Antonín DVOŘÁK (1841-1904)
Symphony No. 9 in E minor, Op 95 ‘From the New World’ [44:39]
Vienna Symphony Orchestra / Jascha Horenstein.
Radio announcement [0:41]
Leoš JANÁČEK (1854-1928)
Taras Bulba, Rhapsody for large orchestra [23:21]
Berlin Philharmonic Orchestra / Jascha Horenstein
rec. 4-6 April, 1952, Symphonia Studio, Vienna (Dvořák), rec. live 30 August 1952, Usher Hall, Edinburgh (Janáček)
Ambient stereo
PRISTINE CLASSICAL PASC 603 [68:41]
This is the latest instalment from the recorded legacy of Jascha Horenstein from the archives of his cousin, Misha Horenstein. It brings recordings from two very different sources. The Dvořák is a commercial recording which he made for Vox, while the Janáček stems from a BBC broadcast of an Edinburgh Festival concert.
Misha Horenstein points out in a note accompanying this release that the present recording of the ‘New World’ was Horenstein’s first recording for the Vox label. Apparently, this work was one of his three ‘calling cards’ early in his career. The 1952 recording, made in a resonant hall, has come up pretty well in Andrew Rose’s transfer. The instruments are rather closely recorded – though not excessively so – and a welcome side effect of this is that one can hear a good deal of inner detail, especially when I listened to this recording through headphones. Whilst there were one or two interpretative aspects with which I didn’t entirely agree, I noticed that Horenstein had quite clearly thought very carefully about every aspect of the score.
The introduction to the first movement is quite measured but once the Allegro molto gets into its stride I think the defining character of Horenstein’s interpretation is strength. That’s not to say that the lyrical side of the music isn’t given its proper due, but there’s always purpose to the music-making. I wrote down in my notes “straightforward, honest and thoroughly musical”. I liked the conductor’s spacious approach to the slow movement – the cor anglais player does a fine job. On the other hand, I’m afraid the Scherzo is not as successful. The core material is robustly performed with good rhythmic definition. The problem for me lies in the Trio, which is not to my taste. The Trio is taken too slowly and the music sounds heavy. That said, this was one of the instances where Horenstein’s care over the sculpting of the music was evident – even if I don’t agree with the overall approach. The opening of the finale is quite deliberate until the pace picks up at 1:22 whereupon Horenstein injects good energy into the proceedings. His reading of this movement is strongly projected if, perhaps, a fraction deliberate at times.
This is quite an individual reading of the ‘New World’; I think on balance I’d say I admire it rather than love it; I’d prefer a lighter touch in places. However, it’s thoughtfully conceived and well worth hearing, especially by admirers of this conductor. I think Misha Horenstein sums up the reading very well in describing it as “[n]ot a brilliantly coloured or flashy performance…[and].. affectionately moulded”. The Vienna Symphony may lack the last degree of polish but they play well for Horenstein and there is no doubt of their commitment. Neither conductor nor orchestra treated this recording as a routine assignment.
The Berlin Philharmonic was scheduled to give a pair of concerts at the 1962 Edinburgh Festival. Rafael Kubelik had been engaged to conduct but at short notice he was obliged to withdraw following the death of his wife. Horenstein took his place and at the second concert, on 31 August, he led the orchestra in a fine performance of Mahler’s Fifth which Pristine has already issued (review). On the previous evening the programme included Janáček’s Taras Bulba. I wonder how often the BPO had played it previously. Misha Horenstein comments that his cousin was no stranger to this composer’s music. For example, he was an early interpreter of the Sinfonietta and there were several examples of Horenstein conducting The Makropulos Case and From the House of the Dead.
I think he does the three movements of this Rhapsody well. The performance is rhythmically sharp and the orchestra plays well. I just have the sense, though, that this wasn’t familiar territory for the BPO of 1962; Janáček’s rhythmically tricky music is delivered capably but not with the sort of élan and character that one would take for granted in 2020. They would have had an authoritative guide to the music had Kubelik been on the rostrum but I think Horenstein is no less capable. I think he knits together the little episodes that constitute ‘The Death of Andrei’ very well. When it comes to ‘The Prophecy and Death of Taras Bulba’ he and the orchestra portray the nobility of the hero’s end (from 4:15) very successfully. It’s a fine score and Horenstein leads a very good account of it.
Both recordings have come up very well in Andrew Rose’s transfers. Both of these are valuable performances. It’s good that Horenstein’s rendition of the ‘New World’ symphony has been restored to circulation, while Taras Bulba is a welcome addition to his discography.
John Quinn
