Classical Music

Raff does not shake the foundations but he has so much more than a talent to amuse. Truly imaginative romantic era pictorial symphonies.

Who thinks of Raff these days? Well the truth is more and more people and the Raff Website provides plentiful resources to support the curious and those already dedicated.
 
Many of Raff’s orchestral works have been recorded and both the Swiss company Tudor and a decade before that Marco Polo (now fitfully migrating to Naxos) have made major inroads into the Raff discography.
 
We may know Raff's name for a variety of one-off reasons. Some will recall his winsome piece for piano and orchestra La Fileuse. His Kavatina op. 85 no. 3 kept his name alive when it seemed that all his work would fall away to dust, pulping and landfill. Others may remember that Bernard Herrmann's taste for engaging rarities ran to recording Raff's Fifth Symphony Lenore - the Fuselli Gothic cover of the Unicorn LP will probably come to mind. Then again others, especially Lisztians, will remember that Liszt left the task of orchestrating his tone poems to Raff. Perhaps a few will know of the Candide Vox LP of the Third Symphony Der Wald.
 
Tudor, over a period of three years, recorded the eleven symphonies with a single orchestra and conductor and at a single venue. In this they were pioneers; the earlier project by Marco Polo used a mix of orchestras, conductors and venues. The financial support of Stiftung Dr Robert und Lina Thyll-Dürr was crucial to Tudor’s admirable and needful enterprise. Nor have Tudor stopped there. The Zürich-based company’s catalogue is laced with CDs of Raff’s concertos, other tone poems, violin sonatas and string quartets.
 
The present well designed and space-saving box has the nine discs each in a hard card sleeve designed to match the individual CDs and setting out full track contents on the reverse. As for the programme notes, these are in a 127 page booklet in German, English and French. No need to fiddle around with a CD-ROM.
 
Raff's First Symphony is located squarely in the German nationalist romantic heartland. It straddles the worlds of Mendelssohn and Schumann. In fact Schumann's Third and Fourth Symphonies are often recalled in passing reference or echo. The shivering tail-figure in the decisive first of five movements is straight out of Schumann 4. That Allegro runs to 18:05, the longest movement. German wald romance is suggested by the rip and curl of the Scherzo which, far from recalling Weber, this time links with Schumann's First Symphony. There is an elegiacally Elgarian Larghetto where the agreeably unctuous solo cello is played by orchestra principal Matthias Ranft. While there is a measure of bombast in the allegro dramatico (IV, 1:50) much can be forgiven when we hear the suave, relaxed and often imaginative writing of the final Larghetto sostenuto which in its Odysseyan stride looks to the Tchaikovsky of Winter Daydreams. While the work has its longueurs in the finale and miscalculated braggartry in the allegro dramatico, this symphony will go down well with those who love Schumann four, Mendelssohn's 3 and 4, Louis Glass's Der Wald symphony, the Ludolf Nielsen suites and the symphonies by Huber, Wetz and Draeseke. Not compelling then … but pleasing is good too. Raff is not to be underestimated for his fluency and atmospheric charm.
 
By the way those lured into buying the first symphony by the cover detail from Der Krieg (1896) by Arnold Böcklin (1827-1901) are in for a disappointment. There's no apocalyptic conflict in this music.
 
The Second Symphony is meaty and Beethovenian. Its allegro could have been more spry. It was very cleanly recorded and the player principals give a lovely account of woodwind solos. There is a Mendelssohnian scherzo but here the fairie host is earnest. There are few secret smiles. The finale is very sweet with good building of tension. It has something of the finale of the third symphony of Schumann.
 
The Thuringia Suite is about the same duration as the Second Symphony. It is the last of his four suites for orchestra. Stadlmair takes things sedately in the allegro but saves himself for some Egmont-style fervour at the close. St Elizabeth is patron saint of Thuringia and this is her hymn. This has the same devotional blessing as Suk's Wenceslas Hymn and ends in a religious vision. Reigen der Gnomen brings forward more Mendelssohnian fairy stuff; this time with quite a light and high playful step. The fourth movement’s folk-song variations look forward to Variations by Reger and Schmidt’s Husarenlied set. The finale (V) Country Fair is tinglingly carefree. Raff spares a smile here.
 
