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Robert SCHUMANN (1810-1856)
Symphony No. 2 in C, Op. 61 (1846) [39:15]
Symphony No. 3 in E-flat, Op. 97 “Rhenish” (1850)
[34:05] Felix MENDELSSOHN (1809-1847)
Symphony No. 3 in A minor, Op. 56 “Scottish” (1842)
[36:01]*
Symphony No. 4 in A, Op. 90 “Italian” (1833) [30:03] †
London Philharmonic
Orchestra/Franz Welser-Möst
rec. Abbey Road Studio No. 1, London, October, 1992; Blackheath
Concert Halls, London, *October 1991 and †February
1992. DDD EMI CLASSICS 5209542 [73:36
+ 66:27]
Has the orchestral
world had any greater conundrum in recent years than Franz
Welser-Möst? Twenty-five years ago, the young Austrian
was a rising young star. Then he took on the music directorship
of the London Philharmonic while he was still learning
the repertory, and got critically slaughtered for it, even
picking up the brutally mocking nickname “Frankly Worse
Than Most.” Yet now, a quarter century later, he has just
led the Cleveland Orchestra through a series of concerts
at the Salzburg Festival that has the local critics taunting
the Vienna Philharmonic with accusations of being upstaged
at their home festival. To be sure, there are still those
who intensely dislike the elegant and aloof Welser-Möst,
but at this stage in the game, one has to admit that there’s something significant
going on with this conductor.
This new bargain-priced
reissue from EMI gives us an opportunity to revisit some
of his earlier recordings, which seem to be coming back
into the catalogue in acknowledgement of his returning
stature. It combines a disc of two Schumann symphonies
with a slightly earlier disc of two Mendelssohn symphonies.
What is most striking about these performances is the light,
lean orchestral textures, somewhat vitiated in the Schumann
by the cloudy sound of Abbey Road Studio No. 1, a frequently
used room that rarely yields ideal sound; and more significantly
blurred by Blackheath Concert Halls in the Mendelssohn.
What I think
may have been dismissed fifteen years ago as tentative
performances have to be re-evaluated at this point. What
was often taken as Welser-Möst being uncertain or afraid
to tear into the music hasn’t greatly changed over the
years. It has slowly become clear that he’s pursuing a
particular philosophical tack. He must look down on punchy,
swashbuckling performances with a certain disdain. Rather,
Welser-Möst is being quietly bold, offering his musicians
the opportunity to join with him in animating the music
instead of brow-beating it into them. One can sense that
in these early recordings, the London Philharmonic, used
to being pushed by Solti or pulled by Tennstedt, are often
hesitant to take the rein the conductor is allowing them.
For an early example of Welser-Möst’s understatement turning
into a spontaneous upwelling of something very special
indeed, one must listen to his live LPO performance of
Bruckner’s Fifth from a Linz concert in 1993 or
even parts of his Mahler Fourth from 1988. I have
also heard remarkable performances in recent years live
in Cleveland (Shostakovich 14, Bruckner 5,
Richard Strauss: Four Last Songs, Death and Transfiguration,
Vaughan Williams: Dona Nobis Pacem, H. K. Gruber: Frankenstein),
though I have also heard somewhere the orchestra remained
uncertain how far they should push (Beethoven 6,
Mahler 7, Brahms 1).
The Schumann Second is
hit and miss. As Schumann’s most ambitious symphony, it
is the one that arguably most needs steering by the conductor.
Yet Welser-Möst’s hands-off approach is an effective riposte
to the sort of over-fussy shenanigans that have been heaped
on this music by conductors as distinguished as Toscanini,
Mitropoulos, Reiner and Szell. Even Bernstein, who declined
to heavily touch up the orchestration, was very interventionist
in his molding of phrases. In recent years, period instrument
groups and historically-informed performance practices
have led to lighter and faster renditions of this music,
giving it freshness, even if they miss the emotional punch
this music can carry. Welser-Möst takes a middle path,
sifting the textures of Schumann’s original score to keep
it buoyant and light, but not pushing the tempos to extremes.
