Richard STRAUSS (1864-1949)
Symphonia Domestica Op.53 (1904) [44:56]
Die Tageszeiten Op.76 (1928) [22:40]
Male voices of Berlin Radio Choir
Berlin Radio Symphony Orchestra/Marek Janowski
rec. Haus des Rundfunks, Berlin, 2012/14
PENTATONE PTC5186507 SACD [67:50]
Symphonia Domestica has four movements: Introduction,
Scherzo, Cradle Song and Adagio and Finale but
in truth it is a large tone-poem that depicts the everyday life of the Strauss
family. It can’t really sustain its claim to be a symphony. The work
can be enjoyed as pure music without knowing all the finer details. That said,
it would have been helpful had Pentatone at least given the listener a few
pointers in their booklet such as the themes used to portray each family member
— the father, mother and child — and also a brief overview of
what is going on in each of the four sections. The programme is easy enough
to follow. The family members are introduced and we are presented with a number
of scenes that include the baby at bath time, a cradle song, the parents’
happiness and the clock striking 7.00pm. The Adagio includes the
infamous but very beautiful love scene and this movement comes to an end with
the clock striking 7.00am. After the awakening the finale starts with a huge
row which eventually leads to a happy conclusion for the family.
The work utilises a massive orchestra but the full forces are rarely unleashed
and it certainly can’t be described as a noisy score. It’s only
noisy in the hands of a bad conductor. Indeed, much of the beauty of the work
is to be found in the substantial sections of intimate, delicate music of
chamber-like proportions. Janowski’s new recording is blessed with some
fine orchestral playing and a recording offering clarity of texture and power
in the climaxes. It doesn’t have the thick, lush orchestral string tone
of Karajan’s Berlin Philharmonic recording on EMI Classics, which still
sounds sensational. I do, however, prefer the clean articulation and detailed
execution in the new recording. This is an example of modern digital production
outshining what is still a good analogue version. The strings are full-toned
and the horns in particular are on superb form for Janowski. Karajan is full
fat Strauss, Janowski is more semi-skimmed but that isn’t criticism,
merely a comment on the different orchestral sounds produced by the two Berlin-based
orchestras. Although I wouldn’t be without Karajan or Kempe (also on
EMI Classics) this new recording, offering superlative playing is a fine achievement
and can be warmly welcomed. For those coming to the work for the first time
I would favour the Janowski. He paces everything perfectly and at no time
does he go for the sort of garish, sensational extremes that can make this
work sound too bombastic and tasteless for some listeners. The climaxes are
still tremendous but he offers plenty of sophistication along the way. The
chamber music sections are beautifully realised.
The coupling is rather unusual. Die Tageszeiten (Times of Day) was
written for male chorus and orchestra in 1928. It is a setting of texts by
Eichendorff and is a delight. I had never heard of the piece before and its
inclusion here makes the CD an outright winner. The four movements are Der
Morgen (morning), Mittagsruh (afternoon rest), Der Abend
(evening) and Die Nacht (night).
Richard Strauss takes some beating when it comes to setting words to music
and the warm, rich glow of orchestral colours we hear in this rare work could
only have come from his pen. The music is reminiscent of the Four Last
Songs and the performance given by the gentlemen of the Rundfunkchor
Berlin is stunning with a terrific range of dynamics, flexible phrasing and
pure intonation.
In summary Pentatone deserves great success with this issue. Sinfonia
Domestica may be the main work on the disc but as fine as that is the
coupling shouldn’t be missed.
John Whitmore
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