The
Cincinnati Symphony was founded in 1895,
and is the fifth oldest orchestra in
the United States of America, The Cincinnati
Pops Orchestra is a direct offshoot
of the Symphony, being founded in 1977,
with Erich Kunzel as its founding and
current conductor. It is widely known,
and as the name implies was formed to
perform the more popular pieces of the
concert repertoire. Most of the members
of the orchestra also belong to the
parent body.
The
items here are mostly extracts from
longer or operatic works; I must say
at the outset that I do not like this
sort of programme of bits and pieces,
but one must assume that the record
companies find this type of presentation
profitable. Again, I assume it is aimed
at relative newcomers to classical music,
who are looking for immediately identifiable
and distinctive music. Alas, these interpretations
I am afraid will not serve to increase
their appreciation.
In virtually
all the items, I found the interpretations
bland, tending to slow tempi and without
sparkle. The orchestra play well enough
but with just that hint that even they
find this repertoire tedious. The recording
is adequate, but somewhat muted and
this adds to the feeling of ennui;
indeed I found that I needed higher
than usual volume to hear the details.
The booklet gives a sketchy outline
of the story behind the music, or its
history, but without getting to the
pith.
As a
few examples, in the Bacchanale from
Samson and Delilah the middle
section is subdued. At the end
the music is not taut enough and the
whole piece needs more atmosphere. Compare
Beecham and the Royal Philharmonic Orchestra
who are immediately more seductive and
whose recording and playing are brighter.
Beecham achieves a more Eastern sound
from the score with virtually the same
timing (EMI 567890-2). In the Pines
of the Appian Way, Kunzel is positively
pedestrian, and the weary legions plod
their way into Rome. Reiner with the
Chicago Symphony Orchestra first endows
a sense of mystery followed by a much
more threatening presence. This then
swells to a triumphant climax with a
much greater sense of pride and swagger
(RCA-BMG 09026 68079-2). The Greensleeves
fantasia is very relaxed, almost
soporific, and the Grand March from
Aida is also slow with an air
of pomposity.
In the
Debussy, the music seems without direction
and meanders. Compare this with Giulini
and the Philharmonia (EMI, alas nla)
where there is passion and purpose,
so giving the music more life. In Nimrod
the tempi are so slow and the climaxes
so drawn out that one wonders if it
will ever end. Barbirolli and the Philharmonia
were never of the quickest, but their
reading is infinitely better and over
half a minute faster at 335" (EMI
Classics 566322-2). The same criticism
can be levelled at the Roman Carnival,
again pedestrian and without any fire,
so much so that ones attention begins
to wander. Munch with the Boston Orchestra
is fully 130" quicker (RCA-BMG
09026 61400-2). That wonderfully swaggering
piece from Schwanda the Bagpiper
has completely lost its Bohemian
origins (and swagger) and again sounds
very ordinary; try Kempe with the RPO
on Testament SBT1280. The Shostakovich
is passable - just.
I am
sorry to be so negative about this selection.
Anything which encourages growth in
appreciation of classical music I would
welcome, even a collection such as this,
but one can do a lot better, particularly
at mid-price.
John
Portwood
Cincinnati Pops Orchestra/Erich Kunzel. 