Symphony Orchestra

3 Responses to “Webern: Symphony, six pieces, Concerto for nine instruments”

1. Edward Wright
   June 8th, 2010 at 1:29 pm

   Anton Webern has long been cited as one of the Bugbear of the 20th century music, his biggest complaints. With the ability to listen to live music are still relatively rare, and discography Webern Boulez still dominated by two ‘complete works’ means, it’s nice to see what’s planned launch of Naxos as a complete Webern together under one conductor (Robert Craft) with more than 50 years experience in the music of the composer.

   The first installment of the series provides a good insight into the production of Webern, eleven pieces ranging from orchestral and chamber instrumental sing – also agreed Schubert a. First, the disc was Webern Symphony. This work in two movements is certainly one of the strangest symphony repertoire – a series of delays in payments (with repeats unchanged) in the first movement and a change much more fragmented as the final set. Craft certainly gets to the point of the first movement (I always hear Mahler as a strong influence here, and I always hear music on the edge of tonality suspended), but the more abstract second part – played with great speed and efficiency – is undoubtedly the revelation here.

   The disc continues with a series of three series of short tracks, the composer’s works 16, 17 and 18. This is somehow a choice a little ‘playful, as it was in Webern’s Opus 17 songs took the serial method of composition of his teacher Schoenberg – yet without reading score is almost impossible to make a real change in the methods of Webern tell. All these songs are atonal and rather coldly expressions – they are emphatically not an easy listen, but I think that these lectures (with Jennifer Welch-Babidge end solo) makes them very attractive in comparison to performance rather serious Boulez.
   < , br /> Craft then follows this with two series of chamber music. The two movements String Trio is a well-wrought drama in miniature, in a beautiful, expressive performance. The Saxophone Quartet is about much more relaxed, and this is well compensated by the players. I am less convinced by the reading of Christopher OLDFATHER variations for piano, in my opinion, not fully project the spirit of the piece (Webern is often regarded as a musical humorist, but a representation of this work, which brings a smile listener’s face, I think missing the point). Then

   Craft returns to first atonal expressionist Webern for the next three works. The six orchestral works are perhaps the most open Mahler pieces by Webern, in particular the massive funeral march to the quarter of the pieces. Craft it well in hand here, but I heard that the projected readings greater intensity. In sharp contrast, the four pieces for violin and piano, and more introverted Three small pieces for cello and piano. These short works, often brilliantly on the edge of silence and stasis, suddenly in bloom again soon before he died, Jesse Mills and Fred Sherry do a fine job of capturing their haunting, ephemeral nature.

   It’s not quite as successful later Concerto for nine instruments. One of the most important works in the production of Webern, this is another example of the composer shows His spirit in music, in my view, despite good reading of the key slowly, this is not quite the sharpness Noodzakelijke levendige rhythmic hoek Share . < , Br />
   Finally, the trades concluded with German dances by Schubert in the orchestration of Webern in 1931. These works were rediscovered in the previous year, and Webern was commissioned to produce an orchestral version. The result can not be at the level of its outstanding orchestration of Bach’s Ricercar from Musical Offering, but it’s definitely not hack-work and is a beautiful recreation of the style of Schubert.

   The general, while not perfect, this album is still a nice collection and an economical way for newcomers to experience this extraordinary composer. Price, long admirers Webern probably find much to enjoy, particularly in the Symphony and songs.
   Rating: 4 / 5

2. Michael Eckert
   June 8th, 2010 at 2:26 pm

   Track 18, the first part of the Piano Variations, Op. 27, has an editing error. The phrase of four beats per bar, 39 m. 40/beat 1 in scoring (1:11-1: 13 on track 18) repeats verbatim 1:14 to 1:16 in the recording. This repetition does not occur in the score, where m 40/beat 3 to 41 m mm retrograde. 39 m. 40, beaten 1.
   For those interested in the Symphony, Op. 21, I recommend the CD reissue of Herbert von Karajan in 1974 recording with the Berlin Philharmonic on DGG.
   Rating: 2 / 5

3. Marcio G. Soares
   June 8th, 2010 at 3:41 pm

   I’ve been a fan of rock ‘n roll since my adolescence, but I think
   this great American invention was your cycle (1955-1985) followed. So I turned my ears the music in the early 19th century, and I think this CD is a great introduction to it.

   Marc G. Soares
   Natal / RN – BRAZIL
   Rating: 5 / 5