Early, Classical and Beyond

Johann Gottlieb Goldberg – Beyond the Variations
Rebel; Jörg-Michael Schwartz
Bridge Records 9478 (bridgerecords.com)

Mi PalPita il Cor: Baroque Passions
Dominique Labelle; Musica Pacifica
Navona Records NV6056
(navonarecords.com)

This is a CD devoted to love – and not necessarily happy love. The sleeve notes list the manifestation of love to be discovered on this recording as “sighs, laughter, angry outbursts and lassitude.”

Venetian-born Agostino Steffani’s Guardati o core opens the CD – a frolicking aria with words warning not to be won over by Cupid because you end up with trouble, sorrow and difficulty. Oh, and continue with the recitativo (you’ll get immeasurable bitter pain) and the aria (“flee, then, the realm of the archer-boy”) and not even Dominique Labelle’s rendition can help you.

Giuseppe Sammartini was well respected for his woodwind expertise, well apparent from the dignified flourishes of his opening and more than confirmed by the first Allegro. Sammartini composed with vigour and panache. The slightly strangely specified Andante e staccato reflects a depressed lover, depressed until he or she is revived by the second Allegro.

In Handel’s Arioso e recitativo, Labelle is made to sing that she “feels her heart beating for reasons she does not know.” Worse, she sings in a slightly hushed, conspiratorial tone that although her heart has been pierced by one of Cupid’s arrows, if Cupid could possibly do the same (fatally) to one of her competitors in love then she will complain no more. Again, very depressing, but how lucky that Labelle can fill the whole range of demanding emotions.

Georg Philipp Telemann’s Quatuor No.3 (G Major, 1738) restores our spirits. Judith Linsenberg’s recorder-playing contributes greatly to the rather dreamy quality of the Légèrement second movement, the Gracieusement of the third merely adding to it. For those who love rural tableaux, there is the Vite with the spirited violin playing of Elizabeth Blumenstock, and the following Gai. Finally, there is another unusually specified movement – Lentement-Vite-Lentement-Vite. Once again, violin and recorder are allowed to entertain us.

Dominique Labelle returns for a final flourish with the cantata from Jean-Philippe Rameau’s Orphée. Enjoy the complex voice and violin combination in Que du bruit and several very short but poignant pieces. The last movement, En amour il est un moment, is a worthy representative of Baroque romance from instruments to lyrics to Labelle’s interpretation.

Schumann – Symphonies 1-4
Berliner Philharmoniker; Sir Simon Rattle
Berliner Philharmoniker Recordings 140011 (2 CDs + Blu-ray)

Schumann was the consummate Romantic composer, whose compositions from consequential piano works, chamber music, song cycles, concertos, staged works and symphonies, etc. remain in the active repertoire. Except for the staged works that enjoy rare outings. Schumann was also a busy author, publisher and critic.

I have attended many performances of one or another of the four Schumann symphonies and acquired or listened to recordings by the great and not so great conductors and orchestras. Many have been mighty achievements but very few found the composer behind the printed notes. The most popular misreadings are those that emulate Brahms.

Over the years conductors had almost universally decided that Schumann lacked the skills to orchestrate and so many dutiful performances perpetuated just this. Mahler re-orchestrated all four symphonies which were recorded by Riccardo Chailly and the Gewandhaus Orchestra for Decca. In the early 1990s, conductor Florian Merz and the Klassische Philharmonie Düsseldorf recorded the four symphonies and other orchestral works for ebs. Employed were the critical editions of the scores commissioned by the Robert Schumann-Gesellschaft in Düsseldorf, which chose Schumann’s own 1851 re-orchestration of the 1841 Fourth (ebs 6088, 3CDs).The visceral Düsseldorf performances, while enthusiastic, are entirely objective. However, a genuine curiosity on a separate disc (ebs 6091) is a bold re-orchestration of the Fourth Symphony based on the original version of 1841 revised in 1891, 35 years after Schumann’s death, by Brahms and Franz Wullner.

