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REVIEW:

CPO continues to show admirable enthusiasm for issuing the works of Lehár. Der Sterngucker (The Stargazer) was issued in Spring 2003 and now along comes this performance of his first operetta. It is a recording of a large-scale radio broadcast made 25 years ago.

The work was staged as a Christmas piece at Vienna's Carl-Theater in December 1902. Despite poor initial reviews its strong cast managed to achieve a long run for the piece. Incidentally, the conductor of the première was the young composer, Zemlinsky. Der Rastelbinder travelled through Europe and reached America in 1909, but now is largely forgotten.

The plot concerns a Slovak child engagement, with children who find it difficult to get on together when grown up. A Prelude is set 12 years earlier than the main action to provide a vehicle for the audience to be given background information of the childhood betrothal. The Prelude and Acts shift the action from Slovakia to Vienna and then to a Viennese army barracks. The settings allow Lehár plenty of scope to introduce different flavours of music appropriate to the action. In this early operetta, we hear, for the first time, a slow waltz that indicates the distinctive viennese style that was to follow and become a Lehár hallmark, 'Wenn zwei sich lieben'.

Helga Papouschek and Elfie Hobarth sing confidently as Mizzi and Suza and the young tinker boy (uncredited) provides a purity of tone, naïvety and innocence. Both Heinz Zednik (the grown up tinker boy) and Adolph Dallapozza (corporal) are strong tenors, the latter having a particularly high register.

The booklet is provided in German, English and French and contains interesting background notes by Stefan Frey as well as a synopsis for the vocal numbers.

-- MusicWeb International

Starring Franz Lehar, Eva Maria Marold, Juliane Banse.

Today Hermann Goetz (1840-76) numbers among the forgotten 19th c. composers - a most undeserved fate. Unfavorable personal circumstances and his early death meant that his musician's life did not develop as it should have. Goetz's piano compositions, without opus numbers, have been recorded here for the first time. Until recently they had not been available in printed form, thus continuing to be virtually unknown. Pianist Christof Keymer’s work on Goetz’s manuscripts has made it possible to present a first edition of Goetz's previously unpublished piano music.

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Richard Wetz's ultra-conservative Third Symphony, like his second, resembles sort of a cross between Bruckner and Max Bruch. Not that this explains anything useful. One thing's for sure, though: Wetz writes beautiful music. His themes sing, stay with you when listening, and offer clearly contrasting moods and images. While never calling attention to itself in an ostentatious manner, Wetz's orchestration elucidates his musical arguments with perfect clarity and efficiency. His harmony, both diatonic and tastefully chromatic, is gorgeous. There's more than a touch of Schubert in his mixture of major and minor modes, and he knows how to use both discrete dissonance and fluid rhythms to carry his melodies across the bar lines. In short, the guy knows how to write symphonically, and if he now appears to have been born a generation or more too late (the piece dates from 1922 but sounds more like 1872), that need not concern us now.


Highlights of this work include an impressively argued opening, a truly noble slow movement that packs a Brucknerian sense of timeless spirituality into a mere 11 minutes, a scherzo full of gentle humor (with a lovely and lyrical trio), and a passionate, wholly satisfying finale that never overstays its welcome despite being more than 14 minutes long. This last, in particular, represents no small achievement in a late-Romantic symphony, and the closing pages, where Wetz decides to explore (so earnestly and so well) "The Greatest Hits from the Coda of Bruckner's Fifth", will bring a smile to the lips of every music lover. The coupling, Gesang des Lebens for chorus and orchestra, really does sound like an eight-minute-long Max Bruch wannabe (terrifying thought!), and in this case offers nothing at all memorable. However, if you're interested in music that expresses the best in the conservative German tradition, you'll find much to enjoy in this authoritatively paced, well-played, richly recorded, genuine "sleeper" of a symphony. Listen to it with respect. It really grows on you.
--David Hurwitz, ClassicsToday.com

GRAUN Grosse Passion • Hermann Max, cond; Veronika Winter (sop); Hilke Andersen (mez); Markus Schäfer (ten); Ekkehard Abele (bbar); Das Kleine Konzert; Rheinische Kantorei (period instruments) • cpo 777 452 (2 CDs: 122:28 Text and Translation) Live: Dusseldorf 9/2008


This is my third exposure to Carl Henrich Graun’s music, the other two being his operas Montezuma (libretto by Friedrich II, King of Prussia) and Cleopatra and Cesare (libretto by Giovanni Gualberto Bottarelli). He is best known for his passion oratorio Der Tod Jesu (1755), which was so popular it rivaled Messiah . Graun wrote two other passions: Ein Lämmlein geht und träght die Schuld and this Grosse Passion that is often referred to by its opening lyric “Kommt her und schaut” (Come here and see). It is a large-scale work: 66 numbers, with some alternatives available, calling for a large chorus and orchestra with the usual quartet of soprano, alto, tenor, bass. Supplementing the recitative-aria combinations are 10 choral numbers, five duets, and one quartet.


