Hendrik ANDRIESSEN (1892 – 1981)
Symphony No.3 (1946) [24:54]
Symphonie Concertante (1962) [21:41]
Overture Chantecler (1972) [6:17]
Netherlands Symphony Orchestra/David Porcelijn
rec. Enschede Muziekcentrum (Netherlands), 25-28 June 2012
CPO 777 723-2 [52:57]
This, the third volume in CPO's survey of Hendrik
Andriessen's symphonic music, is, as was the case with its predecessors
centred on a symphony (review
of Volumes 1 & 2). Here it is the Third Symphony keeping company with
some other orchestral works from his substantial output.
The Symphony No.3 was completed in 1946 and reflects
on the war years. Though it may not be as ground-breaking as, say, Vaughan
Williams' Sixth, it has its moments of rough energy, revolt and eventual
reconciliation. The war years were not easy for Andriessen for he refused
to cooperate with the German occupation forces. With many 'leading
compatriots' (as Leo Samama calls them) he was imprisoned in Camp Sint
Michielsgestel for almost six months. He was then able to resume his duties
in Amsterdam and Utrecht as well as to continue composing which he did until
the end of his life. The Third Symphony is thus the major outcome of that
period. Like its predecessor, the Third is roughly cast as a suite opening
with an atmospheric Overture which Samama describes as 'in fairy tale
mood' although there are some rough edges as well. This leads into
a more developed Sonata that is not without its bright moments. This is followed
by a beautiful Sarabande not unlike the Pavane movement
in the Second Symphony sometimes briefly thematically linked to the first
movement. The symphony ends with a powerful Fuga in which Andriessen
fully demonstrates his mastery in handling complex formal designs while eschewing
the academic and the pedantic. Andriessen's Third Symphony is probably
one of his best known works; quite deservedly so for its formal mastery, its
superb scoring and its overriding optimism for all the darkness of its historical
background. Its first performance in 1946 must have had the same impact on
Dutch audiences as the first performance of Vaughan Williams' Fifth
during the war years in London.
The Symphonie Concertante was written for the 150th
anniversary of the Noord-Hollands Philharmonisch Orkest, in those days the
orchestra of the city of Haarlem and the whole province of Noord-Holland.
It is somewhat of a hybrid. First of all because its title implies a concerto
for orchestra which it is not, although there is some brilliant instrumental
writing in the music; second because – as far as I am concerned –
its three movements do not 'fit' together. The outer movements
are cast as symphonic Allegros preceded by a slow introduction and contain
forceful, energetic music. The central movement, cast as a theme and variations
on a 16th century tune, has the character of a suite in old style
that might even have had an independent life of its own. I hasten to say that
this theme and variations — in itself a sort of dance suite —
is beautifully crafted and wonderfully scored. That said, I cannot help but
feel some stylistic hiatus between this movement and the outer ones.
The Overture “Chantecler”, the most
recent work here, was inspired by the eponymous play by the French playwright
Edmond Rostand, probably better known for Cyrano de Bergerac and
L'Aiglon. The composer insisted that the overture is by no
mean programmatic. Chantecler is a rooster, whose single purpose in life is
to sing at dawn and wake up people in the morning; not for him the vanities
of modern life. “Que m'importe! Je chante!” (what
do I care, I sing!). The music of this short, colourful work traces the whole
day from dawn to evening with passing suggestions as to what goes on around
the farm. This may not be Andriessen at his very best but this is certainly
a nice little piece well worth the occasional hearing.
Performances are just superb: David Porcelijn conducts a marvellous reading
of the Third Symphony and is wholeheartedly partnered by the Netherlands Symphony
Orchestra. Excellent recording and well informed notes by Leo Samama, an expert
on Dutch music if ever there was one.
Now I look forward to hearing the fourth volume and one need not be a Madame
Sosostris to say that it will include the Fourth Symphony. Maybe, too, CPO
will later release a disc of Andriessen's concertos.
Hubert Culot
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