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Franz von SUPPÉ (1819-1895)
Overture to Leichte Kavallerie (1866) [6:33]
Overture to Boccaccio (1879) [6:51]
Boccaccio-Marsch (1879) [2:36]
Overture to Pique Dame (1864) [6:45]
Humoristische Variationen (1848) [5:46]
Overture to Dichter und Bauer (1846) [9:26]
Marziale nach Motiven aus der Operette Fatinitza (1876) [4:24]
Overture to Das Modell (1895) [6:35]
Uber Berg, uber Thal (date uncertain) [2:35]
Overture to Die schöne Galathee (1865) [6:51]
Juanita-Marsch (1880) [4:39]
Overture to Ein Morgen, ein Mittag und ein Abend in Wien (1844) [8:08]
Royal Scottish National Orchestra/Neeme Järvi
rec. Royal Concert Hall, Glasgow, 17-18 April 2012.
CHANDOS CHSA 5110 [79:42]

Collections of Suppé Overtures have been a staple of the catalogues since the introduction of LPs. Solti recorded one in 1951 in one of his earliest recordings with the London Philharmonic Orchestra, and distinguished discs by Barbirolli and Karajan are still worth hearing. There are also numerous recordings of individual Overtures and at the other extreme a Marco Polo set of all of the composer’s Overtures. To be a success a new disc needs to have some special qualities to distinguish it from its predecessors. Here those particular qualities are an interesting choice of contents and a splendidly clear and forward recording. All the expected favourites are here - (in translation) Light Cavalry, The Queen of Spades, Poet and Peasant, The Beautiful Galatea and Morning, Noon and Night in Vienna - together with the less frequently played Boccaccio, The Model, Isabella and also several Marches and other short pieces. It makes for an entertaining collection, albeit one that is best not played as a whole.
 
The performances are always alert, sharply focused and carefully balanced, with tempi well chosen. I do however sense a lack of the kind of commitment and sharpness of characterisation that is found in the best of earlier discs of this material. There is never any doubt about the accuracy or precision of the playing but somehow it seems somewhat impersonal for much of the time.
 
I should however qualify this by saying that this is very much my own reaction. Others to whom I have played it have enjoyed it much more, and I would not wish to exaggerate my concerns. It is certainly a well chosen, well recorded and well annotated collection, played with enviable precision, and as such it is a welcome addition to the catalogue even if you were to share my views.  

John Sheppard
 

see also review by Rob Barnett

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