RECORDING OF THE MONTH
Four Symphonies
Johannes BRAHMS (1833-1897)
Symphony No. 1 in C Minor, Op. 68 [46:36}
Carl NIELSEN (1865-1931)
Symphony No. 3, OP. 27, Sinfonia Espansiva [31:19]
Antonín DVOŘÁK (1841-1904)
Symphony No. 9 in E Minor, Op. 95, From the New World [41:40]
Jean SIBELIUS (1865-1957)
Symphony No. 5 in E-flat Major, Op. 82 [35:41]
Danish National Symphony Orchestra/Thomas Dausgaard
rec. June 11 (Nielsen), June 13 (Brahms), June 17 (Sibelius) and June 19
(Dvorak)
2009
Picture format: NTSC 16:9, HD. Sound: DTS 5.1, PCM Stereo. Region Code
0
Bonus Discussions with Thomas Dausgaard [45.52]
Bonus Subtitles in German, French, Italian, Korean, Japanese, Chinese
Booklet Danish, English, German, French
UNITEL CLASSICA/C MAJOR 710508 [2 DVDs: 213:52]
Whatever other new releases are in the pipeline this year, this will
surely
be one of my top recordings for 2012! This 2 DVD set proved enthralling,
from
the lightning-strike downbeat that begins Brahms’ First, to the
massive
chords that bring an end to Sibelius’ Fifth. With crystal-clear
picture,
exceptionally rich sound, unobtrusive camera work - except in the Brahms,
see
below - and the fascinating introductions by Dausgaard, this is an
incredibly
impressive set.
First, some background. In the bonus material, Dausgaard explains that
these
are performances from a series of Summer Concerts given in 2009. The
series
was designed to attract a different audience. The concerts happened in the
early
evening, at a time when most people are leaving work. They feature a
shorter
performance than the typical Classical concert, often featuring one main
work,
so that the event lasts no longer than an hour. The orchestra usually
dresses
informally, and Dausgaard tells of one audience member who expressed
delighted
surprise that a member of the orchestra would wear sandals! Before the
work
is played, Dausgaard usually speaks to the audience about the music they
are
about to hear. For this recording, the orchestra and conductor decided to
wear
their traditional formal wear. Instead of recording Dausgaard speaking to
the
audience, the production team has recorded him talking about the works in
another
room. While I appreciate their decision to wear formal wear - I suspect
looking
at sandals could become tiresome after a while - I regret the decision to
have
the introductions without an audience and in English. This is not a
disparaging
comment about Dausgaard’s English skills, but the interaction
between
audience and conductor would have added another layer of interest.
Nevertheless,
he speaks eloquently about the music, not in technical terms but in
imagery
and feeling. I found his talks completely engaging and appreciated how his
descriptions
shed light on his interpretive ideas.
Since Dausgaard is a major exponent of historically informed performance
practice,
I was anxious to start with the Brahms and Dvořák. In his
recordings
with the Swedish Chamber Orchestra for BIS’s Opening Doors
series,
Dausgaard has recorded symphonies of Schubert, Schumann and two by
Dvořák,
including the ninth. While I enjoyed that for the clarity it brought to
inner
lines and the greater presence that the wind sections had in the overall
sound
picture, the string section just seemed too small to serve the music
fully.
His interpretation has not changed in any significant way, and the
difference
in timing between his recording with the Swedish Chamber Orchestra and
this
new one is less than 30 seconds. The Allegros of Movements 1 and 4 are
faster
than the norm, but the Danes seem even more comfortable with these tempos
than
their Swedish colleagues. The string playing is well articulated,
displaying
admirable ensemble even in the trickiest passages. The brass is allowed to
cut
through the texture at climaxes with a rich burnished sound. The woodwind
playing
is full of character, and the cor anglais solo in the second movement is
breathtakingly
beautiful. The entire movement flows with an organic inevitability that
never
allows the music to become maudlin or sentimental. The Scherzo is filled
with
rambunctious humour, and the coda of the fourth movement is played with
such
verve and power it literally lifted me out of my seat.
The Brahms shows similar ideas. The Introduction is powerful but well
balanced,
with the complex web of voices above the timpani strokes allowed to emerge
clearly.
Dausgaard sets another bracing Allegro for the remainder of the movement,
and
his orchestra is with him every step of the way. The inner movements again
display
a woodwind section of great character, and here is my one concern.
Throughout
the symphonies, we often see players smiling at one another or even to
themselves
as they play a passage - their joy in playing is obvious and enjoyable to
see.
However, for this piece - players seem to share the first chair in the
woodwinds
- the principal flute and oboe have too much of a good time together. They
move
together, they make constant eye contact and smile as they play - perhaps
if
I was watching from the hall, I would find it charming, but with so many
close-ups
of the couple, it began to seem more about them than the music. Perhaps
this
bothered me more than it would you, and it is certainly a minor quibble in
the
midst of such excellence.
With Nielsen’s Sinfonia Espansiva and the Sibelius Fifth, we
are
on the orchestra’s home ground. In his remarks about Nielsen,
Dausgaard
makes an intriguing comment about sometimes loving Nielsen’s music
and
sometimes not wanting to do anything with it - I wanted to hear more about
that!
Nevertheless, this performance communicates a passionate love of the music
from
conductor and orchestra alike. I was struck by how modern it sounded -
Dausgaard
and the orchestra subtly highlight the quirkiness of the rhythms, the
unique
harmonic progressions and the asymmetrical phrasing. Nielsen conceived
this
symphony as a celebration of life and here that joy is readily
communicated.
Sibelius’s Fifth Symphony is a well integrated reading, the many
tempo
changes masterfully handled. As the first movement tempos quicken, the
woodwinds
instil a sense of dance that erupts in the Coda as the brass and timpani
bring
the music to a rousing conclusion. The second movement variations offer
numerous
opportunities for both the woodwinds and strings to shine, and they make
the
most of those opportunities. The woodwind instruments evoke the nature
sounds
that were so important to Sibelius. The third movement, with the horns
mimicking
the call of swans, is beautifully rendered, the strings achieving some
astounding
soft playing. Dausgaard does not over-sentimentalise the famous melody on
its
two appearances, and in the final pages the brass play their layered
melodies
with thrilling abandon. Dausgaard conducts the final measures as written.
The
massive staggered chords register their full effect because of the vast
silence
in between.
I won’t say that these are now my favourite recordings of these four
works
but each contains so much genius; no one performance can possibly reveal
everything.
What these recordings do offer is music making of the highest order, led
by
a conductor who has clearly given a great deal of time and thought to
learning
these scores - all conducted from memory - and arriving at an
understanding
of what they are meant to convey. More impressive still, the orchestra
seems
to be of one mind with Dausgaard about how this music should go. Everyone
seems
to be working towards the same interpretation. That kind of outcome
happens
all too rarely. I hope it continues for many years to come.
David A. McConnell
This is special music-making.