The Austrian composer, teacher, organist and conductor, Robert Fuchs (1847-1927) studied at the
Vienna Conservatory with Felix Otto Dessoff (1835-1892) and Joseph
Hellmesberger (1855-1907). He went on to be a professor at the Conservatory
where his pupils were Gustav Mahler (1860-1911), Jean Sibelius (1865-1957), Franz
Schreker (1878-1934), Hugo Wolf (1860- 1903) and Alexander von Zemlinsky (1871-1942).
His compositions include operas and choral works, chamber and instrumental
works as well as orchestral works that include three symphonies
A new release from
CPO www.jpc.de/jpcng/cpo/home
features the WDR Sinfonieorchester Köln
www.wdrso.de conducted
by Karl Heinz-Steffens www.camimusic.com/karl-heinz-steffens
in
Fuchs’ Symphonies 1 and 2.
 |
| 777 830-2 |
777 830-2
No less a figure than Johannes Brahms thought highly of
Fuchs music, especially his Symphony
No.1 in C major, Op. 37. In four movements, the Allegro molto moderato opens with shimmering strings that are
almost immediately overlaid by a fine flowing theme. The music soon rises in
strength finding a short climax before moving through passages that are
beautifully shaped by this conductor and orchestra, controlling all the little
rises and falls in dynamics, finding a terrific sweep. There is sometimes, not
surprisingly, a rather Viennese melodic feel with some lovely woodwind passages
before the music rises again to a short climax before resuming its flow. This
orchestra certainly do a fine job of tautly and smoothly negotiating all the
little details before heading to a rather Brahmsian passage that leads to the
resolute coda.
The WDR Sinfonieorchester Koln brings some lovely
transparent textures to the Intermezzo:
Presto rising through some dramatic passages without ever losing fluency
and fine textures. There are some beautifully done little woodwind phrases and
details in this particularly fine movement.
The Grazioso, ma molto
lento, quasi adagio brings a lovely mellifluous melody, beautifully blended
across the strings and woodwind creating lovely harmonies and textures. There
is a faster section before the music finds a slightly darker tone as the music
slows before subtly lightening and weaving its way forward. There is a quite
lovely build up to the gentle coda, wonderfully shaped.
In the Finale: Allegro
giusto the upper strings bring a lively theme that is shared around the orchestra,
rising in strength before introducing more incisive phrases. Soon a light-hearted,
fast moving buoyant version arrives before moving through quieter moments with lovely
textures. There are moments that hint at Schumann and Brahms yet Fuchs still
manages to keep his own voice as the buoyancy picks up. I even thought I heard
a hint of Grieg before the coda arrives.
Brass sound out quickly to introduce the Allegro moderato, ma energico of the Symphony No.2 in E flat major, Op. 45, the
whole orchestra soon joining in this rousing theme. Very soon a quieter section
appears as a flowing theme progresses bringing many lovely little instrumental
moments. The opening is repeated before slowly reducing in dynamics through passages
of rich, finely blended textures. There are more lovely little woodwind details
before a lovely little rhythmic motif appears. The music rises confidently with
the opening statement sounding out again through passages of incisive,
sometimes Brahmsian ideas, through some particularly fine passages and dramatic
surges. The opening sequence occurs again before the music weaves its way to a
fine coda, leaving one humming the main theme. This movement weaves an
impressive tapestry of ideas out of the opening material.
The Andante has a
rhythmic theme that I thought, initially, was leading into a familiar Brahmsian
melody, but soon finds its own delightful way with a lovely central flowing
section.
The WDR Sinfonieorchester brings a lovely lilt to the Menuetto: Allegretto grazioso, a most
attractive movement that flows through passages of fine invention, beautifully
orchestrated. Later the music picks up a pace, with timpani, to bounce ahead in
a very fine rhythmic trio section, another memorable theme, before some
beautifully shaped phrases lead to the gentle coda.
In the Finale: Allegro
giusto a string motif leads quickly to a spry rhythmic theme for orchestra
who soon find a greater flow with a lovely rubato, leading through passages of
varying dynamics, finding much spirited variety before leading to an
unexpectedly sudden, decisive coda.
Karl Heinz-Steffens and the WDR Sinfonieorchester Koln are
terrific advocates of this music that has memorable themes and a myriad of
attractive ideas.
They receive an excellent recording from the Philharmonie, Köln, Germany and there are excellent
booklet notes.
No comments:
Post a Comment