While not as generously
timed as its companion in Capriccio's
underexposed Busoni Edition this is
well worth adding to the first volume
(10 479 see linked review).
Busoni had many dimensions.
In the Comedy Overture various
voices went into the ‘mix’ including
Mozart's Marriage of Figaro,
Dvořák's Eighth Symphony, Beethoven's
Pastoral and even Mendelssohn's
Italian Symphony. The brass in
particular get a real outing. This is
an exuberant concert opener and should
be heard more often as an alternative
to Donna Diana, Carnival or
Roman Carnival.
The Symphonic
Suite is in five well-balanced
movements: the first (a Prelude) of
about ten minutes and the other five
minutes each. The Prelude combines
various elements including an accompanimental
figure that links with Smetana's Vltava
as well as Tchaikovskian dialogue
(5.32), ominous Brucknerian gravity
(6.31) and a dashing Schumann style
at 6.24. The Gavotte has a relaxed
ambling manner lead by the oboe - a
delightful piece. The Gigue also
features the solo oboe amid what amounts
to a disquieting scherzo with a Mendelssohnian
pattern but a darker underbelly. The
langsames intermezzo sounds like
the more melancholic sections of Brahms'
Haydn Variations. There follows
a finale allegro fugato with
a gruff energetic manner that is part
Beethoven's Pastoral (Storm)
and Fifth (4.57), part portentous Bruckner
(1.32) and part Sibelius (3.20). Much
brilliant use is made of solo woodwind
lines throughout. The piece ends majestically
and with magnificent brass-emphasised
affirmation. It is dedicated to Hans
Richter.
His 1910 Berceuse
Elégiaque has that mesmerising
concentration of vision that also characterises
the Nocturne Symphonique and
the Sarabande and Cortège
on Capriccio 10 479. It is an ‘In
Memoriam’ to his mother and is clearly
very deeply felt. Its gloomy mien is
lightened by typically tender writing
for solo wind instruments, by a long-limbed
theme for the violins (3.23) and by
a rocking motif that closely parallels
the opening of Rachmaninov's Isle
of the Dead. Its wondering mood
and drift towards Scriabin's extreme
style is rather in keeping with the
fact that it was the ailing Mahler who
conducted the premiere in New York on
21 February 1912. It was Mahler's last
public appearance.
The Gesang is
for orchestra alone. It is from the
‘Indian Diary’ and was written at the
end of 1915. This is a lively piece
moving forward at an urgent gait without
bursting into a presto. Red Indian elements
are not prominent.
As with volume 1 (conducted
by Gerd Albrecht) this CD carries exemplary
documentation from Reinhard Ermen -
translated by Lionel Salter. The chronology
sets these works well in biographical
context.
The performances here
are once again superbly realised and
recorded.
Rob Barnett
Berlin Radio Symphony Orchestra/Arturo Tamayo
