Ernst von DOHNÁNYI (1877-1960)
Tante Simona, Op 20: Overture (1911-12) [4:52]
Suite in F-sharp minor, Op 19 (1908-09) [31:19]
American Rhapsody (1953) [14:16]
Leó WEINER (1885-1960)
Serenade in F minor for small orchestra, Op 3 (1906) [24:03]
ORF Vienna Radio Symphony Orchestra/Roberto Paternostro
rec. 2019-20, RadioKulturhaus, Vienna
CAPRICCIO C5380 [74:40]
It’s hard to understand why the utterly delightful works of Ernst von Dohnányi are so rarely performed in the concert hall. He has the reputation of being conservative and derivative, but he has his own voice and his music does not sound out of place with that of more famous composers who were writing around the turn of the twentieth century. That his style did not advance in his later years is evidenced here in his American Rhapsody. Yet, this tuneful and fun piece would make an excellent addition to any pops concert. An earlier disc of Dohnányi’s orchestral works with JoAnn Falletta and the Buffalo Philharmonic (Naxos) was reviewed by me and others here that also contains the Suite in F-sharp minor, one of the composer’s major pieces (review). That recommendable CD includes what is undoubtedly Dohnányi’s most popular work, the Variations on a Nursery Song for piano and orchestra and is an ideal entry point for anyone coming to his music for the first time.
The disc under review is hardly less recommendable and includes the bonus of Leó Weiner’s once popular Serenade. The programme opens with a brief overture to Tante Simona, one of Dohnányi’s operas that are rarely performed in the theatre. It is a light and ebullient piece and more than just fluff. Well scored and sounding typical of the composer, it would make a fine concert opener. As far as I can tell, this is the only recording of the piece currently available. Like everything on the disc, it receives an excellent performance.
The big work, though, is the Suite in F-sharp minor. It begins with a theme and six variations, followed by a scherzo, romance, and rondo finale. I compared this recording with Falletta’s and both are first-rate, but have enough differences to make them collectible. Generally, Falletta’s tempos are a bit quicker and she is recorded more distantly, requiring a rise in volume level to gain the maximum in appreciation. Paternostro has a superb orchestra in all departments at his disposal and the recording has real presence. The woodwinds, in particular, outdo themselves in this performance. Highlights include the clarinet solos in the first variation and oboe in the romance. There the solo cello is also memorable. The whole woodwind section excels in the “Mendelssohn meets Bruckner” scherzo movement. In the finale the bassoons are outstanding, too. However, in the delightful “Spanish section” the castanets are barely audible even as heard on headphones. Falletta’s castanets add real spice to the proceedings, as does her walloping bass drum. Although there is little to choose between the two accounts, Falletta’s zippier finale is really hard to beat.
Adding to the attractions of this CD is the inclusion of the American Rhapsody, a piece that contains several references to American songs and touches of humour. It demonstrates Dohnányi’s flair for orchestration as well as any of his other works.
The piece begins with the brass resounding “On Top of Old Smoky,” an Appalachian tune from the 1840s. Following this is a beautiful, plaintive section with the oboe and clarinet voicing a version of the spiritual “I Am a Poor Wayfaring Stranger.” When the music once again becomes animated, it reminds me not a little of Charles Ives before leading to “Turkey in the Straw” on the trombone. Later the ballad “Sweet Betsy from Pike” is given to the trumpet and the work concludes with one more reference to “Old Smoky,” ending the work with a flourish. These references are mentioned in Christian Heindl’s detailed discussion of the music in the accompanying CD booklet. The Viennese perform this American Rhapsody as if to the manner born.
If Dohnányi’s music is basically Germanic, manifesting the influences of Brahms and Richard Strauss, Leo Weiner’s is clearly Hungarian. His delightful Serenade demonstrates this flavour in spades, yet sounds nothing like the true folk music that so inspired Bartók and Kodály. The four-movement Serenade has received some exposure on disc especially by Hungarian conductors. With its folk rhythms—the rustic, stomping dance of the second movement being a fine example—and colourful orchestration—an example being the extensive and haunting clarinet solo in the third movement—the work makes a most fitting conclusion to the programme.
For a change from the over-exposed standard repertoire, this disc works very well. The performances and recorded sound leave little to be desired.
Leslie Wright
