Sterling continue to
pick off the gaps in the catalogue.
Here they tackle two Dutch symphonies
of the classical-romantic persuasion.
We know of Zweers from
his Second (1876) and Third (1887-89)
symphonies. Sterling’s recording of
the Second received a mixed reception
here: http://www.musicweb-international.com/classrev/2004/Nov04/zweers.htm
and http://www.musicweb-international.com//classrev/2004/Dec04/zweers.htm
Bernard Zweers came
of modest stock - the son of an Amsterdam
book and music shopkeeper. After overcoming
family opposition he studied music with
Jadassohn in Leipzig (1881-83). From
1895 to 1922 he was head of the Amsterdam
Conservatory and a revered teacher to
several generations of Dutch composers.
Zweers’ First Symphony
came from the same year as Richard Strauss’s
Violin Concerto, Glazunov’s First Symphony,
Bruckner’s Sixth Symphony and Bruch’s
Kol Nidrei. It is a backward-looking
work with a Haydn-like zest and sturdy
charm. For much of the time it reminded
me very agreeably of Beethoven’s Fourth
and Eighth Symphonies, occasionally
with a light Brahmsian accent. Zweers’
writing is athletic and masterfully
orchestrated. Spanjaard and the orchestra
revel in its clean textures and joy
in living.
Before this disc I
had not heard of Daniël de Lange.
Unlike Zweers he came of a musically
sympathetic family. He studied cello
in Brussels and then toured Europe from
1858. He worked in the turbulent musical
milieu of Paris (1864-1870) where he
met the leading musicians of the day.
Amongst his contacts was Massenet to
whom he dedicated his First Symphony.
The de Lange First
Symphony dates from the year in which
Bruch wrote his First Violin Concerto
and Saint-Saëns his Second Piano
Concerto. Like the Zweers it is in four
movements. This is a much more dramatic
work than the more Beethovenian Zweers
although the second movement is a closer
classical match. It is given a stirringly
emphatic performance. Just listen to
the slightly overdone - by de Lange
not Halstead - repetitive vehemence
of the first movement. That slow movement
(tr. 6) moves pleasingly between the
poles of Mozart and Grieg. The Scherzo
skips resoundingly along being redolent
of Goldmark (Rustic Wedding)
and Bizet (Symphony in C). It is prone
to the composer’s slight weakness for
repetitive rhythmic emphasis but as
if to compensate there is some memorable
writing for woodwind. Like the first
movement the finale is an Allegro
Moderato and rather a good one once
it gets under way. It makes play with
Dutch folk songs although their use
is not intrusive nor do they seem artificially
grafted on. Towards the end of the movement
there is some really fiery tempestuous
writing. The main theme is regal, sanguine
and life-enhancing (tr. 8, 5:05) even
if that theme does recall Rimsky’s Russian
Easter Festival hymn.
The excellently supportive
notes are by Ilja Nieuwland.
The recording quality
is extremely good effectively silencing
any concerns. The two recording venues
make for sonorous results. If anything
the Zweers sounds slightly more impressive
than the de Lange which may be because
of the latter’s thicker textures especially
in the more majestic moments.
This makes for a fascinating
whistle-stop tour of the classical-romantic
symphonic voice in the Netherlands.
Richly enjoyable.
Rob Barnett
Netherlands Radio Chamber Orchestra/Ed Spanjaard
(Zweers); Anthony Halstead (de Lange) 
