...Johann Kalliwoda was a tremendously interesting and talented composer, and both symphonies offer a fund of very attractive ideas. The Fourth Symphony, with its introductory funeral march, scoring that includes three trombones, and its delicious 6/4 scherzo, is perhaps more noteworthy in this respect, but both pieces--and the overture (in a turbulent F minor)--offer plenty of listening satisfaction. - David Hurwitz, ClassicsToday.com

This new Henk Badings recording further confirms his rank as a great twentieth-century Dutch composer with an important and independent individual voice in European music. Although he composed his fourth symphony during the war years, absolutely nothing related to World War II or its atmosphere is to be found in it. It is instead a work adhering to the classical structure and displaying unaffected naturalness and quick musical wit, especially in its fast movements. In 1949 Badings composed his fifth symphony as a commissioned work for the sixtieth anniversary of the Concertgebouw Orchestra. In 1955 a reviewer for the daily De Tijd wrote that this symphony resembled film music inasmuch as it clearly dealt with illustrative elements. This was not intended as a negative judgment but instead was born of admiration for the composer’s suggestive style. In any case, today this music impresses the listener with its surprising freshness and vitality.

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Based on Henry Rider Haggard’s novel of the same name, August Enna’s Cleopatra immediately followed Heksen (The Witch), his most successful opera. + In his Violin Concerto, Enna stands with one foot in Nordic music and with the other in the Italian opera. In the second movement, we encounter the work’s greatest surprise: it is introduced by beginning of the famous aria “Vesti la giubba” from Leoncavallo’s Pagliacci, which Enna develops into a highly expressive cantilena. + In his Symphonic Fantasy (1930-31), the composer’s talent for instrumentation, virtually unrivaled in the Danish music of his times, stands out.

GILSE Symphony No. 3, “Elevation” • David Porcelijn, cond; Aile Asszonyi (sop); Netherlands SO • CPO 777518 (63:02 Text and Translation)


This is only my second encounter with the music of Jan van Gilse (1881–1944). His First and Second symphonies, recorded by these same forces and reviewed by James H. North in Fanfare 32:2, didn’t leave me with a lasting impression of the composer’s musical profile, so in requesting this release of his Third Symphony, I thought I’d give Gilse another shot.


Though he was Dutch by birth, Gilse was the product of German training, one of his teachers having been Humperdinck. Upon completing his studies, he secured conducting appointments in Bremen and Munich, but after the outbreak of World War I, he returned to the Netherlands, where he led the Utrecht Municipal Orchestra from 1917 to 1922. Apparently, his tenure was a stormy one in which a vitriolic dispute between Gilse and composer and critic Willem Pijper eventually led to Gilse’s resignation and the penning of a 350,000-word autobiography in which he heaped scorn on the heads of all those who had made his life in Utrecht miserable.


But Gilse was not all bitterness and payback. During the Second World War, he and his two sons joined the resistance movement against the Nazi occupation of the Netherlands. His life, however, ended in tragedy, as he saw both sons killed by German troops and then succumbed himself, probably to pneumonia, soon after, not living long enough to see the war’s end.


Gilse completed his Third Symphony in 1907 while still in Bremen, including in its third and fifth movements a part for soprano soloist. Unfortunately, the English translation of John Smit’s album note by Susan Marie Praeder gives no explanation for the work’s title, “Elevation” ( Erhebung in its German publication), or its connection, if any, to the score’s verses.


The third-movement text appears to be a free verse poem by Gilse himself, dedicated in gratitude to Dina Mollinger-Hooijer, wife of the director of the Netherlands National Insurance Company. The love poem, which makes no attempt to hide its erotically charged imagery, leads one to read between the lines as to the reason for Gilse’s gratitude.


The fifth-movement text draws three stanzas from the equally suggestive erotic poetry of Solomon’s Song of Songs , though the particular verses Gilse selects don’t contain some of the text’s more explicit references.


If Gilse’s Second Symphony hints at Strauss, Elgar, and perhaps a touch of Mahler, as North noted in his review of that earlier work, the opening slow movement to his Third Symphony is almost pure Wagner in Tristan und Isolde mode; one waits for the face of the famous Liebestod to emerge at any moment from the granite slab Gilse is chiseling.


The second movement tosses us right into the middle of Strauss’s Don Juan . There are moments of resemblance so close they border on plagiarism.


For the third movement, we’re back to Wagner. Without benefit of a score, I can’t be sure, but on one of the soprano’s climactic notes at 3:43, Gilse’s underlying harmony sounds darn close to Wagner’s augmented ninth “Tristan” chord.