The libretto is somewhat of a rambling affair. Unlike Messiah , there are only a few Biblical quotes; instead, the narrative flow is often interrupted by reflections and even some lyrics that are redundant of previously expressed sentiments. Much of the libretto is over-written doggerel, especially in the early pages. The music, however, is a different matter.


Graun was in his mid-twenties when he composed this Grand Passion . It is a surprisingly mature work, full of subtle gems. When first listening to this two-CD album, I wrote: “The music is very pleasant. Although it is quite tuneful, little of it is memorable and at two hours tends to wear out its welcome. There is almost a monotonous similarity of one number to the next. It needs something rousing like the ‘Hallelujah’ chorus.” Repeated hearings of this album have increased my appreciation considerably. Even Handel liked this Passion , and quoted some of its music in his own works.


Graun establishes a musical mood and varies little from it. The music in the Grosse Passion is not as flamboyant as Graun’s operatic work, but careful listening to the Passion reveals a wealth of interesting details, especially in the orchestrations. The textures are very clean and transparent and occasionally command more of the listener’s attention than do the vocal lines. One number (CD 1, track 22, Choral: “Die Lust des Fleisches dämpf in mir”) sounds like a distant cousin to the familiar Doxology, Praise God from whom all blessings flow . Instead of the virtuoso showpieces found in Graun’s operas, the Grosse Passion is very reflective and subdued.


Conductor Hermann Max and his musical forces deliver a sincere and beautifully sung and played performance. The soloists have attractive voices and pay devout attention to the musical details. If you like this musical genre, you’re likely to find this a lovely recording, performed with sensitivity and expression.


FANFARE: David L. Kirk

Franz Krommer was once a highly regarded composer, but he then ceased to be remembered more quickly and disappeared more completely than any other creative musician of his generation. It was not until 1997 that the Czech musicologist Karel Padrta compiled a thorough catalogue of his works including a biographical introduction. Krommer all too long was overshadowed by Haydn, Mozart, and Beethoven, and it is only recently that his oeuvre has begun to attract increased attention. Krommer’s oeuvre focuses almost exclusively on instrumental music. In his first symphony he succeeds in forming a thoroughly individual synthesis of stylistic elements recalling Haydn and Mozart, while in his second such work he largely distances himself from these models and develops a symphonic style all of his own. The slow introduction of the first movement, which begins in forte with a gloomy D minor triadic chord, immediately presents a tone quite different from that of his early works and develops an individual sound character with a fitting continuation in the following Allegro vivace’s main movement complex distinguished by strong dynamic contrasts and constantly oscillating between major and minor. Krommer’s third symphony is comparatively conventional, which may have to do with the fact that it is based on an older source and was merely reworked for its publication.

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Charpentier & BEMF Again at their Best. In 2015 our most recent Charpentier recording to date, La Descente d’Orphee aux Enfers with young soloists and the Boston Early Music Festival Chamber Ensemble, received the Grammy Award for the “Best Opera Production” of the preceding year and Gramophone’s “Editor’s Choice.” Our new album featuring two “mini-operas” by Charpentier again offers enthralling performances of this court music of charming dance character and elegance. In contrast to Charpentier’s other operas, Les Plaisirs de Versailles is directly associated with Louis XIV. The title of the manuscript score registers very clearly and unmistakably what is involved in this composition, and its equation of the “plaisirs,” the “pleasures,” with the king’s residence not only serves to reveal the subject but also the context: on the one hand, the work describes the pleasures that could be experienced in the royal palace; on the other hand, it itself is supposed to be one of these pleasures. Once again a beautiful and top-quality work from opera history is made available to listeners of the twenty-first century: “An important addition to the Charpentier discography” (Toccata).

F. E. FESCA Symphonies: No. 2 in D; No. 3 in D. Cantemire: Overture • Frank Beermann, cond; North German RSO • cpo 999 869 (61:04)


Not unlike Gossec, Mehul, and Onslow in France, or the Germans Spohr and Ries, Friedrich Ernst Festa (1789–1826) was a symphonist whose works have been eclipsed by Beethoven. Frank Beermann has sought to alleviate this neglect in performances with Hannover’s North German Radio SO. Their recording of Fesca’s Symphony No. 1 became available last year (cpo 999889). This new cpo release includes excellent performances of Fesca’s two remaining symphonies, recorded in the fall of 2001. Beermann is a conductor familiar to the record-buying public these days, especially due to his collaboration (conducting the Bamberg SO) with Matthias Kirschenreit in the complete Mozart piano concertos on Arte Nova.


