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Wolfgang Amadeus
MOZART (1756-1791)
Violin Concerto No. 5, K. 219 (1775) [32:05] Richard STRAUSS (1864-1949) Symphonia Domestica, Op. 53 (1903) [43:56]
Deutsches
Symphonie-Orchester, Berlin/Vladimir Ashkenazy
rec. Philharmonie, Großer Saal, 19 September 1998 (Mozart);
20 October 1996 (Strauss). DDD. AUDITE 97.535 [78:31]
This disc provides
a pleasant snapshot of the work of Vladimir Ashkenazy live
in concert with the Deutsches Symphonie Orchester, Berlin,
the ensemble originally formed as the RIAS-Berlin Symphony
and led by the great Ferenc Fricsay in the 1950s. Before
Fricsay’s death, the ensemble changed its name to the Berlin
Radio Symphony, a name it kept through several music directors.
Ashkenazy was director of the orchestra for a decade, starting
in 1989, and was presiding when the ensemble changed to
its present name in 1993. Presented here are two snapshots
of his work with the orchestra, featuring Ashkenazy’s “private
passions” for the orchestral works of Richard Strauss and
the concerted pieces of Wolfgang Mozart.
Ashkenazy has
shown a strong commitment to Strauss both in concert and
in the recording studio, so his Symphonia Domestica is
a welcome visitor. The live performance from 1998 captured
here brings Ashkenazy’s soulful warmth and a delight in
Strauss’s orchestral effects—yes, even the vulgar ones,
such as the infamous crying baby sequence. This release
serves well to represent this part of Strauss’s body of
works in Ashkenazy’s career, as well as a nice souvenir
of his work in Berlin. I have seen that Ondine also released
a Symphonia Domestica from when Ashkenazy conducted
the Czech Philharmonic, but I haven’t been able to hear
that for comparison.
The present
performance is amply satisfying, even if doesn’t unseat
any of the great recordings of the past, especially considering
that a couple of those are performed by formidable representatives
of what was once known as “the American sound”. It is ironic
that the two conductors most responsible for creating that
highly virtuosic orchestral sound with whip-crack precision
and muscular power were middle-European conductors. Fritz
Reiner and George Szell used their orchestras in Chicago
and Cleveland, respectively, as laboratories for attaining
the elusive perfection demanded by the complex scores of
Strauss and Mahler, while honing their players on the bread-and-butter
repertory of Mozart, Beethoven and Brahms. Strauss figured
prominently in both conductors’ work, albeit more so in
Reiner’s, as Szell seemed to maintain a slightly skeptical
view of Strauss’s exuberance, while Reiner enjoyed transforming
that boundless energy into purely abstract music. In the
end, they both left us with great recordings of Symphonia
Domestica.
But to buck
received wisdom, there is an often underrated conductor
whom I am inclined to think actually surpassed Szell and
Reiner in this work, and that is Zubin Mehta. If there
is one symphonic work Mehta was born to conduct, it is
the Symphonia Domestica. His good-natured charm
and delight buoy the orchestral effects in a way that others
don’t. Szell, for all his clarity and vigor, seems a bit
stiff in comparison. Reiner, for all his sonic splendor,
seems unwilling to indulge in Strauss’s affectionate teasing
of married life, remaining just on this side of tasteful
reserve. Mehta pushes it out a little further, taking the
spirited pictures for what they are: slices of the life
of a successful, untroubled artist. By not shying away
from the blatantly programmatic elements of this score,
Mehta unexpectedly reveals that there are true depths lurking
beneath the surface sentiment. While Reiner is delicate
in the “Cradle Song” of the “Scherzo” section, and Szell
is gentle, Mehta is the one who captures the precious magic
of a quiet moment between parents and child. Likewise,
in the following “Adagio”, Mehta finds the selfless devotion
at the heart of the music, which the somewhat restless
Szell recording misses, and the smoothly flowing Reiner
smoothes over.