The Third Symphony Im Walde is another big 45 minute symphony in three movements of which the second is in two parts: four tracks in all. Im walde was done twice in 1931 by Toscanini and years later Kapp recorded it for Vox. The first movement is Am Tage redolent of Beethoven’s Pastoral with fanciful indications of a gentle and well stocked imagination at play. A Reverie explores homesickness and the consolation to be found in nature's beauty as the clarinet entwines and unwinds. The second segment of II is a Dance of the Dryads which is typically playful and Mendelssohnian. It becomes fleeter of foot as it dances along - a delight superbly done. In III night rustles in the forest. The horns are gently touched in until a wild hunt crosses and rushes through at 2.02. There’s even a touch of Berlioz here.
 
The Italian Suite is closest to Mendelssohn's Italian encompassing a storm, a warmly seraphic dream, a very peaceful barcarolle and a wild and stern Tarantella.
 
The Fourth Symphony falls between the two famous or least unfamiliar ones: Im walde and Lenore. The first movement has a superb bubbling building of symphonic tension in the first five minutes. A skittering and antiphonal Mendelssohnian Allegro molto precedes an Andante that makes an almost Hispanic impression with its very inventive murmuring dark-almond bassoon writing. The Allegro vivace finale has Beethovenian gravitas offset by playful woodwind.
 
It is one Tudor's hallmarks of attention to excellence that they leave a good long break after end of Symphony 4 before we hear the overture Benedetto Marcello (1875). This is a light-hearted work with an Egmont-style ending.
 
The Dame Kobold overture has a memorable role for the French Horn. This at first pursues winding and amiably wandering course but soon ascends to eruptive display in the manner of the Richard Strauss Horn Concerto 1. And what a cantilena - almost Dvorákian! This is a work that would have suited Hermann Baumann – a hornplayer recently celebrated on a 7 CD box from .
 
Die parole is in the grand manner with an initial radiant intensity but then finding relaxation.
 
The Concert Overture op. 123 is a stirring piece with decorative woodwind. It might seem to pave the way for Dvorák. It receives a warm and singing performance.
 
The Fifth Symphony, Lenore is a big springy and lyrical programmatic work. It’s very inventive and entertaining. Raff here encompasses, in colourful Dvorákian tones, a dance of the graces, a a sunny slow-unfolding andante, a spirited little march tempo and an exuberance that bridges between the scenic Tchaikovsky and the will o’ the wisp dreams of Berlioz. At the close there’s a gleaming vision and a modest curvature down into silence. No wonder Bernard Herrmann favoured this work and recorded it for Unicorn.
 
The First Orchestral Suite across five movements travels through the storminess of Schubert’s Great C Major 9, balletic dreams, intensely Mendelssohnian delicacy and what sounds to me very like the sort of writing encountered in Glinka's Ruslan and Ludmilla.
 
The Sixth Symphony is by no means as subtle or as high profile as its predecessor - lower key but still very skilled. There’s a sedate march and the whole work has about it a Schubertian sturdiness and a bullish cheeriness.
 
The Second Suite 2 In ungarischer Weisen is highly attractive. The final Volkslied mit Variationen mixes echoes of Grieg’s Holberg Suite with skirling intimations of Kodaly. The first movement ( In der grenze) has about it a stormy cheeriness. The Dvorákian Auf des Puszta radiates airs of the orient but soon becomes more conventional. The third movement is wreathed in light woodwind curlicues and silvery strings.
 
The Seventh Symphony is another epic-length pictorial piece. The first movement is blithe with birdsong yet is threaded through with the awe of the high mountain places. This is catchy, effervescent and euphoric. The second movement is rather earthbound but Stadlmair swings it as best he can. Am see stirs the oceanic depths and has an emphasis on majesty. The finale crown its last pages with brass fanfares and timpani punctuation. In between there’s some remarkably light on the palate Tchaikovskian writing.
 
The Bach Chaconne shows Raff’s respect for the original. The listener will be drawn to the infinite ease of the cantabile and even some Brahmsian moments that may recall the Haydn Varations.
 
The Abends Rhapsodie proffers a warm soup of undulating Wagnerian flavour.
 