Though it’s doubtful that anyone would argue for an elevation of Fesca’s status above that of Kleinemeister , this is music of considerable charm and skill. Oddly, the Second Symphony, composed between 1809 and 1813, seems more innovative than the Third, dating from 1816. The Second Symphony, for instance, features interesting writing for the woodwinds, which are given special prominence in the Andante con moto. Thematic elements of the finale seem oddly quirky, in a way that leaves one wondering if this were creative audacity that didn’t quite come off or simply awkward writing.


In critical assessments, Fesca’s orchestrations are often described as conventional. At least on the basis of these symphonies, this judgment seems unduly harsh. His handling of the orchestra is never less than effective, the string-writing is consistently idiomatic, and textures occasionally achieve an almost Mendelssohnian translucence. The overture to Cantemire , the first of two operas that Fesca wrote for Karlsruhe, rounds out the program.


Balances and presence in this record leave little to be desired. The performances are strong and imaginative. While the music itself must suffer in comparison to Beethoven and Weber, it nevertheless presents a worthy contribution to the rich and varied landscape of the early-19th-century symphony.


FANFARE: Patrick Rucker

Over the years I and several other reviewers on this site have been bemoaning the failure of Melodiya, when reissuing their recordings of rare Russian material, to provide texts, translations or indeed adequate booklet notes of any meaningful description for their releases – a damaging omission which does little to make more accessible the excellent recordings themselves. In this selection of Rimsky-Korsakov melodies, CPO have gone to the opposite extreme. Not only do we get the full texts complete with translations, but we also are vouchsafed a lengthy essay from CPO stalwart Eckhardt van den Hoogen discoursing on the composer himself, his psychological background, his attempts to establish himself as a pedagogue, and many other peripheral issues while managing almost entirely to avoid any discussion of the music itself as featured on this disc. Now, I fully appreciate the efforts that CPO put into their booklet notes, which do indeed in many issues offer valuable insights into the music and the composers themselves. However, the turgid prose style of Professor van den Hoogen (which often seems to totally defeat Susan Marie Praeder’s attempts at English translation), are perhaps best regarded in the light of the provision of unintentional amusement. In a final footnote, the booklet essay of eight pages (in small type) notes: “The fact that the Firebird hymn is heard in the Night will be mentioned here for the sake of curiosity and registered completely free from all speculation.” If it is not the intention of the author to discuss the matter, why mention it at all? Earlier in his essay the writer attempts to turn the received opinion of the last century on its head by describing Mussorgsky in the following terms: “Ilya Repin’s famous portrait really tells us everything we need to know about the last years of this original sloth’s life: from his dishevelled hair and watery eyes to the red bulb of a nose shining like a sad lighthouse out of the rolling hills of his face.” Is this really “everything we need to know” about a composer whose output of songs has not only comprehensively outdistanced Rimsky-Korsakov’s in reputation but is also by some considerable margin the most often performed body of vocal works coming from Russia during the nineteenth century?

Still, one has to concede that Professor van den Hoogen always gives good value for money, and he clearly values Rimsky-Korsakov’s output of songs highly. And the performances here do much to justify his enthusiasm. Maria Prudenskaya has spent most of the last ten years working in German opera houses and specialising in Wagner and Verdi, and she fully comprehends the dramatic demands that high romantic music demands of its singers. She was a superbly responsive mezzo soloist in a live Bavarian Radio recording of Verdi’s Requiem under Mariss Jansons a couple of years ago, which I reviewed enthusiastically for this site. Her Waltraute in the 2016 Bayreuth Ring was a towering highlight in an admittedly generally execrable production, and her absolute steadiness of tonal production and gleaming higher register are a real pleasure to hear – not a suspicion of Slavonic wobble here. She also displays a plentiful employment of reflective half-tone, as well as an unexpected (and beautifully floated) upper range in the oriental-sounding Op.2/2 (track 30). Her accompanist Cord Garben is a stalwart contributor to many recitals of song, and as always he relishes the challenge of unfamiliar repertoire. Rimsky-Korsakov was not himself a pianist, and his writing for the instrument was condemned during his lifetime as unidiomatic; but he always gets the effects that he wants to convey. The recording was made some three years before the aforementioned Verdi Requiem – it is not clear why it has waited so long for release – and the recorded sound is fine, even if a little more reverberation might have been welcome.