Improbable as it may seem, the fourth movement opens with what sounds like a pre-echo of Ravel’s La Valse , and then we’re back to part Richard Strauss and part parody of the waltzing Strausses.


The fifth and final movement, at almost 22 minutes in length, dwarfs all the others. Here’s the Elgar North mentioned that’s been missing up to this point. What a gorgeous ceremonial opening. Though it lacks the same striding gait, the music recalls to no small degree the magnificent processional that leads off Elgar’s First Symphony. Patience is advised, for the soprano doesn’t make her first entrance until the movement is more than half over. When she finally does, it’s Isolde’s soliloquy leading up to the final Liebestod.


Clearly, Gilse’s score is largely derivative and, as North put it, “pure high Romanticism.” But that’s exactly what should appeal about it to those who love to laze in luxuriant orchestral scores. Gilse may not have had an original idea in his head for this symphony—I can’t speak to any of his later works or to his opera, Thijl , reputedly his crowning achievement—but he demonstrates a sure hand when it comes to the craft of orchestration and of weaving a colorful, vibrant musical tapestry. Gilse’s Third Symphony displays the talent of a composer who could write wonderfully effective music, even if it was someone else’s.


As usual, CPO’s recording is up to the highest industry standards, and David Porcelijn, who has been delivering the goods for the label’s Röntgen project, here leads the Netherlands Symphony Orchestra in what seems to be a perfectly paced performance. Estonian soprano Aile Asszonyi, who has a high-lying, lighter-than-usual, but exceptionally focused voice, beams right in on the notes with laser-like precision. Gilse’s writing, which exploits the voice’s upper range, seems ideally suited to Asszonyi, and she repays the composer with beautifully sung performances in the two vocal movements.


If you love the music of Wagner and Strauss with a serving of Elgar on the side, you are guaranteed to enjoy this CD.


FANFARE: Jerry Dubins

Kabalevsky's natural talent was for catchy tunes, clear structures and audience-pleasing rhythms; beautifully crafted, eminently accessible, full of wit and charm. � His position as a Stalin regime-friendly, arch-conservative critic did nothing to win him friends. � All works recorded here performed by Swedish cellist Torleif Thedeen. � The NDR Radiophilharmonie Hannover is conducted by Eiji Oue; Adrian Prabava (Suite op. 24a).

Yes, this music is ridiculously conservative, as we might expect from a founder of the post-Mendelssohnian Leipzig school, but with a difference. Unlike so many of his colleagues Jadassohn, who composed these four symphonies between 1860 and 1888, keeps all of their elements in scale. They are brief (about thirty minutes maximum), immaculately scored, tuneful, and not afraid to be light without ever turning frivolous. Indeed, in their day these works were criticized for their lack of profundity. Today, we can see this as one of their greatest virtues.

The First Symphony looks back less to Mendelssohn than to Schumann, with better scoring. Consider the scherzo, and try to guess the composer. After that, the range expands a bit. Jadassohn had a genuine lyric gift, evident in the two Cavatinas for violin and cello, respectively, and also at such moments as the slow movement of the Third Symphony. With the Fourth Symphony, in C minor, Jadassohn does strike a more serious note, but once again at no point does it ever seem that he’s stretching his material farther than it wants to go. He knows how to keep his music moving, and he’s not ashamed of the fact that he’s not Beethoven. That’s saying a lot.

The performances by the Brandenburg State Orchestra under Howard Griffiths are quite good, with characterful contributions from the woodwinds and nice, clean ensemble generally. In the two Cavatinas, Thomas Georgi (cello) and Klaudyna Schulze-Broniewska (violin) play sensitively and don’t overload their predominantly gentle solo lines. The sonics are also naturally balanced and warm. Jadassohn’s symphonies may not be “important,” but they are wisely written, attractive pieces and for that reason well worth getting to know.

-- David Hurwitz, ClassicsToday.com

ROSETTI Oboe Concertos: in C; in C. Symphonies: in F; in D • Kurt Meier (ob); Johannes Moesus (cond); Zurich CO • CPO 777-631-2 (71:16)