This works best in the Adagio espressivo, which
floats with lyrical grace to the heights. Surprisingly,
Welser-Möst may have hit upon the solution to the troublesome
fugue passage in the middle of the movement, where so many
conductors try to make it move along lucidly. Welser-Möst,
rather, lets the notes fall listlessly, which works remarkably
well. One can picture Schumann turning from his introspective
ecstasy and looking out at the workaday world and feeling
no desire to join into its busy-work. And so he slips back
into his reverie. The preceding Scherzo is less
successful. The restless movement needs nervous energy
to propel it along, and Welser-Möst is far too elegant
and reserved to offer nervous energy. The first and last
movements are well-groomed but spacious, neither hurrying
nor worrying, which seems too general an approaching to
this highly-charged music. Welser-Möst tries an interesting
variant reading at the end. Schumann’s score calls for
a trill (drum roll) in the next-to-last measure of the
timpani. This note is tied to the next note. But, curiously,
Schumann did not include a wavy line indicating that this
drum-roll was to be held out through the final chord. A
lot of conductors go ahead and do that, assuming that it
was a mistake. Zubin Mehta had his Vienna Philharmonic
timpanist play the first measure as a roll, stopping on
a single note for the second measure, giving his recording
the curious effect of having a drum roll that stops too
soon. Christoph von Dohnányi has his Cleveland player hold
the trill all the way through, hitting a single ringing
note as the orchestra cuts off, also a somewhat curious
effect. Most curiously—but most accurately reproducing
the score—Welser-Möst has his player execute a single,
short drum roll, then just let it ring out for the duration
of the final chord. Is this what Schumann intended?
The Schumann Rhenish
Symphony goes in and out of focus. The first movement
is reserved to a fault, with the almost palpable sense
in some places that the orchestra is looking askance
at Welser-Möst, wanting more forceful indications from
him, which he declines to give. But in the playfully
rolling Scherzo, the players enjoy themselves
and come up with something more satisfying, particularly
with the upwelling near the end of the movement, which
sounds very natural and spontaneous here. The following Nicht
schnell movement is refreshing in its unaffected
manner. As much as I have enjoyed the interventionist
work of Bernstein in Schumann, his precious manner can
get a touch annoying in this simple yet elusive movement.
Welser-Möst simply lets the strings and winds sing without
tempo and phrasing manipulations. The tempo is more moderate
than the somewhat impatient Dohnányi recording, which
in some ways is the Schumann Third for those who
don’t like the traditional approach to the piece. Welser-Möst
isn’t exactly traditional, due to his reserve, but he
doesn’t waste effort trying to re-invent the wheel, either.
The fourth movement, inspired by a cathedral procession,
is often used by conductors as a platform for scenery-chewing
theatrics. Welser-Möst rejects the high theatrics, making
a more subdued impact, relating the music more to the
fog-shrouded darkness of the opening and closing moments
of Strauss’ Alpine Symphony. Thus the majestic
fanfares toward the end sound gentle, like brief sunbeams
breaking through the clouds instead of Wagnerian interjections.
The quiet return of darkness is moving. I can’t help
but think Schumann would have appreciated Welser-Möst’s
sensitive handling of the movement. The finale is again
gentle and playful, not at all driven nor pulled about
in tempo. Accents and note values are carefully shaped
to keep Schumann’s rich orchestration from congealing,
and this is where Welser-Möst’s quiet work has to be
most appreciated. Though he is reluctant to bully his
way about, he nonetheless makes sure that everything
is balanced and clarified. Now that Welser-Möst is working
with an orchestra on the same wavelength, it would be
interesting hearing this music now in Cleveland, to hear
if the orchestra would make greater use of the leeway
this conductor gives.