Just as orchestras and other ensembles have learned to play Mozart with reduced forces and appropriate instruments, in order to produce the overall soundscape that Schumann envisioned it is essential to know and understand what the composer had in mind. Schumann should not be performed with the entire body of the modern symphony orchestra. Mendelssohn was Schumann’s teacher and both scored their works for the classical-size orchestra of, say, 50 players tops, to achieve the transparency and voicing intended. Rattle explains so much on this subject, making the enclosed Blu-ray disc so valuable in the understanding and background of so many facets of these works. Also by believing Schumann’s marked tempos and natural orchestral balances, the music can be incredibly profound without being heavy or slow. A fascinating and most informative part of Rattle talking about Schumann is the story of the Fourth Symphony and the reason for his decision to use Schumann’s original 1841 version…the one considered unplayable by many orchestras.

No doubt about it, this is an absolutely essential package for all Schumann appreciators and others. The set contains CDs but the exemplary sight and sound of the live performances on the Blu-ray disc moves the viewer right into the Philharmonie.

Tchaikovsky – The Nutcracker; Symphony No.4
Mariinsky Orchestra; Valery Gergiev
Mariinsky MAR0593

There are those who think The Nutcracker is a children’s ballet. There are others whose only experience of the ballet is the constant and dreadful repetition of its greatest hits in shopping malls at this dark time of year. To both groups: listen to the Mariinsky Orchestra under Valery Gergiev perform the entire score, paying particular attention to the Waltz of the Flowers and the Intrada to the Pas de Deux immediately following. The rating “adult entertainment” could well be applied to these passionate expressions.

Gergiev is known for eccentric technique but also for wringing amazing performances from the players he leads. Mariinsky is his house band, so they have lots of practice following his tiny obscure gestures. They can turn on a dime out of an outrageous Presto, they phrase as a choral unit, the strings are encouraged to emote, and on this recording at least one hears observance of the composer’s more subtle dynamic indications. Although arguably chestnuts, they’re delicious, and so much fresher than the overcooked versions we are often fed while choosing gifts.

The remainder of disc two is Tchaikovsky’s Fourth Symphony. The symphony predates the ballet by a good 14 years, from the period before and immediately following his failed marriage. Pit bands love to perform concert music, an assertion audibly demonstrated here. Delicacy and ferocity alternate, melancholy gives way to joy and returns. The relationship between conductor and players is so solid, lending brilliant assurance to the performance that wildly (romantically) swings through the gamut of expression and tempi. They perform, understandably, as artists who love and treasure their heritage. The Canzonetta is breathtaking in its lyricism, and then one can almost imagine a choreography for the Scherzo movement involving two opposing teams of folk dancers, the strings versus the winds.

Strauss – Elektra; Der Rosenkavalier (Suites)
Pittsburgh Symphony Orchestra; Manfred Honeck
Reference Recordings FR 722 SACD (referencerecordings.com)

Some of us may remember back in the 50s something called “Opera without Words” (Stokowski was good at these) specially created for folks who couldn’t stomach all the singing but were more comfortable with the orchestra. Until now Elektra had escaped such treatment even though Strauss is one of the most symphonic of all opera composers and well suited for orchestral excerpts and suites (e.g. Dance of the Seven Veils etc.). But in Elektra the voices and the action are so closely intermeshed that the total devastating impact has to come from seeing or at least listening to the complete score.

Nevertheless Austrian conductor Manfred Honeck, newly appointed music director of the Pittsburgh Symphony, did decide to extract most of the orchestral score into a 35-minute suite. Certainly done with love and expertise and a thorough empathy with the opera, the particularly gruesome story with its moments of dark forebodings, evil lurking in the shadows, bloody murders, piercing shrieks and animals tortured is well brought out, as well as moments of filial and brotherly love, ecstasy and exuberance. Unfortunately, to fully appreciate program music like this, an audience not familiar with the opera will have to read the printed notes and that can be pretty annoying at a concert.

Der Rosenkavalier however is an entirely different story and the Suite created by Arthur Rodzinski is a wonderfully enjoyable concert piece. We are still blessed with the memory of Karajan and even more Carlos Kleiber’s sublime performances, a hard act to follow, but Honeck’s main strength is the beautiful, spacious orchestral sound and sumptuous hidden details he brings out with somewhat slower tempi.