The Eighth Symphony Frühlingsklanger recalls Bruckner 4 in its horn-calls. This symphony announces what turned out to be Raff’s ‘Four Seasons’ across his last four symphonies. The first movement rolls out some rugged joys and good rounded themes. The succeeding Allegro seems sinister with an overcast ruthless edge. The third movement is gently pointed and well limned. The finale has a sturdy power and energy driving the music forward; even so it did not engage me as much as the other movements.
 
The Tenth Symphony was the last one he put down on paper. Its first movement is a buffeting piece but interposing some pensive moments. The second is a ghostly dance which mood is accomplished with a patteringly pleasing seriousness. At 3.12 the scudding strings again show imagination and invention. The Grieg-like Elegy uses a theme that is a cousin to the similar theme in the slow movement of Tchaikovsky 5. The gemutlichkeit bubbling French horns in Die jagd der menschen invoke memories of Schubert, Bruckner and Schumann Third. The horns lend a pleasingly roughened edge to those fortissimos.
 
The Ninth Symphony is entitled Im Sommer. The writing is flightily fanciful and full of chirpy birdsong. Raff’s woodwind parts are always good - in this case in Schubertian weeds. The finale will appeal to those who enjoy the Dvorak String Serenade and Symphonic Variations. It ends with biting emphasis.
 
The Eleventh Symphony Der Winter was not his last despite the declared number. It remained unpublished until six years after his death. The writing is very evocative: glistening snow, the warmth of the fireplace and bustling liveliness. Tchaikovsky’s Winter Daydreams dates from the same year. There’s even a touch of Glazunov’s Seasons here.
 
There we have it: the delights of the Raff symphonies are now conveniently accessible in this Tudor set. The company’s catalogue has the right to claim to be the home of Raff. This box is an alternative to the only other symphony cycle on Marco Polo many of which may now be difficult to track down and will cost you more. In addition the couplings are more generous than those on Marco Polo. I would not say it was any better than the Marco Polo although it has the advantage of being a decade more recently recorded.
 
-- Rob Barnett, MusicWeb International

Classical Music

Classical Music

Czech composer Franz Krommer, a contemporary of Mozart and Haydn, did not gain the fame in Vienna that his fellow composers achieved. For this recording, Tudor has gathered three of Krommer’s flute quartets. These works contrast the string quartets of Haydn and Mozart in that the virtuosity required of the flute in Krommer’s works is far beyond that required of the violin in the string works. Renowned flutist Andreas Blau has taken on this challenge, joined by violinist Christoph Streuli, violist Ulrich Knorzer, and cellist David Riniker.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

These three piano concertos provide new insights: two discoveries from the classical era that alter our perspective on the seemingly familiar. Giovanni Battista Martini was a leading music theoretician of his time. His compositions caused a sensation. His many pupils included Johann Christian Bach. Christoph Willibald Gluck, Wolfgang Amadeus Mozart and Johann Franz Xaver Sterkel sought musical instruction from him. His piano concerto is particularly remarkable for its songful lyricism, whose expressiveness is far ahead of what was customary at the time. Johann Franz Xaver Sterkel worked as a court musician, and from 1802 directed the court music in Aschaffenburg. We know of contacts with Beethoven and Carl Maria von Weber. The piano concerto in D major is characterized by clear structure and instrumental virtuosity. The piano concerto in D minorK466 is one of Wolfgang Amadeus Mozart's greatest works. Comparing it to the now almost forgotten concertos by Sterkel and Martini yields an added perspective: it is a psychological drama, in which we encounter Mozart's matchless genius.

To be exact, we should include in the Tudor Church music only the period prior to 1549 and consider Robert Fayrfax (1464–1521) and Hugh Aston (died 1522) as the first Tudor composers. They were succeeded by a great master – John Taverner; only a small number of works with English texts in his hand are extant. Then came Thomas Tallis, who composed works for the reformed Church, but he left also compositions intended for the Catholic service. Peter Philips, another major figure, could not bring himself to accept the Reform and left England. William Byrd enjoyed such popularity that he was able to write music for the Catholic Church under the aegies of the liberal Elizabeth I without ever being bothered. With Orlando Gibbons the composers began to write more for the Church of England. Thomas Tomkins may be considered as the last of those com posers coming under the heading “Tudor Church Music”.