The disc assembles a whole collection of ‘romances’ identified solely by opus numbers on the CD box, and by transliterated Russian titles at the front of the booklet. They vary in length from just under a minute to a maximum of four minutes; there are thirty individual items here. As might be expected they are all highly proficient settings, generally reflective rather than dramatic, and all have an immediate melodic appeal. Rimsky’s choice of poetic texts is admirable, with Tolstoy, Lermontov, Pushkin and Heine (in Russian translation) featured. They are not assembled in order of composition, which robs the listener of a chance to hear how the composer’s style developed over the years; but Rimsky’s opus numbers are often misleading, with earlier pieces subjected to later revision – it is a pity that the extensive booklet note did not find room to explore this development, including indeed references to songs not actually included on this disc! There are moments which occasion surprise: the clear echo of Beethoven’s Moonlight Sonata in Op.39/1 (track 5), for example, is an unusual reference to non-Russian material. The treatment of the theme quoted by Stravinsky in The Firebird at the outset of Op.8/2 (track 23) is totally different from that of Rimsky’s pupil.

The songs are generally grouped by the poet whose verses are set, although Rimsky does not seem to make any real stylistic discrimination between his lyrics. Most will I suspect be totally unfamiliar to listeners, although some may have crossed the hearer’s path in miscellaneous recitals of Russian song. But since titles (let alone translations) may differ between one recording and another, there seems to be little point in itemising them here.

So far as I can see this is the only current available single disc devoted entirely to the composer’s output in the field, although Brilliant Classics do have a three-disc compendium of his ‘complete songs’ although there appear to be some individual items omitted (77 songs are included out of some 80 apparently given in published editions), and they are distributed between a whole raft of different singers and pianists. This set suffers also from the fact that no sung texts or translations were provided, even in its original issue on Chant du Monde in 1993. Rimsky-Korsakov enthusiasts will obviously have to own the ‘complete’ set; but for lesser mortals this CD, with its judicious selection complete with transliterated text and translations into both German and English, will be more readily approachable. The music itself will certainly prove enjoyable.

– MusicWeb International (Paul Corfield Godfrey)

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REVIEWS:
Fanfare (1-2/00, pp.212-213) - "...Borrensen's Symphony No. 1 is a finely crafted piece....The two other pieces...are more overtly folkish than the symphony....Recommended to all aficionados of Scandinavian music, and especially to those who have yet to discover its still out-of-the mainstream glories."

This 2-CD set contains Middelschulte's organ transcription of the complete Bach Goldberg Variations.

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Natanael Berg (1879 - 1957) studied at the Stockholm Conservatory and was a Swedish Army veterinarian who, as a freelance musician also composed music in a Late Romantic style. Natanael Berg's colorful music is the subject of an on-going project on the CPO label.

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BUXTEHUDE Benedicam Dominum. Gott hilf mir. Wie wird erneuet. Wo soll ich fliehen hin? Mein Gemüt erfreuet sich. Herr ich lasse dich nicht. Ihr lieben Christen • Roland Wilson, cond; La Capella Ducale; Cologne Musica Fiata • cpo 777318 (78:18 Text and Translation)


This collection of unfamiliar cantatas of Dietrich Buxtehude includes two first recordings, Benedicam Dominum and Wo soll ich fliehen hin? ; the program concludes with the most familiar one of the group, recorded five times before. (With reference to first recordings, colleague Brian Robins in 30:6 overlooked previous recordings of BuxWV 82 on Vox, Hungaroton, and Ricercar, and of BuxWV 25 on Metronome, neither included here.) If the familiar Ihr lieben Christen concludes the program, the first recording of the stunning Benedicam Dominum opens it. Perhaps it has been neglected because of the required forces, six choirs to be placed in the six balconies of the Lübeck church. The text from Psalm 33 (34) lends itself to a festive treatment using trumpets and drums, and the composer takes full advantage of the sonorities of the instruments. This is a real addition to the composer’s discography, and it’s worth noting that two other recordings of the piece were made at almost the same time, the sort of thing that happens in an anniversary year such as this.


Gott hilf mir , on a German text from Psalm 68 (69), is superior to older recordings under Günter Graulich and Martha Johnson, while Wie wird erneuet , a non-Scriptural poem, can be heard in Ton Koopman’s three-disc box (11:4). Wo soll ich fliehen hin? is the other first recording, a poetic text in the same style as the previous piece. Mein Gemüt erfreuet sich is also in Koopman’s box, and Herr ich lasse dich nicht has been recorded with Helmut Rilling’s group and the Ricercar Consort. Among those who have given us the concluding work, Koopman stands out for the boxed set.