In separate
sections, one could say that others trump Mehta, but in
terms of overall excellence and coherence of vision, he
comes out on top with an unhurried, spacious performance
clocking in at almost 46 minutes. Szell is arguably better
in the opening of the work, energetically presenting the
themes with plenty of personality. His tight control never
relaxes, bringing the work under the wire at almost five
minutes faster than Mehta’s Berlin Philharmonic recording
for CBS. Reiner, being a little more relaxed, captures
more of the gentle side of the score than Szell, though
without the simple sincerity of Mehta. One rare performance
worth hearing is a live 1945 air check led by Bruno Walter
which the New York Philharmonic released in a box set of
historic broadcasts almost a decade ago; it’s still available
directly from the orchestra. Walter’s tempos are as brisk
as Szell’s, but despite the limited mono sound, the live
concert situation proves that with a little encouragement
from an audience, the over-the-top finale can truly romp.
Speaking of Mehta, I have not had the chance to hear his
Los Angeles Philharmonic performance of the Symphonia
Domestica, and have made my above comments based on
his Berlin remake, couple with a fine Burleske with
Daniel Barenboim as piano soloist. But considering that
Mehta’s L.A. Zarathustra and Alpine Symphony are
both better than later remakes, I would love to hear his
early Domestica, currently available in a Decca
box set.
Ashkenazy’s
orchestra is no match for the plummy perfection of Cleveland
or Chicago, but their slightly leaner tone helps in terms
of clarity, though Ashkenazy doesn’t do as much sonic sculpting
as a Reiner or Szell. Ashkenazy’s obvious affection for
the work does however remind me of Mehta. The live one-off
recording preserves a fine sense of occasion, though there
is little bloom to the recorded sound. I have often heard
Berlin’s Philharmonie praised as a great place to hear
a live concert in person, though live recordings from the
venue rarely find a sweet spot for microphones, and this
one is no different. Note that the total disc time listed
above reflects the inclusion of about five minutes of applause
which is, mercifully, separately tracked. I enjoy the sense
of occasion in live recordings that keep the applause,
but I can’t imagine myself wanting to re-enact a full concert
scenario with endless applause very often.
As for the
Mozart, I would say that most performers would not make
this work a comfortable disc-mate for Symphonia Domestica,
but then most performers aren’t Pinchas Zukerman. Ashkenazy
very much follows his soloist’s manner, provided a fairly
leisurely, well-upholstered account of the “Turkish” Concerto.
Zukerman is notorious for his reactionary stance against
everything associated with historically-informed playing
styles. There’s probably no major violinist today who would
give a more old-fashioned sounding performance of this
work. Indeed, the most apt comparison would be to Zukerman’s
earlier recording of the work, done in the late 1960s for
Columbia, with Daniel Barenboim conducting the English
Chamber Orchestra. What is truly remarkable is that forty
years on, Ashkenazy’s concept remains pretty much the same.
Those who like it can claim consistency, though those who
doubt it can level charges of both stubbornness and lack
of imagination against the violinist.
What is amusing
is that as much as Zukerman fulminates against period instrument
scholarship and their fussy performance practices, at least
a trace element of that spirit has crept in under the door,
because this performance shaves a little over a minute
of the earlier rendition, without demonstrating a different
concept. Ashkenazy is arguably a little lighter in touch
than Barenboim, but this remains Mozart for those looking
for a throwback to older styles. On the other hand, listeners
interested in those styles may instead opt for the EMI
recording where Yehudi Menuhin brings a little more thoughtfulness
to the work, even if he didn’t have Zukerman’s rich, dark
tone by the time his rendition was recorded in the early
1960s.
Interesting
finds from the vaults, then, and I hope they do well enough
to encourage Audite to keep digging for more treasures.
Collectors and fans will enjoy the Ashkenazy-centric booklet
notes (in German and English) by Habakuk Traber, which
enhance the fond sense of retrospective of a well-loved
conductor’s work.
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