2006 marks the sesquicentenary
of Schumann’s death. Perhaps in
recognition of this Regis have issued
this impressive, imaginative reading
by a less celebrated conductor who can
easily stand comparison with any A-list
conductors.
The
most interesting item in this programme is Joeres’ world
premiere recording of Tchaikovsky’s orchestrations of the
final two parts of Schumann’s
Etudes Symphoniques Op.
13. These, so faithful to Schumann’s style, if a little more
colourful, were student exercises for Tchaikovsky. The lovely
but brief
Adagio is wistful and a little mysterious;
the
Allegro brillante bustling and joyous. Its fresh,
out-of-doors spirit is very much akin to that of the composer’s
Overture,
Scherzo and Finale Op. 52. Of the recording here the
Overture moves
eloquently through its dappled sunshine. Its phrasing is
elegant, its rhythms springy. Joeres’ carefree
Scherzo
vivo canters away blissfully while his Finale -
Allegro
molto vivace, after its portentous opening bars,
scurries merrily away before the entry of Schumann’s sublime
lyrical melody.
The
main item in the programme, Schumann’s warmest, five-movement
Rhenish Symphony
has some three dozen recordings currently listed in the catalogues.
This exultant reading by Joeres can hold its own with the
best of them (see below for recent reviews of other recordings
of the symphony). His exciting vision is as fresh as springtime
leaves. In the
outer movements
it
is
so spontaneous-sounding,
the music pointed so infectiously, the rhythms springy, the
phrasing rapt and there is just the right amount of joyous
abandon. The brass chorales and fanfares sounding across
the stage are, especially in the coda of the concluding movement,
quite thrilling. In between, the broad rhythms of the rather
solemn, second, scherzo movement suggest the pitching and
rolling of a mighty river. The lighter tripping measures
might depict, as James Murray’s notes suggest, a pleasant
river-boat trip and vintage festivities. The lovely slow
movement’s coy tenderness is nicely caught. It contrasts
with the solemn dignity of the fourth movement inspired by
the celebrations surrounding the appointment of the Archbishop
of Cologne to the rank of Cardinal. In fact Schumann is said
to have received his first inspiration for this Symphony
by the sight of Cologne Cathedral.
Fresh
invigorating readings that can hold their own with the best
in a crowded list of competitive recordings.
Ian Lace
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Royal Philharmonic
Orchestra/Dirk Joeres 
