MusicWeb International One of the most grown-up review sites around

2021
56,451 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 







Acte Prealable Polish CDs

Presto Music CD retailer

International mailing


 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

 

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews


TROUBADISC
Troubadisc Weinberg- TROCD01450

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas
All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews

Jonny-Bradley-handmade-knives
Johnny Bradley
Handmade Kitchen Knives

 


 


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

 

Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Loughton
Essex IG10 3QB
United Kingdom

jonathan_woolf@yahoo.co.uk


 


Support us financially by purchasing this from

Mariss Jansons (conductor)
His Last Concert – Live at Carnegie Hall

Richard STRAUSS (1864-1949)
Four Symphonic Interludes from Intermezzo, Op. 72, TrV 246a (1919-23) [23:43]
Johannes BRAHMS (1833-1897)
Symphony No. 4 in E minor, Op. 98 (1885) [43:00]
Encore: Hungarian Dance No. 5 in G Minor (orchestrated by Albert Parlow) [5:33]
Symphonieorchester des Bayerischen Rundfunks
rec. live, 8th November 2019, Carnegie Hall, New York City
BR KLASSIK 900192 [72:20]

I refer you to Michael Cookson’s review of this same disc for background information regarding the late Mariss Jansons, the music he conducts here and the concert from which this issue is derived.

It was Jansons’ last public appearance and features both music and an orchestra with which he had a special affinity. The venue was Carnegie Hall and the sound is rich, warm and full, largely distraction-free apart from the occasional cough and the faint intrusion in the background of wailing sirens. Enthusiastic applause is retained to maintain the live concert atmosphere.

The four symphonic Interludes from Intermezzo, played as a concert suite, are not programmed as often as Strauss’ more celebrated orchestral works and they are not perhaps among his finest music but they bear all the hallmarks of Strauss’ distinctive style and are especially reminiscent of the incidental music or suites from Der Rosenkavalier, his greatest success. It is music very varied in mood from the tender and reflective to the upbeat and boisterous; my own point of comparison happens to be Jeffrey Tate’s recording of the suite in the early 90’s in Rotterdam on EMI which I find to be rather more energised in the two outer movements and to have more Innigkeit in the slow central two. Despite their function as music to introduce, elaborate and intensify the action of the opera, these four intermezzi can just as easily be appreciated as “absolute” rather than “programmatic” music and for me, Tate’s studio account is more absorbing and animated than Jansons’ live performance here.

There is of course extensive competition in the catalogue for Brahms’ grand, gloomy Fourth Symphony, especially from Furtwängler, Karajan, Klemperer, Levine and, more recently, Thielemann. I would not say that there is anything especially gripping about Jansons’ account, but everything about it is weighty and assured with prominent timpani even if not all is perfection, technically: there are a couple of horn bloopers but generally, of course, this is one of the world’s great orchestras. Janson’s relaxed manner means that for me, some of the tension and intensity of the music is sacrificed to creating a mighty, monolithic but rather static impression. However, the Allegro third movement is certainly giocoso and lively enough and Jansons makes the variations of the mighty Passacaglia fourth movement the cumulative and compelling climax they should be.

The opening of the Hungarian Dance encore is warmly applauded and delivers a welcome injection of high spirits and swooning schmaltz to send the audience out into a cold night with a glow in their hearts.

While this is a most enjoyable programme, especially the Brahms symphony, to hear Jansons at his very best, I would turn to the recent issue of his Bruckner symphonies I reviewed here or if you specifically want to hear him excel in Strauss’ music, I recommend this recording which I reviewed back in March 2017.

Ralph Moore

Previous review: Michael Cookson

 

 



Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

Eloquence recordings
All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Recordings of the Month

December
(short month)


Orphic Moments


Metamorphoses Books I & II

November


Donizetti - Le Convenienze ed Inconvenienze Teatrali


Chamber Symphonies 2 & 4


French Cello Concertos

 

October


Shostakovich