Quite apart from the fact that he’s virtually forgotten, the composer of record has a problem. According to the Harvard Biographical Dictionary , “He has been confused with Franz Anton Rössler, a cobbler, and five other musicians named Antonio Rosetti.” That’s severe! It may be that he should have stuck with his given name, Franti?ek Antonín Rössler, except that the Italianization worked for him during his very active lifetime. Rössler/Rosetti was born in Litom??ice, Bohemia, in 1750, played double bass in the orchestra of the Wallerstein court, eventually becoming court conductor and Kapellmeister. He composed prolifically—as many as 40 symphonies and 50 solo concertos as well as various sacred works. In 1789 he became Kapellmeister at the court of Ludwigslust, where he died at age 42 in 1792. He was highly regarded by his contemporaries, and in 1791 wrote and conducted a Requiem for Mozart at Prague. The present disc makes a strong case for re-examining his legacy. The two symphonies, both set in three movements, are early works, but they attest to his skill in handling of the orchestra and his ability to craft memorable lines. The F-Major Symphony, composed around 1776–77, was one of his most popular works. The concertos are even more impressive. Kurt Meier is an effective advocate, with a rich, full tone and a flawless technique. Rosetti wrote many concertos for members of his orchestra, especially for horns or bassoons, but also, of course, for the oboe. I reviewed a cpo disc of three other Rosetti oboe concertos played by Lajos Lenscés in Fanfare 15:2. All five could be welcome additions to any soloist’s repertory. Two discs of Rosetti’s more mature symphonies—by Concerto Köln on Teldec and Mathias Bamert on Chandos—are worth seeking out, as well. There are four symphonies on each disc, with, remarkably, no duplications. Meanwhile, the present disc gives me great pleasure, and I recommend it heartily.


FANFARE: George Chien

It might be easy to overlook this new CPO disc of all Weber’s overtures. But it would be a mistake to do so, for what we have here is a recording that will have you tapping your toe along to this glorious music afresh. What makes the disc so enjoyable, perhaps, is the fact that each overture feels carefully characterized.

British conductor Howard Griffiths brings thrillingly vibrant and lucid playing from Cologne’s WDR Sinfonieorchester, which is captured in brilliantly clear and realistic sound by West German Radio’s engineers.

Griffiths imbues each work with real urgency, which the orchestra match with virtuosity across the board. Nor is he ever afraid to broaden the tempo and take his time when it’s required. The wind-playing is characterful, with a twinkle in the eye of the oboe solos and a mixture of liveliness and mellifluousness from the principal clarinet. The brass-playing is also especially fine throughout.

– Gramophone

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BLISS: Colour Symphony (A) / Adam Zero

Includes sinfonia(s) by Leopold Mozart. Ensemble: New Zealand Chamber Orchestra. Conductor: Donald Armstrong.

VIVALDI: Violin Concertos Op. 8, Nos. 5-8 and 10-12

Pizzicato 9/12: “Venzago’s courage to interpret Bruckner more romantically than post-romantically makes sense because the 2nd symphony suddenly develops a life of its own and enthuses the listener with its own stylistic musicality. This is certainly one of the best recordings of this composition!”

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Ernest Pingoud (1887-1942) is one of those names one encounters in footnotes, or in the more comprehensive musical dictionaries. The Gramophone Database contains no entry for him other than this worthy new disc, and I am not aware of any previous recordings of his music, even from Finland (to where he emigrated from Russia in 1918). In his day, he was considered one of Finland’s leading modernists, with Vaino Rautio and Aarre Merikanto, so consequently had to endure sustained indifference. He eventually threw himself under a train.

His style as exhibited in these five tone-poems (only Fetich, 1917, and Le chant de l’espace – “The song of space”, 1931-8 – really live up to the “symphonic poem” billing; the others are too small in scale) is frankly not particularly distinctive, and can be summed up as a mish-mash of Strauss and Scriabin orchestrated by Prokofiev. Resonances of other composers abound, not least of Russian contemporaries but also Finns such as Melartin in Le prophete (1921) and Fetich, and early Sibelius in Flambeaux eteints (“Extinguished torches”, 1919). Fetich is by some way the best of them, skittish and excitable by turns but compelling overall, unlike Le chant de l’espace which is overblown and structurally flaccid. Le prophete, Chantecler (1919) and the rather engaging Flambeaux eteints lie variously in between. Sakari Oramo produces exemplary performances, faithfully recorded. One for the specialists.

-- Gramophone [2/1998]

L. MOZART Divertimento in F, “Musical Sleigh Ride.” Cassation in G, “Toy Symphony.” Symphonies: in D; in G, “ Sinfonia da caccia” • Hans Stadlmair, cond; Munich CO • TUDOR 737 (59:03)


Hans Stadlmair has been artistic director of the Munich Chamber Orchestra since 1956. This CD reveals an excellence of conducting and playing of Classical music off the beaten path. Leopold Mozart is more famous as the father of Wolfgang Amadeus Mozart than as a composer in his own right. The music on this disc supports history’s judgment as to the source of his fame. Yet some of this music can play an important role in propagating the greater Classical pieces.


