine in this Allegro molto vivace, the tempo is
middle-of-the-road rather than extreme, the orchestral balance is top-notch,
and there is an inevitability about the progress of the march that carries
through it all the way to its brilliant conclusion. And then comes a finale
that, yes, is as strong a contrast as Tchaikovsky intended, but that does not
wear its heart as completely on its sleeve as is the case in many performances.
Subtlety is the order of the day here – indeed, “subtle” is a good adjective
for this entire performance, which was recorded live in December 2013. The
passionate lamentation is certainly there in Jordan’s reading of the fourth
movement, but the emotion never becomes so overheated as to belie the title
that Tchaikovsky’s brother, Modest, bestowed on the symphony. In all, this is a
first-rate performance throughout – but the release is one that would perhaps
have been more appropriate for purchase during the LP era, because the symphony
is the only thing on the CD. That was
typical in the days when vinyl dominated, but is distinctly old-fashioned – and
unreasonably expensive – in the CD era. Whether this recording on the Wiener
Symphoniker’s own label is a worthwhile purchase will depend on each individual
listener’s evaluation not only of the quality of the performance, which is
high, but also of the value for the price, which is considerably lower.
Tchaikovsky’s Sixth is, if
anything, overplayed, but the symphonies of Emil Nikolaus von Reznicek
(1860-1945) suffer from the opposite problem: they are almost never heard in
concert, much less recorded. Reznicek, in fact, is known to most listeners for
a single piece, the sparkling overture to his 1894 opera Donna Diana. But he was actually adept in numerous forms: opera,
chamber music, a violin concerto, suites, choral music, works for solo piano
and solo organ, plus five symphonies. The problem with Reznicek’s music seems
to be that it is hard for listeners to know what to expect from it. Although firmly
rooted in late Romanticism, Reznicek’s works are all over the map both
emotionally and in terms of their impact. Tell a music lover “Tchaikovsky,” and
he or she will most likely conjure up a picture of gorgeous tunes,
long-spun-out phrases that dwell on the greatest possible emotional impact, and
an overall sense of melancholy. This is only a partially accurate picture, but
it is a picture. Thinking up a
similar one for Reznicek is well-nigh impossible, and the more of his music one
hears, the more difficult the effort becomes. The Third and Fourth Symphonies,
now available on CPO in first-rate performances by the Chemnitz-based
Robert-Schumann-Philharmonie under Frank Beermann, neatly encapsulate the
problem. No. 3 (1918) is called Im alten Stil, but despite an opening that Reznicek says he took from a
so-far-unidentified 15th-century folk melody, the work is in
Romantic rather than “old” style. In fact, it sounds more like Schumann (some
of the time) and Sibelius (some of the time) than like, say, Haydn or Mozart;
yet it is never merely imitative, even when it does quote directly from other
composers, such as Schubert, here and there. As a whole, it sounds not at all
like the works of the composers whose music, in passing, it resembles. It is,
for example, fair to call the work’s finale Mendelssohnian, but its rambling
through multiple keys more closely resembles what Schubert did, and the actual
sound of the music reflects neither of those earlier composers. Thoroughly
effective on its own, the music feels a bit like a throwback even though
calling it “old style” is pushing matters rather too far. And if one accepts
and enjoys this symphony, how does one react to No. 4, written just a year
later? It is so different in sound, in tone and in effect that it is as if
Beethoven had written his First Symphony and then, a year later, his Seventh –
the disconnect is that great. Reznicek’s No. 3 is in D, No. 4 in F minor, but
the home keys are not the primary difference between the works. No. 4 echoes
different composers – Mahler, Wagner, Richard Strauss, even Bruckner – and is
altogether grander in concept, although still not particularly long: 40
minutes, compared with 30 for No. 3 (and 45 or so for Tchaikovsky’s Sixth). But
Reznicek’s Fourth work is more stately than somber: it is firmly controlled and
executed with care and a certain elegance. It is the only Reznicek symphony
without a title, but its second movement does have one: Trauermarsch auf den
Tod eines Komödianten (“Funeral March on the Death of a
Comedian”), and this only adds to the puzzle of the work – for unlike Gounod’s Funeral
March of a Marionette, Reznicek’s movement is large-scale and, its title aside,
unironic, one of a set of shifting moods throughout the symphony that make it
difficult to pin down its overall emotional effect. Reznicek’s symphonies
require multiple hearings to begin to seem emotionally trenchant – and a key to
them is that the emotive power of one is quite different from that of the prior
and next ones. Perhaps it is this elusiveness that has kept these works from
more-frequent performance. Listeners to Beermann’s finely honed interpretations
have a welcome chance to find out for themselves.
No comments:
Post a Comment