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Ansermet's Prokofiev never attained the recognition enjoyed by his Tchaikovsky. Why may that be? Ernest Ansermet (1883-1969) had nearly fifty years of relationship with the Swiss Radio Orchestra (1918-1967). Despite this his complete Decca Prokofiev can be counted on the fingers on both hands. Decca's Eloquence Ansermet Legacy series has made efforts to revive these for those who missed them during the LP era. These include volcanic interpretations of the composer's Violin Concerto Nos. 1 and 2 and the Piano Concerto No.3. There were made with violinist Ruggiero Ricci from May 1958 and pianist Julius Katchen from October 1953, respectively. They are on Eloquence 4800837 (tbr). There are also selected Ballet Suites from Prokofiev's music for the stage (Eloquence 4800830) as well as the Symphonies presented on these recordings. In this latter, one catches something of the depth and breadth of Ansermet's artistry. Moreover, an ever so wise decision from Eloquence has enabled listeners to have a comparative listening of two versions of Prokofiev's 'Classical' Symphony under Ansermet's direction - first, a 1953 Paris Conservatoire Orchestra (PCO) interpretation, followed by a 1961 stereo performance with the Swiss Radio Orchestra (OSR). Importantly, both the PCO 'Classical' Symphony performance with the OSR Symphony No.6 appear for the first time internationally in compact disc format. These are all noteworthy as evidence of the Swiss conductor's humble commitment to illuminate and to inspire.

In his liner-notes, Raymond Tuttle claims that many conductors use the Prokofiev 'Classical' to showcase their orchestra's virtuosity. This can sometimes have repercussions that jeopardize the tempi and subject the music to unnecessary extremes. In the earlier of the two performances Ansermet presented the work with meticulous care rather than diving in with Olympian speed. In doing so, he paved the stage for the spirited humour that filled the opening Allegro. In the Larghetto, Ansermet lays bare the 'soulful calling of Prokofiev'. Although the Paris Conservatoire Orchestra has been termed a 'second-tier orchestra' its high strings, low brass and percussion have the clarity and precision we normally associate with the 'first-tier'. Ansermet's conducting has great energy, as the music pushes to the very end of the Finale with polish and personality. On the other hand, the later version with the SRO made nearly a decade later, while just as elegantly strong as the earlier version, seems far less adventurous. At times the orchestral playing sounded too rich. Nevertheless, one is rewarded at the end, where the complicated writing in the Finale's coda is performed with kinetic excitement. 
The Prokofiev Symphony No.5 recorded here comes from the late years of Ansermet's tenure. It features an increased intensity and greater emphasis on colour and ensemble clarity. Take the second and fourth movements as examples. Here Ansermet limns in the many details with exceptional clarity; from the string tremolos of the Adagio to the big sound of the central climax in the Vivace. Yet, such effects were perhaps what Tuttle rightfully describes as a combined 'penchant for motoric rhythms and primitivism'. Like the Prokofiev First Symphony, the Fifth is one of those conductor-proof pieces. Ansermet may not have the qualities innate in Valery Gergiev or Vladimir Jurowski, but his measured refinement is convincing in its own right.

The Symphony No.6 composed shortly after the Second World War belongs in a class of its own in the Prokofiev Symphonies. The gradual build-up that Ansermet prepares early on is effective in setting the so-called 'dramatic stage'. The music rises quickly to a crash, only to rebuild again slowly until the music ends in withering quiet. The middle movements are superbly played; the menacing chords of the beginning set the mood for the sorrowful theme, while the Finale is a celebrates temperament and fear.

If the Ansermet-Prokofiev link has never crossed your mind - think again! This set can make converts of unbelievers and with the other two Eloquence titles in this series the converted will become preachers.

Patrick P.L. Lam 

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