The “Musical Sleigh Ride” and the “Toy Symphony” are among those vital pieces that serve young children as introductions to classical music. The “Toy Symphony” has been variously attributed to several composers, among them one of the Haydns (the famous Joseph and his lesser-known brother, Michael) and Leopold Mozart, who is the current winner of the attributions.


The most interesting piece in this collection is the “Sinfonia da caccia,” with its opening movement depicting a hunt ( a caccia ), complete with yelping hounds, galloping hoofs, and, most effectively, firing shotguns. This is another great piece for kids. Unless your child is another Mendelssohn/Mozart/Schubert genius, this music is a good way to lead him or her to discover The Art of Fugue 20 or 30 years hence, with a way station at the Beethoven symphonies.


Get this disc for your kids or grandkids! But not if you consider hunting and guns inappropriate for young children. Get it for yourself, to experience the caccia —vicariously perhaps, but without mammalian casualties!


FANFARE: Burton Rothleder

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Schubert set the verse of more than 115 poets to music, producing around 650 songs. He selected biblical texts and poetry from classical Greece, the Renaissance, the Enlightenment and the early Romantic era, the poets including Goethe, Schiller, Shakespeare, Petrarca and Heine as well as his Austrian contemporaries and friends. The Complete Lieder includes all the solo songs and part songs with piano, grouped according to the poets who inspired him. Ulrich Eisenlohr, pianist and artistic director of the edition, selected native German singers and used Bärenreiter’s Neue Schubert-Ausgabe as a basis for the recordings, producing a stirring cycle of particular integrity. All the sung texts are included online with English translations.

The only other serious competition in this repertoire, and it’s not as complete as this release (the Aida items are missing), is an old Philips Due mostly conducted by the late Antonio de Almeida. Those are good performances, but they don’t outclass these, either interpretively or sonically. You might say that it doesn’t take much interpretive insight to conduct Italian ballet music, but ultimately the goal is always the same: to avoid boredom. This may be even harder in music whose purpose is largely decorative and expressively limited. It’s to Serebrier’s (and Verdi’s) credit that there isn’t a bar here that fails to entertain, or that doesn’t make an excellent case for believing that this music is of much higher quality than its reputation suggests.

The ballet from Aida is well known, of course, but that from Otello is a minor masterpiece in a strikingly similar vein. “The Four Seasons” ballet from I vespri siciliani is Verdi’s largest, lasting a solid half an hour, and it’s wonderfully performed here. It has moments that you might mistake for Delibes or Tchaikovsky. Don Carlos is also fully mature Verdi, while the ballet in Macbeth is pretty well known as it’s often included in modern performances of the opera (the witches’ waltz at the end is particularly fun). The two big “finds” for most listeners will be the extensive ballet music from Jérusalem (a.k.a. I lombardi), and the similarly large-scale (20 minutes) dance episodes from Il trovatore. This last item quotes the “gypsy” tunes from the opera’s first act, including the Anvil Chorus, and it’s really delightful. The sonics are clear and vivid, and with a playing time of nearly two hours, this set easily becomes the modern reference for this undervalued repertoire.

-- ClassicsToday.com

This volume completes Naxos’ very enjoyable four-disc set of the complete Rossini overtures. Think about it: that’s a lot of orchestral music from a composer known almost exclusively for his vocal works–three or four Bruckner symphonies’ worth, and what would you rather listen to? This last installment includes two really popular overtures: The Barber of Seville and Il Turco in Italia, but much of the musical interest lies in the less familiar pieces.

Ricciardo e Zoraide, for example, has an unconventional form, ending quietly with a lengthy aria for solo flute, preceded by a romantic horn solo. Torvaldo e Dorliska reveals that Rossini was always ready with a new and interesting take on his signature “crescendo.” This one ends, not with the conventional climactic tutti, but with a series of more lyrical phrases for the violins. Armida’s opening march leads to another insanely difficult horn solo (the MET’s player blew it horribly at the performance of the opera that I saw). Rossini must have worked with some astoundingly fine individual players.

The performances, as with the other volumes in this series, are crisp, fleet, and shapely, with excellent solo winds nicely balanced against well-coordinated strings. Conductor Christian Benda also takes care to handle the percussion with good taste and common sense. For example, he reserves the cymbals for the very end of The Barber of Seville, an effective decision.

If you’re looking for the complete Rossini overtures, the only other option you have is Marriner’s set on Philips. These performances, on the whole, have just that much more more character and sparkle. They deserve your consideration.

-- David Hurwitz, ClassicsToday.com

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