An eighth instalment in CPO's series dedicated to
the orchestral music of Julius Röntgen, this is one of the less
generous by far in terms of recorded minutes, yet the first to offer
three whole symphonies. Nos. 3, 8, 10, 15 and 18 have already appeared
across four CDs, all with David Porcelijn conducting one of two German
orchestras. Here he crosses the border to take charge of the Enschede-based
Netherlands SO, with whom he has most recently recorded Röntgen's
three cello concertos. At the time of writing (summer 2013), these have
just been released by CPO (777 234-2). In recent years the Orchestra
has improved considerably, even before it changed its name from the
slightly odd-sounding Orkest van het Oosten (Orchestra of the East),
and under Porcelijn they are authoritatively cogent throughout.
Though Röntgen took Dutch citizenship after the First World War,
he is German by birth and temperament and his music for the most part
is entirely in the tradition of Schumann, Brahms and Reger. Thus these
symphonies are melodious, stylistically colourful, conservatively dramatic,
elegantly unpretentious.
All three here are in a minor key, and their tone can be said to be
crepuscular without ever going entirely dark. The concise, driven single-movement
Sixth incorporates a long central section for chorus, setting a 16th-century
Dutch tune, 'Great God, to whom shall I lament?' Symphony no.19 is perhaps
the weakest of the three, each of its four movements over before it
really gets going, and feeling just a little disconnected. In his defence,
Röntgen completed the work in a mere fortnight - one of an incredible
18 or 19 symphonies written between 1930 and his death in 1932! - and
the music is at least pleasantly tuneful. It certainly never "verges
on the limits of tonality", as CPO claim in their publicity. The final
movement, inevitably a fugue, is easily the best, as Röntgen underscores
his indebtedness to Bach.
The chorus in the Fifth, subtitled 'Der Schnitter Tod' ('Death the Reaper')
and inspired by the Great War, does not appear until the final movement,
and then only relatively intermittently, alternating with Marcel Beekman's
silky solo voice. The text is taken from the collection of German folksongs
popularised first by Goethe and numerous composers subsequently, 'Des
Knaben Wunderhorn'. There is no Mahleresque complexity in Röntgen's
Fifth, but it is a striking work that builds to a compelling climax.
As it happens, there is plenty of scope for further research into Röntgen's
corpus of works. New Grove mentions "21 symphonies", but gives no further
details. The Julius Röntgen Society's
website
also lists 21, this time with key signature and year of composition
but nothing more. Wikipedia claims "25 symphonies", but this number
is unsubstantiated. However, in his recent biography, 'Gaudeamus: The
Life of Julius Röntgen' (Waanders, 2007), scholar Jurjen Vis also
gives 25, that is, 1-24 with a 10a and 10b. The numbering of the symphonies
is certainly problematic, with a few of them thought lost and therefore
affecting numeration. At least two, including the Fifth, were rediscovered
in the last decade, giving cause for optimism for a full complement
sometime in the future.
Sound quality is pretty good. The booklet notes are dense and informative
in the usual CPO way. These are first recordings; for further information
on what is available, a
website
maintained by Röntgen's grandson, also called Julius, has the most
detailed, up-to-date discography. In its detail there is much evidence
that Röntgen is a composer of the highest rank.
Byzantion
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