This is the final volume of what has become a five
CD survey of Witold Lutoslawski’s music, witness to an increasingly
confusing system as it is marked as volume six of Chandos’s Polish
Music series; the unaccounted fifth Lutoslawski volume being that with
his vocal music (see
review),
so falling outside the numbered canon of orchestral volumes, and volume
five of the Polish set being one with works by Szymanowski (see
review).
With this being Lutoslawski’s centennial it has to be expected
that the classical labels will bring out come celebratory releases.
I happened to have the two CD set from Sony Classical 88765440832 which
brings Esa-Pekka Salonen’s Los Angeles symphonic cycle to a conclusion
with a new recording of the
Symphony No. 1. This is a very good
recording and performance with some elements of added excitement over
Edward Gardner’s BBC Symphony Orchestra recording, but in the
end I do have to come down on the side of Gardner. Lutoslawski’s
Symphony No. 1 is a relatively up-beat work, which might be something
of a surprise considering what was happening in Poland at the time of
its composition. Gardner might be a little less wild and edgy in the
outer movements, but his ear for detail, a feature of all these Chandos
releases, brings out colours and associations which you might have missed
in other versions. There are a myriad of allusions in this work, some
possibly unconscious, others perhaps deliberate, but you can spot the
lush romanticism of Szymanowski amongst the chill of Bartók in
the second movement, the elegant neo-classicism of Stravinsky amidst
the punchy narrative of the
Allegretto misterioso and perhaps
the narrative pace of Prokofiev in the final
Allegro vivace.
No, this symphony is not a patchwork of external influences, but with
such a rich tapestry of orchestration and an intense musical ride on
top of a superbly designed tonal torpedo it is inevitable that we’re
going to pick up all kinds of little flags on the way, and Gardner waves
them all like the expert puppet-master he has proved himself to be.
This is as vibrant and engaging a performance of this symphony as I
have ever heard on record, so we’re off to a good start.
Any recording of the
Partita has to go up against that of Anne-Sophie
Mutter on Deutsche Grammophon, conducted by the composer. The timings
for this compared to Tasmin Little and Gardner are as close as makes
no difference, and in another keenly observed performance I have to
say I’m not entirely sure if this is heresy, but I think I prefer
this Chandos recording. The DG ‘original’ is a classic of
course, but this team has a way of giving the music some extra oomph
which makes it even more impressive. Little’s little glissandi
and her dynamic expression give the piece a motivating drive which is
quite compelling, and the orchestral support is a music-for-musicians
feast of refined style and quiet energy - contrasts of dark and light
creating an acute sense of mystery and at times cinematic drama. A similar
story could be woven around this recording of
Chain 2. The timings
are a touch longer here and there in this case, but with a score riddled
with markings of
Ad libitum this is perhaps more to be expected.
Again, Tasmin Little is urgent and emotionally engaged with the piece
from beginning to end, linked inextricably to striking moments of orchestral
beauty which can bring you to your knees, or sections with violence
which can have you cowering into your comfy club-style armchair. Mutter
is somewhat more
parlando in her approach to this score, but
Little is every bit as communicative, creating for instance a genuine
sense of tragic lament in the initial stages of the second
Ad libitum,
and responding with fearsome technique to the demands of a remarkably
intense work.
To my ears this performance generates a closer synergy
between soloist and orchestra, and therefore creating a more satisfying
musical experience. The
Partita and
Chain 2 were also
part of Lutoslawski’s final concert by the way, released by Naxos
and also worth having in its own right (see
review),
though not as a first choice.
After all that gripping
furioso violin we deserve a bit of a
break, and the
Dance Preludes with their folk-style derivations
deliver. These pieces are of course deceptive in their sprightly rhythmic
and melodic charm, and if you can listen between the barlines there
is plenty of toughness, turbulence and tragedy to be found. Michael
Collins is soloist par excellence, extracting all of the wit and pungency
from these tremendous little masterpieces. Picking out the Antoni Wit
Naxos alternative (see
review),
you can hear how important the soloist’s colour is in the communication
of the light and joy in these pieces - Zbigniew Kaleta is very good,
but his less perky tone can’t lift the opening
Allegro molto
in the way Collins does, and there is a deal less contrast further on
as well - it’s all a bit gloomy with Wit’s team, where the
BBC/Collins alliance generate another highly satisfying roller-coaster
ride full of character and zing.
With this release, Chandos and Edward Gardner can look back on a series
of recordings which has to be considered a worthy new reference in some
of the best music the 20
th century has to offer. Each new
Lutoslawski release has been a highlight over the last few years, and
this volume is every bit up to standard. The SACD and stereo sound layers
are both rich, full and detailed, delivering plenty of the sonic spectra
demanded of these pieces, from the spectacular
First Symphony
to the atmospheres and subtle brushstrokes of the
Partita and
Chain 2. Balance between soloists and orchestra is realistic,
and I have no complaints … other than this being the last one.
Dominy Clements
[71:02] 
