The catalogues are
so full of recordings of the symphonies
of Brahms, either in full cycles or
recordings of individual symphonies,
that one is bound to question whether
yet more recordings are strictly necessary.
That’s a question best addressed after
considering all four performances contained
in this box, which, incidentally, Avie
is offering at less than full price.
The Russian conductor,
Semyon Bychkov (b.1952) emigrated to
the USA in 1975. I recall that he burst
onto the international scene, seemingly
from nowhere, in the mid-1980s making
a number of recordings that attracted
a good deal of attention. The profile
of his career then receded somewhat,
no doubt as the recording industry began
to "downsize". In recent years,
however, he has once again begun recording,
this time with the WDR Sinfonie-Orchester,
Köln, of which he has been Chief
Conductor since 1997. I have seen favourable
reviews of several of their recordings
but this is the first time I’ve heard
the partnership. On the evidence of
these CDs Bychkov and his orchestra
have formed a fruitful and effective
relationship.
One pleasing thing
to report is that, having followed all
the performances, except that of the
Fourth, with a score, it is clear that
Bychkov and his players are splendidly
attentive to Brahms’s dynamic markings.
In general, with only a couple of exceptions,
I liked Bychkov’s choice of tempi. In
particular, though he rarely rushes
his fences, the speeds in the quicker
movements are lithe and athletic. There
are a good number of modifications within
the basic tempo of a movement but almost
without exception these modifications
are "traditional" and fully
justified. Rhythms are well sprung and
this, together with apposite pacing,
means that the music has a good sense
of forward movement. Between them Bychkov
and the engineers have balanced the
orchestral sound very well so that there
is always the necessary clarity of texture.
Bad Brahms will sound turgid, whether
the fault lies in speeds, balance or
rhythms. This is good Brahms.
In the First Symphony
the introduction is suitably spacious
but not massive and there’s a feeling
of forward impetus from the very start.
In the main body of the movement, where
the exposition repeat is taken (hooray!),
Bychkov drives the music forward strongly
but never to excess. The performance
has purpose. The andante is warm without
ever being over-indulgent and we hear
good work from solo violin, horn, clarinet
and oboe. The third movement is, like
its companions, well-judged with good,
but not pedantic attention paid to the
markings. Perhaps the poco tranquillo
at the end and the bars that preface
this passage (CD 1 track 3 from 4’19")
are taken a bit too slowly. However,
if so then this is a minor blemish.
The finale is well done. Once the allegro
is launched it’s well articulated. There’s
plenty of weight in the playing but
strong underlying rhythms mean that
there’s no suggestion of sluggishness.
When the final apotheosis of the chorale
is reached (track 4, 16’57") the
brakes are only gently applied, thank
goodness, so that the moment is grand
but not grandiose. All in all this is
a fine and direct, no-nonsense reading
of the symphony.
The lovely first movement
of the Second Symphony is taken
at a flowing, easy tempo which I like
very much indeed. Bychkov doesn’t indulge
in any autumnal wallowing but, instead,
keeps the music on the move, which is
greatly to its advantage. As in the
First Symphony he observes the exposition
repeat and gets full marks from me for
so doing. The lyricism of this movement
is conveyed excellently but there’s
strength and excitement in the climactic
passage between cues G and J (CD 2 track
1 10’52"- 12’54"). The adagio
is well shaped as is the third movement,
which is crisply and buoyantly delivered.
Brahms marks the finale allegro con
spirito and Bychkov’s way with it
is indeed spirited. His reading is fresh
and uninhibited but at the same time
it’s well disciplined and the recapitulation
is particularly joyful. My one reservation
concerns the coda which is perhaps just
a bit too fast and furious. It would
be extremely exciting in a concert performance
but may be found wearing on repeated
listening. That apart, I’d regard this
traversal of the symphony as a success.
I also enjoyed the
Third Symphony very much. Once
again the exposition repeat is made
in the first movement. There’s urgency
in the development but the reading certainly
doesn’t stray across the boundary and
become frenetic. On the contrary, I
felt that the music was always given
appropriate space. I’m not entirely
sure that I’m convinced by Bychkov’s
account of the andante, which is quite
leisurely. I’m always wary of the stopwatch
but it may be worth noting that Bychkov
takes 9’13" for this movement.
By contrast, among other recordings
on my shelves, chosen at random, Gunter
Wand (RCA) takes only 7’39". Kempe
with the Berlin Philharmonic (on Testament)
is only marginally slower at 8’15".
Haitink, in his recent LSO Live reading,
takes 8’53". In fairness to Bychkov
I ought to record that the other version
I checked was by Fritz Reiner (RCA),
who clocks in at 10’00". I’m much
happier with the Poco Allegretto,
which is shaped very naturally. This
movement, warmly introduced by the cellos,
features some excellent woodwind playing.
The finale is thrusting and energetic
but when Brahms winds the pace down
as the ending approaches (Track 4, 7’08")
Bychkov relaxes very convincingly and
judges the un poco sostenuto
splendidly, the dying embers of the
music glowing warmly, as they should.
In the Fourth Symphony
Bychkov presents a strongly projected
and atmospheric first movement. The
last few pages are especially dramatic.
The andante is affectionately done but
the Allegro giocoso is pleasingly
vigorous, with a real spring in the
step. The concluding passacaglia is
powerful and dynamic. Bychkov has clearly
noted the concluding word in Brahms’s
marking, Allegro energico e passionato.
However, he doesn’t overplay his hand
and the quieter passages, such as the
flute-led variation (track 8, 3’12")
are handled very well. At 5’44"
the great opening chords of the passacaglia
return in full cry and from here on
the performance is particularly vivid
and dramatic. The playing has real bite
and a most exciting conclusion to the
symphony, and the cycle, results.
I began by posing the
question whether or not we need yet
another Brahms symphony cycle in the
catalogue. I think the answer must be
that there is room for a fine, idiomatic
set such as this. I’m not yet sure if
it rivals some of the very best sets
that I know, such as Toscanini or Kempe
(both Testament) or Wand (RCA). Only
repeated listening will answer that
question. It offers a different view
to the evolving, thoughtful Haitink
cycle (LSO Live) but is no less, or
more, valid for that. However, I doubt
if anyone acquiring this set will be
disappointed for Bychkov is a reliable,
dynamic and understanding guide to these
works and he has something to say about
these symphonies. His performances mix
attention to detail and a long view
in good balance. He is very well served
by his players, with whom he clearly
has a strong rapport. Their performances
are captured in very good, clear sound
though I have only listened in conventional
format, not SACD.
I have enjoyed these
performances very much indeed and look
forward to listening to them again in
the future just for sheer pleasure.
John Quinn
WDR Sinfonie-Orchester, Köln/Semyon Bychkov
AVIE
AV2051 [3 CDs: 49’33" + 42’13 + 78’07]
