This set usefully
gathers together the recordings of the Brahms symphonies that
Weingartner made for Columbia between 1938 and 1940. One of
these recordings, that of Number 4, was familiar to me from
the boxed set of historic Brahms symphony performances that
I reviewed a couple of years ago (see review).
It’s worth reminding
ourselves that when Weingartner (1863-1942) began his conducting
career in the mid-1880s Brahms was still very much alive.
Indeed, the Fourth symphony dates from around this time. In
his very useful liner notes David Patmore doesn’t actually
comment on any direct lineage between Weingartner and Brahms.
However, it may well be significant that one of his early
appointments was as assistant conductor to Hans von Bülow
at Hamburg; although Patmore comments that there Weingartner
“controversially offered a straightforward alternative to
von Bülow’s highly subjective interpretations.” Notwithstanding
the difference in approach between Weingartner and von Bülow
the young conductor was learning his conducting craft during
Brahms’s twilight years and it is likely that he came into
contact with conductors and other musicians who were immersed
in the contemporary style of Brahms interpretation.
Thus I don’t think it’s too fanciful to imagine that in Weingartner’s
interpretations we have a link with the authentic Brahms tradition
and perhaps it’s no surprise that to some extent his approach
to these works put me in mind of the bracing and provocative
set that Sir Charles Mackerras recorded a few years ago (Telarc
CD-80450) in which he tried to recreate the performing style
and scale of the orchestras of Brahms’s time.
These are performances
that in general are characterised by a fairly lean and robust
approach. They won’t suit all tastes, especially the taste
of those who like their Brahms to sound mellow and autumnal
– and there’s nothing wrong with that! – but I think these
performances have much to commend them to collectors.
Symphony No.
1 opens with an introduction that is at a good, forward-moving
pace. The reading is not as massive as one sometimes hears
and I like this conception. The main allegro is thrusting
and strongly propelled. Weingartner maintains his basic pulse
pretty consistently and there are far fewer modifications
of the basic tempo than one often hears. In the main I like
this, though there were occasions when I wished Weingartner
had been just a little more yielding. I feel that he makes
Brahms sound more classical than some other interpreters and
generally speaking I think this is to be welcomed.
In the second
movement Weingartner’s approach sounds somewhat meditative
and the music is presented in quite a solemn way. This is
a non-interventionist but rather dignified way of playing
Brahms. He keeps the third movement light on its feet and
moves it forward nicely though, frankly, there’s little that
one can ‘do’ interpretatively with this fairly straightforward
and short movement anyway. There’s no lack of power or drama
in the introduction to the finale, which sounds dark and brooding
here. The great ‘Alpine’ theme unfolds naturally and when
the big string melody appears it flows nicely. There’s biting
urgency in the main allegro and the movement as a whole is
exciting and vital. Weingartner whips up the pace most effectively
in the lead-up to the majestic chorale, which is presented
with just sufficient grandeur though without undue broadening
– thank goodness. The conclusion to the symphony is proud
and emphatic.
I’d sum this up
as a direct and successful interpretation, albeit perhaps
more objective than one is accustomed to hearing nowadays.
The LSO play their full part by executing Weingartner’s intentions
with commitment.
The opening of
Symphony No. 2 displays a clear-eyed purity, which
turns out to be a hallmark of Weingartner’s overall view of
the movement. He’s by no means inflexible and he doesn’t
short-change the lyrical side of Brahms’s inspiration but
once again we find an approach that’s fundamentally rigorous.
As the development unfolds so the conductor’s grip on proceedings
and his sense of drama become ever more evident – and more
impressive. The music is presented without undue histrionics
but it’s a powerful view nonetheless. By this means the relaxation
that Brahms builds in at 7:41 in this performance is all the
more effective. In the lead-up to the coda the string accompaniment
to the solo horn - from about 11:40 - is more on a level par
with the horn than one sometimes hears and is played with
no little urgency. I suspect that the balance between horn
and strings is more Weingartner’s doing than the engineer’s
and I approve. The coda itself is well managed.
