Karl WEIGL (1881-1949)
Symphony No.4 in F minor, (1936) [37.21]
Symphony No.6 in A minor, (1947) [35.02]
Deutsche Staatsphilharmonie Rheinland-Pfalz/Jürgen Bruns
rec. 2019, Philharmonie, Ludwigshafen, Germany
CAPRICCIO C5385 [72.23]
Capriccio has shown quite a commitment to the symphonies and other works of Weigl and are to be thanked for bringing his work to a wider public. This new instalment, including the World Premiere recording of Symphony No. 4, will give much pleasure, while partly explaining the composer’s relative obscurity.
Weigl was born to a banking family in Vienna, studying as a private pupil with Zemlinsky. More formal tuition at the Vienna Music Academy and the University of Vienna followed, where he was a pupil of Paul Fuchs, with Anton Webern as a classmate. His only opera, Der Rattenfänger von Hameln, was performed in Vienna in 1932. He emigrated to America after the Anschluss, gradually resuming his teaching career (he had taught at the New Vienna Conservatory and from 1929 at Vienna University, succeeding Hans Gál), first at Hartt School of Music, then Brooklyn College and from 1948 at the Philadelphia Musical Academy. He often appeared as a pianist, whether as soloist or playing four-handed with his wife Vally (née Pick), herself a composer and a major figure in the development of music therapy.
Symphony No.4 was never played in Weigl’s lifetime – this recording is its first performance anywhere. The opening suggests that it occupies a post-Webern world but it quickly settles into a more conservative style. There are traces of Strauss in the approach to orchestration and the working out of themes. Across the three movements there are suggestions of the jolly and carefree, but jagged interventions suggest the influence of the dark times of 1936. The three movements tell of technical accomplishment and a fine ear for the capacities of the modern symphony orchestra. The question for the listener is how distinctive the composer’s voice is in cutting through the range of influences. There are passages in the first movement reminiscent of the use of woodwinds in the finale of Bruckner’s 5th Symphony, elsewhere hints of Mahler and Zemlinsky. The scherzo of the second movement, with its twittering woodwind, is perhaps more distinctive: orchestration is masterfully handled. The final adagio has distinctive features, including some ‘big tunes’, moments of relative serenity, others quite joyful. The conclusion is striking indeed as the orchestra build to a conclusion. Some sections are Mahlerian in the changes from full orchestra to a few exposed instruments, and emotions range from the slightly melancholic, through patches of serenity, to a gentle and dignified conclusion. Well worth hearing.
Symphony No.6 is a post-war piece, not autobiographical in intent, in late Romantic language. Hints of both Strauss and Bruckner are present. The opening Andante mosso has moments of eloquent yearning but also hints of gloom. In parts it seemed to me to meander, but it has distinct merits as themes become more emphatic. The second movement is marked Allegro, and is distinctly Straussian, by turns quite playful, a little melancholy, lyrical and finally hectic. Essentially a Scherzo, it is attractive and continually interesting. The Adagio – here placed third of four – has the character of a song without words. The drama is restrained, the effects quite subtle; the overall effect is very lyrical, but not perhaps distinctive, for all its lovely moments. The finale is fairly conventional, beginning with a trumpet signal, before extended conflicted passages. Pace gradually picks up leading to a more optimistic if still ambiguous conclusion.
Performances are good, though occasional longueurs suggest carefulness rather than confidence. There is some depth to the recording, opening out some occasionally dense textures. Christian Heindl’s notes are informative, and one senses the odd moment of special pleading.
Michael Wilkinson