Some three hundred compositions by Handel such as Overtures, dances and short instrumental interludes titled Ritornello, Sinfonia or Sarabande are hardly ever perceived as a separate category, despite appearing in his most important compositions. Such observations provided the basis for this concept album. The pre-dominant instruments of the first Suite are the horns, which originally play an important role in the Overture to Handel's great success Samson and the operas Giulio Cesare and Ariodante. In the second group, launched by the Overture to the early opera Teseo, various solo instruments are highlighted: horn, recorder and in particular the traverse flute. The last cycle focuses on the virtuoso trumpet.

The Bamberger Symphoniker’s collaboration with the record label Tudor has evolved in cycles. It began with Joachim Raff’s œuvre, a pioneering step into overlooked repertoire. Then stepped up to the Greats with Schubert’s symphonies: the first recording to follow the new Schubert edition was enthusiastically hailed as a refreshing new departure interpreted with historical awareness. Reaching for the stars under the aegis of Jonathan Nott, the scores of Gustav Mahler then entered the Bamberg Konzerthalle. That whole cycle has won countless prizes and awards, becoming a milestone of Mahler discography.

The next step? Staying in Vienna with symphonies by Johannes Brahms while remaining true to Gustav Mahler’s Bohemian homeland with Antonín Dvořák. The Bamberger Symphoniker and Jakub Hrůša’s cycle of the four Brahms symphonies and Dvořák’s last four symphonies is the first recording to give an overview of their extraordinary universe and cast light on their musical affinity, in a vivid soundscape with a contemporary pulse.

REVIEWS:

This enticing release is a further addition to the ongoing series twinning symphonies by Brahms and Dvořák, a theme validated by the kinship between both the composers and the cross-fertilisation of their styles. The orchestra and conductor here have since 2016 been producing a stream of admirable concerts and releases...

The ominous, growling opening of Dvořák’s Seventh is perfectly realised and Hrůša immediately reveals his mastery of the form through the application of subtle rubato in his phrasing without the musical thread going slack. Again, lovely woodwind playing strikes a pastoral note, recalling the Brahmsian inspiration to the work but the darker, denser, “Germanic” orchestration also underlines that link; this is a lilting, songful and unhurried account which never loses the skein of disquiet lurking beneath the dancing, three-quarter-time melodies and the faintly disturbing, mysterious conclusion with distant horns intoning gnomically leaves the listener in ambivalent mood, paving the way for the similarly enigmatic Poco adagio. As with the first movement, Hrůša presides over relaxed, flowing playing underpinned by a prominent bass line and a solid, rhythmic stability modulated by judicious use of rubato and rallentando. The stately grandeur of the music is maximised, ensuring that Dvořák does not come across as just a lightweight, jolly tunesmith.

This is attractively packaged in a dark green cardboard digipack with colour and black and white photos, trilingual notes and an interview with the conductor by German musicologist and critic Wolfgang Sandner, who describes the unusually warm and friction-free friendship between the two composers whose works make a welcome match for this release, especially, as Sandner remarks, Dvořák’s Seventh Symphony is regarded as the most “Germanic” of his mature works.

-- MusicWeb International (Ralph Moore)

The Bamberger Symphoniker’s collaboration with Tudor has evolved in cycles. It began with Joachim Raff’s œuvre, a pioneering step into overlooked repertoire. Then stepped up to the Greats with Schubert’s symphonies: the first recording to follow the new Schubert edition was enthusiastically hailed as a refreshing new departure interpreted with historical awareness. Reaching for the stars under the aegis of Jonathan Nott, the scores of Gustav Mahler then entered the Bamberg Konzerthalle. That whole cycle has won countless prizes and awards, becoming a milestone of Mahler discography.

The next step? Staying in Vienna with symphonies by Johannes Brahms while remaining true to Gustav Mahler’s Bohemian homeland with Antonín Dvořák. The Bamberger Symphoniker and Jakub Hrůša’s cycle of the four Brahms symphonies and Dvořák’s last four symphonies is the first recording to give an overview of their extraordinary universe and cast light on their musical affinity, in a vivid soundscape with a contemporary pulse.

This release also includes 8 of Brahms's Hungarian Dances, each orchestrated by one of these extraordinary contemporaries.