The comparison of three of these performances with those duplicated by Koopman is instructive. Wie wird erneuet is more brilliant, more jubilant here than Koopman rendered it, his trumpets more restrained, his singers more subdued. Mein Gemüt erfreuet sich is a similar expression of rejoicing that Wilson, with a more forceful bass soloist, captures more effectively than Koopman. Ihr lieben Christen , like the other two duplicated here, uses the verb “rejoice” with trumpets and trombones in the first line, but Koopman again finds less to rejoice about, and he is slower in all three of these works. Wilson’s superiority in these works makes me eager to hear his new Das jüngste Gericht on Sony, not issued over here yet but a work that contrasts in mood with these pieces. This generous collection is well worth hearing, a splendid contribution to the anniversary.


FANFARE: J. F. Weber

As I felt when I encountered and reviewed Reznicek's Ritter Blaubart (type Q6627 in Search Reviews), this all-but-hidden composer has a great deal to offer. The overture to Donna Diana is well-known and absolutely charming; Ritter Blaubart surprised me with its darkness and atmospheric gloom. What else does this composer have up his sleeve? Well, hearing the beautifully crafted and well-scored opera that follows its famous overture, a listener can only be amazed. Alternating between the tone of a witty operetta and a grand work in the Wagnerian mold (but with clearly emotive arias and duets that would not be out of place in Italian opera), this story of Donna Diana (daughter of Don Diego) and Don Cesar (a prince), who refuse to acknowledge their mutual love out of sheer arrogance, unfolds with wit, a distinctly Spanish flavor, complex ensembles, plenty of tunes, and never a dull moment. This seems like great theater (it is set against the background of a tournament in Barcelona)--a comic opera whose inhabitants, despite being "types", react the way people react, sometimes howling with rage, sometimes looking gently inward.

Perin--a wonderful role for high baritone--is a wise-fool figure, Don Cesar's friend, who gives advice, puts the play in action, and is more-or-less omnipresent. About a half-hour before the opera's close (the whole work is just short of two hours long) he lets us know that he'd also like a lady friend for himself. He's a delightfully three-dimensional character, and Simon Pauly sings him with remarkable "face" and engaging tone. His duet with Don Cesar near the beginning of the show is splendid, and both he and tenor Roman Sadnik paint indelible portraits of themselves right then and there. The duet, which is grand and grandly orchestrated, ending with a blazing high-C from Sadnik against a slightly too-loud orchestra, sets the tone for the work's forward propulsion and great energy. They and the other players sing off the text brilliantly, and while there are few beautiful voices to be heard, each is distinctive and is used with great theatricality. This live performance really moves.

There are three other pairs of lovers: Don Louis and Donna Laura, Don Gaston and Donna Fenisa, and a surprise in the very sharp Floretta, Diana's foster-sister, who turns out to be just right for Perin. Including Don Diego, then, there are nine characters, and Reznicek writes for them all individually and in ensemble, and always with specificity. The vaguely goofy tone that tends to be present in the comic operas of the earlier Italian composers is entirely missing here, and to very good effect.

The entire cast, well-rehearsed and utterly committed, does itself proud. In addition to Sadnik and Pauly, most impressive is Manuela Uhl as Donna Diana. She captures the girl's haughtiness, while in asides she exhibits a softer side. And as pure singing, she shines as well: in recent recordings of Alfano's Cyrano de Bergerac and Strauss' Die Liebe der Danae she has moments of rawness, but here she seems more frequently at home, and her Moorish Romanza in Act 2 is lovely. Max Wittges has just the commanding bass for Don Diego and mezzo Anne-Carolyn Schlüter presents a self-contained portrait of the standing-back-from-the-crowd Floretta. The rest of the cast, chorus, and Kiel Orchestra--the latter with a brass section any orchestra would be proud of--are polished and should be pleased with their fine work. The sound is excellent despite the intermittent tendency of conductor Ulrich Windfuhr to throw the balance toward the orchestra. It wouldn't surprise me if this recording (and the earlier one of Ritter Blaubart) began a Reznicek rediscovery. Seeing either opera live must be a real treat. [2/8/2005]
--Robert Levine, ClassicsToday.com

Apart from the opera and the symphony, Max Reger made substantial contributions to almost every musical genre, and within chamber music his compositions for violin and piano formed the largest complex. These works are technically and musically demanding and, for one reason or another are rarely ever heard in the concert hall.