I read from internet entries that this Thuringian composer was
a pupil of Theodor Kullak, Eduard Grell, Siegfried Dehn and
Richard Wüerst. Only Kullak’s name rings any sort
of a bell with me though, knowing the heroic Sterling, we might
yet be getting CDs sampling each of these composer’s works.
It seems that Hofmann’s sole symphony was one of the most
frequently performed orchestral works in late 19th century Germany.
If so its fall from celebrity must have been pretty vertiginous.
Despite his operas Cartouche, Armin and Ännchen
von Tharau, the symphony has mouldered until now in the
dusty wasteland of those found wanting. In any event here it
is to try its luck again and to be available for our and future
generations to ‘taste and see’. All credit to Sterling
and Bo Hyttner for reviving the symphony alongside two shorter
works from the same decade.
First we hear Hofmann’s Eine Schauspiels-Overture.
This almost immediately announces itself as a work written under
Schumann’s smiling countenance. It’s pleasing and
deserves to stand shoulder to shoulder with such concert overtures
as Mendelssohn’s Athalie and Ruy Blas. By
coincidence his overtures also include Das Märchen von
der schönen Melusine op.30. The four-movement Frithjof
Symphony is in much the same stylistic region. It’s fresh
and engaging, having an affinity with Mendelssohn’s Third
and Fourth symphonies: it is certainly the product of a classical
romantic who was partial to the occasional sprinkling of Wagnerian
passion. The first movement leaps forward with Schumann-like
athleticism, contrasting with the second’s more pensive,
tremulous and grey-skied contemplation. The third movement is
an intermezzo with writing for solo violin. The feeling is of
a woodland interlude - some glade filled with benevolent sprites
and birdsong. Then, at 2:54, more belligerent music cuts in
to this Mendelssohnian Elysium. The closing pages are imposing
with what sounds like a predictive touch of Sibelius’s
Second Symphony. This Hofmann symphony is an entertaining piece
of Germanic romantica and its loss to the world is just that.
I would place it on the same shelf as, say, Goldmark’s
Rustic Wedding and the Raff symphonies. The Hungarian
Suite is in three movements with an intense Largo maestoso.
There’s a reserved but really very effective Romanze.
Uncannily enough, it reminds me of the relaxing aspects of Brahms’
dances and of Tchaikovsky in his most contented vein. In
der Puszta is more lively and again occupies the very familiar
territory of the Brahms Hungarian Dances and, guess what - the
Suite was dedicated to Brahms.
The notes are by Christopher Fifield so we are assured of both
substance and communicative excellence. That is what we get.
Although we are given the nitty-gritty of the Frithjof saga
the music does not need it and I would suggest little gain is
to be taken by trying to relate the music moment by moment with
the storyline but it’s there if that’s your thing.
I see the disc also bears, discreetly enough, the logo of the
Genuin label so presumably this is a co-production. I wonder
what this signifies.
I hope I have helped you decide whether to buy this disc. This
is no symphonic Schumann, Bruckner or Brahms; not even a turbulent
Draeseke. He is however a very capable and charming romantic
with a fluent gift for companionable Mendelssohnian amiability.
Rob Barnett
Purchase
CD: MDT
Philharmonscher Orchester Altenburg-Gera/Eric Solén