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Julius RÖNTGEN (1855-1932)
Symphony No. 10 in D Walzersymphonie (1930) [9:48]
Symphonietta Humoristica (1922) [17:24]
Three Preludes and Fugues [18:08]
Suite – Oud-Nederland
[9:48]
Deutsche Staatsphilharmonie Rheinland-Pfalz/David Porcelijn
rec. Ludwigshafen, Philharmonie, 27-31 March 2007. DDD
CPO 777308-2
[63:19]  |
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Friend of Brahms and Grieg, Röntgen was a pupil of Lachner. He
wrote eighteen symphonies of which the Seventh was championed
by Tovey in Edinburgh in 1930 and the Eighth by Schuricht in Scheveningen
in 1931. CPO, with inspiring confidence, plan to record all of
them with the redoubtable and versatile David Porcelijn. It was
not all that long ago that Porcelijn was conducting the symphonies
and overtures of John Veale on BBC Radio 3.
CPO's presentation of the Austrian composer
Joseph Marx has contrasted the lighter effusions with the more
saturated lyrical and epic works. The present Röntgen disc pits
a jollier and undemanding manner against the earnest and deeply
satisfying lyricism and mastery of the Dutch composer’s Faust and
Symphony
No. 3. Yes there is a symphony here but it is a poetic
romp of a waltz symphony. It's romantic and seems to step out
from the delightful innocence of Schubert's first two symphonies
pausing only for a nod of respect towards Franz Schmidt's Husarenlied
Variations. The Sinfonietta Humoristica is memorable
among other things for its romping brass and accessible chummy
manner. It's like a slightly more blatant and brassy version
of Prokofiev's Classical Symphony. At other moments you
might crudely describe the music as early Richard Strauss out
of Haydn in cassation mode. The Three Preludes and Fugues
and the Oud-Nederland suite variously move between
lovingly dainty, trudging and plunging endeavour, quietly adumbrated
silvery violins and delicate and intricate fugal figures pecked
out in pewter and silk. At times the horn-writing recalls the
sour yet almost self-effacing tragedy of the trumpet line at
the start of Schmidt's Fourth Symphony. There is time however
for a Röntgen to recover himself for a bluff and almost Hungarian
strut and a lovingly shaped French horn solo set amid a canvas
worthy of caramel-smooth Bach transcription.
The lighter Röntgen here counterbalances
his grander romantic tendencies. It’s like comparing Le Bourgeois
Gentilhomme music to Rosenkavalier.
Rob Barnett
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