This is the first release
in a complete series of Brahms symphonies
to be conducted by Marin Alsop. So far,
her recordings seem to have mostly concentrated
on music from her native America (for
example, the excellent Barber series
for Naxos) but here she tackles the
mainstream central European tradition,
and there is an awful lot of competition.
I can hear some people
yawning already and others saying that
we don’t need more recordings of Brahms
symphonies. Well, there’s no doubt that
this is going to have to be "top-notch"
to be competitive. Even the usual price
advantage with Naxos is missing – Brahms
from the greats of the past is available
cheaply (as two or three disc sets)
and Bernard Haitink’s highly recommendable
series for LSO Live is about to be completed
with individual discs that cost the
same.
Alsop’s approach to
the first symphony is lyrical and passionate
rather than stoic or grand. The effect
is to place the work as a closer sibling
of the 2nd symphony and perhaps
to lessen the idea that it is Beethoven’s
10th. I think it works well
and liked it a lot. She is saying something
new (at least to me) about the music
which is perfectly valid and takes no
liberties with the score. Alsop plays
the exposition repeat in the first movement
and her control of transitions and structures
here is excellent ... and indeed throughout.
The E major slow movement is both sunny
and passionate with beautiful woodwinds
and a characterful violin solo. Alsop
plays it as slowly as is compatible
with the marked andante and this is
a wonderful rendition. Plenty of character
is also evident in the intermezzo-like
third movement but it is in the finale
that biggest challenges lie. The slow
introduction is notable for wide dynamic
contrasts – very soft pizzicatos and
loud passionate flutes which echo the
horn call (a striking effect which is
marked in the score but often underplayed).
The tempo for the big tune is on the
slow side but Alsop justifies it well.
At the very end she ratchets up the
tension to achieve a satisfying conclusion.
Both overtures are
also very well played and I particularly
enjoyed the Academic Festival
Overture, in which there is an
ever-present sense of fun. Although
one can easily re-programme the order,
placing these before the symphony would
have seemed more logical - who wants
to listen to an overture a few seconds
after the end of Brahms’s 1st?
The playing of the
London Philharmonic on this disc is
first-rate and they get recorded sound
to match. Balance is nigh on perfect
and perspectives natural, this is in
the demonstration bracket. So, all round,
the disc is a substantial success, my
only qualification being that it is
not for those who want a "massive"
approach to this symphony. But how does
it rate with the competition?
There have been many
great recordings of Brahms symphonies
and those who love this music will probably
want to hear (or already have) readings
by the likes of Toscanini, Klemperer
and Walter from the 1950s or, more recently,
Sanderling, Boult, Karajan and Wand.
I haven’t yet made any comparisons with
such versions because, to my mind, the
real competition is from Bernard Haitink’s
cycle with the London Symphony Orchestra.
His 1st was recorded at the
Barbican in May 2003 (LSO Live 0045).
Two London orchestras, one recorded
live the other not. Bernard Haitink,
a doyen conductor on his third recording
versus Marin Alsop, the newcomer. Some
may have allegiances to either orchestra
or conductor which are akin to supporting
a football team, or may prefer or dislike
live recordings but, if it’s all down
to interpretation, which do you go for?
My view is that Alsop is fresher and
says something about the work that will
both interest those who know it well
and yet still be a good starting point
for those who don’t. I should add that
Haitink is also excellent (though surprisingly
his approach here sometimes reminded
me of Klemperer) but his reading is
quite different – very much the stoic
and grand. This has little to do with
tempi - overall movement timings are
almost identical when Haitink’s omission
of the 1st movement repeat
is taken into account (and ignoring
the erroneous timing for that movement
given in the LSO Live booklet).
I would also favour
Alsop’s recorded sound over Haitink
(in part, probably a question of venue)
and, whereas both play the Tragic
Overture, she adds a second work
- the Academic Festival Overture.
This seems to be a less common coupling
for the symphonies but I can’t understand
why – it’s delightful. Endeavouring
to adopt the position of unbiased referee
(and preparing to be shot down by pundits
with slow motion replays), I’d say it
is 1-0 to Alsop at the moment but we’re
only midway through the first half.
We already know that Haitink has a couple
of good goal attempts up his sleeve
with versions of the 2nd
and 3rd Symphonies that are
both very fine and have excellent couplings
(the Double Concerto and Second Serenade
respectively). So, it’s not over yet
but Marin Alsop’s Brahms series has
got off to an excellent start. I shall
await the next instalment will great
anticipation. Newcomers to the work
will do well to start here, old hands
are advised to avoid any temptation
to yawn and get listening – this is
indeed "top-notch".
Patrick C Waller
see reviews By
Paul
Shoemaker, Colin
Clarke and Peter
Lawson
London Philharmonic Orchestra/Marin Alsop