The second movement
is played with more than a touch of gravitas. Some listeners
may find the style too serious. For myself I prefer a lighter,
more lyrical touch but I can appreciate Weingartner’s thinking
though this is as serious a reading of this movement as I
can readily recall. The third movement is simple and direct
and I admired the dexterity of the wind players – the strings
are pretty nimble too. Weingartner drives the finale quite
hard at times, though not excessively so, I think. What’s
very evident – as elsewhere in this cycle – is his keen control
of rhythm. He relaxes where it’s appropriate but in so doing
he never sacrifices forward momentum. This is an exciting
and fiercely committed reading.
This isn’t, perhaps,
the most openhearted and happy performance of this glorious
symphony that I’ve heard but I’d still rate is as a pretty
considerable reading.
I like the pace
Weingartner sets at the outset of Symphony No. 3 which
is quite resolute and well marked. His lean and muscular reading
is clear in both texture and intention. I found that this
performance blazed with conviction and involved at least this
listener fully. The presentation of the second movement is
straightforward but here I felt that perhaps the phrases could
have been shaped with just a touch more affection. The third
movement is suitably warm though, unsurprisingly, Weingartner
keeps the music on the move - and rightly so. In the finale
rhythms are once again taut. The performance is finely controlled
and athletic and the central climax is powerful. At 6:25 comes
the marvellous golden sunset moment when Brahms prepares us
for his final contemplation of the motif with which the whole
symphony began. Weingartner handles this passage and, indeed,
the symphony’s very end sensitively but sensibly.
Revisiting Weingartner’s
traversal of Symphony No. 4 I find no cause to change
my verdict of two years ago. His view of the work is clear
and forthright. He draws fine, committed playing from the
LSO. Characteristically he controls the rhythms tightly (but
never to the extent that the music sounds constrained). This
is particularly important in the first movement, of which
he gives a splendid performance. Some may find his reading
of the second movement disconcertingly brisk. However, as
elsewhere in the cycle Weingartner, I think, appreciates that
Brahms didn’t write symphonic adagios and that the middle
movements of his symphonies tend to be more like intermezzi
with the weight of the argument falling on the outer movements.
He gives a robust account of the third movement with the rhythms
once again splendidly taut. The concluding passacaglia is
trenchant and darkly powerful. In terms of drama Weingartner
does not short change the listener and all in all, I think
his is a very successful performance of the symphony.
To complete the
set we are offered a good, if slightly straight-faced account
of the Academic Festival Overture. In this performance
I was more aware than in the symphonies of one or two minor
bits of scrappy playing but overall it has to be said that
in this set Weingartner obtains disciplined and committed
playing from both the LSO and LPO.
Generally the
recordings have transferred well. There is some surface hiss,
for example at the start of the second and fourth movements
of the First symphony but I found that this was not much of
a distraction. The sound for the Third symphony is, perhaps,
the most ‘boxy’, especially at the fiery start, but once again
the ear soon adjusts. The only comparison I was able to do
was in the Fourth symphony where I found that the transfer
offered by Andante sounded warmer, especially in the first
movement – but then the comparison between the two transfers
of the finale revealed little to choose. Given that these
recordings are well over sixty years old they have some up
remarkably well and an amazing amount of detail is reported
– for example the contrabassoon registers very well at key
points. The notes by David Patmore are good, as I’ve already
indicated.
This is an intriguing
set that adds significantly to our knowledge and appreciation
of the interpretative history of these four symphonic masterpieces.
One may not agree with every detail but these robust readings
are convincing and stimulating and they will be of great interest
to all collectors who love Brahms’s symphonies. As Naxos has
already made available Weingartner’s fine Beethoven symphony
cycle there is now ample opportunity for us to appreciate
the objective and distinguished approach to symphonic music
of Felix Weingartner.
John Quinn
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