Perhaps more
suitable to Welser-Möst’s natural reserve, the music of
Mendelssohn on the second disc comes off better. The opening
of the Scottish Symphony is searching, all of its
accents observed and not glossed over. The main body of
the movement is fleet and lithe, with the conductor taking
care to make sure the clarinet doesn’t get smothered by
the strings in the first theme. Welser-Möst skips the first
movement repeat, which may bother some, though it doesn’t
bother me, considering the movement’s overall dramatic
shape. This music, so unambiguously stormy, draws plenty
of agitated energy from the orchestra here, though without
the brazen edge of Solti’s Chicago reading on Decca, which
is further juiced up by a rather close-up recording. This
EMI recording, from Blackheath Concert Halls, is more spacious,
but less clear because of the distant pick-up. The Scherzo really
catches fire; indeed, Welser-Möst has to rein the players
in as they start to pick up speed going into the final
climax. It’s a good example of how this restrained conductor
can let high-spirits be injected into a performance by
the orchestra and then keep it from running amok with a
deft flick or two of the baton. The Adagio is more
urgent and warlike than most, without stinting on the loveliness
of the main theme. I prefer this to the heavy, slow approach
taken by Solti and Abbado, who seem intent on making it
into a Mahlerian epic slow movement. Welser-Möst’s timing
(less than nine minutes) fits more naturally into the rest
of the work. The Allegro vivacissimo finale is swift
and a little clipped here. Though the LPO’s energy remains
high, the clipped treatment keeps it restrained. Likewise,
Welser-Möst keeps the horns from hooping it up in the majestic
coda, which he keeps moving along at a fast pace. I think
it’s pretty much what Mendelssohn had in mind, though I
must confess a guilty pleasure in an earlier recording
made by the London Symphony in the early 1980s under the
baton of guest conductor Riccardo Chailly. If Welser-Möst
can seem relentlessly tasteful, Chailly has no compunction
about thumping the tub, treating the finale operatically,
and taking the coda slowly and grandly, letting the horns
blare with vulgar joy. To the best of my knowledge that
Philips recording has never been issued on CD. For an approach
similar to Welser-Möst’s but in more vivid recorded sound,
one might consider the Herbert Blomstedt recording from
San Francisco which Decca made around the same time.
The Italian
Symphony was recorded a few months later in the same
venue, but it sounds as if a different microphone setup
was used, in an attempt to get more resonance. More resonance
is indeed achieved here, but at the expense of further
clarity. One almost has to listen “through” the hall
sound to appreciate the clarity of textures being achieved
by conductor and orchestra. The first movement is upbeat
without being hectically pushed, which is so often the
case. Again, Welser-Möst holds the reins lightly, letting
the orchestra romp without pressing them forward. The
pilgrim’s processional of the slow movement flows nicely,
with mournfully intertwined flutes. Happily, Welser-Möst
keeps the third movement interlude flowing forward with
a similar mixture of elegance and restlessness, which
helps keep the movement focused, something which doesn’t
happen in slower renditions such as Sinopoli’s, Solti’s
and Blomstedt’s. And most happily of all, Welser-Möst
sets a fast but not scrambling tempo for the Saltarello finale.
I have grown very tired over the years of hearing performances
that are so fast the opening theme in the flutes can’t
even be discerned. Guilty parties include Szell, Dohnányi,
Abbado, Solti, Blomstedt, Haitink and Gardiner. Of course,
the problem in this recording is that although the tempo
is sane (Mendelssohn wrote “presto,” not “prestissimo”!)
the recorded sound pretty much obliterates those poor
flutes anyway. For the finest balance of tempo, energy
and vivid but clear sound, Charles Munch’s early stereo
version with the Boston Symphony for RCA still holds
sway, especially in its three-channel SACD remastering.
Amazing that with a performance barely faster than six
minutes, Munch can suggest about three times more excitement
than his frantic colleagues.
Those who have
these Welser-Möst recordings in earlier incarnations need
not replace them with this issue, as no remastering has
been attempted to improve the problematic sound. Best of
all would be to hear these works performed now, with the
conductor more secure in technique and an orchestra that
is willing to meet him half way. Who knows, on the right
night, perhaps magic will strike.
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