Well quite frankly it sweeps the board with performances and
recordings that are quite exceptional.
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| C878 141A |
The City of Birmingham Symphony Orchestra has been extremely
lucky in its choice of conductor with, of course, Sir Simon Rattle directing
them for many years, before Sakari Oramo took over followed by Andris Nelsons in
2007.
Strauss’ Also sprach
Zarathustra, Op.30 (Thus Spoke Zarathustra) is subtitled Tondichtung frei nach Friedrich Nietzsche
fur großes Orchester or Freely after
Friedrich Nietzsche for large orchestra and was inspired by Friedrich
Nietzsche's philosophical novel of the same name.
The famous opening of the Introduktion has all the drama and impact one could want, with the City
of Birmingham Symphony Orchestra timpani giving it all they’ve got and the
Symphony Hall organ sounding brilliantly through. Von den Hinterweltlern (Of the backworldsmen) is not rushed,
allowing all the fine string textures to emerge. The music receives an enormous
breadth and detail with Strauss’ little orchestral details showing through.
Each little change of tempo and feel is expertly done in Van der großen Sehnsucht (Of the great longing), with the organ
taking its rightful part in this finely balanced recording. The surges in
dynamics and tempo sound so right.
Von den Freuden und
Leidenschaften (Of the joys and passions) has all the forward, unstoppable
quality needed, a terrific swirl of orchestral sound that is quite irresistible.
The woodwind of the CBSO are terrific in Das
Grablied (The funeral song) with a fine contribution from the leader of the
CBSO (who is not credited but is presumably Laurence Jackson). The rich, low
basses are terrific in Von der
Wissenschaft (Of science) enhanced by the fine acoustic of Symphony Hall
and this fine recording, as the orchestra slowly heaves itself up from the
depths, so finely judged by Nelsons, before leaping into the upper strings, is full
of life with some terrific woodwind passages.
When the opening theme returns thunderously in Der Genesende (The Convalescent) it is
a wonderful moment. All Strauss’ tapestry of wind sounds, later on in this
section, are done with such virtuosity and clarity with every detail sounding
through. Das Tanzlied (The Dance
Song) brings more fine playing from the leader as Nelsons brings a lovely light
touch, full of Viennese charm. I don’t think I’ve heard this played with such
dash and flair for a long time. There is a lovely passage for oboe and solo
violin before the fine strings of the
CBSO lead on in a beautifully done culmination for orchestra, magnificently
done and quite thrilling and leading to a lovely Das Nachtwandlerlied (Song of the Night Wanderer), so sensitively
done as the music drops to its hushed coda.
Don Juan, Op.20 has
a glorious opening full of energy with Nelsons never holding back, hurtling forward.
Lovely sonorities appear and, again, the leader provides some lovely solo
playing before the second subject, a glorious romantic theme. There is terrific
weight to the orchestra in the surges of orchestral drama and some lovely wind
passages. Nelsons controls the dynamics beautifully with some fine hushed
orchestral playing. The horns triumphantly announce the main theme before
dashing forward to a glorious climax with the CBSO full of swagger, bringing
out all of Strauss’ richly orchestrated melody leading to the hushed death of
the Don.
From the lilting opening of Til Eulenspiegels lustige Streiche, Op.28, this is a brilliantly
taut performance showing the fine ensemble of the CBSO in Nelsons’ hands. There
are some terrific instrumental flourishes in the sudden outburst a few minutes
into the piece and, later, some extremely fine solo playing from the leader.
Nelsons brings a drama to this tone poem that points up so much, especially in
this superb recording. How Nelsons quickly turns the music into a jolly tune
then suddenly back to a thoughtful, quiet section is superbly judged. There is
spectacularly fine playing from the CBSO as the work progresses with so many
fine points before Til also meets his end with a terrific final flourish.
What more can I say? This is as fine a release for Strauss’
150th anniversary as any you’ll likely to hear. The City of
Birmingham Symphony Orchestra is an orchestra at the top of its form. As I have
already mentioned the recording from Symphony Hall, Birmingham, England is
spectacularly good and there are informative booklet notes.
Don’t miss this terrific disc.
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