Naxos has struck gold with this magnificent recording of Strauss’s
An Alpine Symphony. This recording can live with the
very best accounts and in most cases is the superior choice.
Strauss’s
monumental An Alpine Symphony divides opinion. The
score frequently receives an unfavourable press and criticism
is often fierce, the work being undermined and belittled,
not taken seriously in many quarters. Many commentators think
it ‘over the top’, too self-indulgent with an excess of corny
effects and lacking in melodic invention. Treated as a curiosity
it requires considerable resources and is expensive to perform.
Consequently it is not performed in the concert hall as often
as one might expect. I love it and have treasured my vinyl
recording from Herbert von Karajan and the BPO since its release
in 1981. An Alpine Symphony is not a score that one
would wish to play on a weekly basis but it certainly deserves
more than the occasional outing; especially with an account
as superb as this.
Although
cast in one continuous movement it has a distinct programme
over 22 sections which describes each phase of the epic Alpine
journey. Strauss begins at night, then through sunrise and
finishing at sunset. The composer drew his inspiration from
a schoolboy climbing expedition in the Alps, in which
at one point the boys lost their way and on their descent
had been drenched during a thunder-storm. An equally important
source is to be found in Nietzsche. Strauss had wholeheartedly
embraced Nietzsche’s philosophy, using his idea of liberation
through nature. Strauss was notably influenced by Nietzsche’s
attack on Christianity, Der Antichrist: Fluch auf das Christentum
(The Antichrist: Curse on Christianity).
Strauss
started the composition of An Alpine Symphony, the
last of his tone-poems, in 1911, working on it intermittently
until its completion in 1915. He gave the première of the
score with the Dresden Symphony Orchestra in October 1915
in Berlin. In the booklet notes Keith Anderson explains that a
very large orchestra is required that includes double woodwind
and eight extra players, a brass section of 14 players, including
four tenor tubas, four harps, a large percussion section including
a thunder and a wind machine, 12 horns, two trumpets, two
trombones off-stage, five dozen or so string players and a
concert organ.
I
read recently how much Antoni Wit loves giving performances
of An Alpine Symphony. His affection for this opulent
and highly coloured orchestral score certainly shows. Wit
and his orchestra are right inside the spirit of the score
displaying a genuine intensity and adapt magnificently to
the changing moods of the Alpine landscape. The substantial
brass section displays their awesome power, the woodwind play
with detail and remarkable agility and the strings have a
splendid timbre. I was especially impressed with the extended
percussion section that provides effects that are magnificent
and realistic.
The
section that builds up to the ‘Sunrise’ is truly awesome. In the ‘Entry to the Wood’ I loved
the authoritative hunting horns and the Staatskapelle strings
with their silvery tone. The excitement leading up to the
sight of the waterfall is impressive and the cascading water
is convincingly portrayed. ‘On the Alpine Pasture’ the Staatskapelle
woodwind are in fine form and the rich strings are striking.
The cold air of the spectacular glacier is realistically caught
as are the fragmented textures of the ‘Dangerous Moments’
section. The quality of the playing matches the brilliance
of the orchestral colour marking the achievement of ‘On the
Summit’. This is Strauss at his most luxuriant and consistently
exciting.
I
like the way the music provides the short and welcome respite
in the ‘Vision’ section before building up a tremendous momentum.
Here the organ enters the score impressively. In the ‘Elegy’
the low strings and woodwind take centre-stage. The significant
and imposing organ opens the intense ‘Sunset’ section with
terrific work from the trumpets and trombones. In the evocative
final section ‘Night’ returns and with it the music of the
opening. In the last bars there is a concluding reminiscence
of the climb itself. The Staatskapelle Weimar under Antoni
Wit can be justly proud of their achievement.
There
have over the years been many fine versions of this work and
many readers will be familiar with accounts from Rudolf Kempe
and the Dresden Symphony Orchestra (Staatskapelle Dresden)
from 1971, on a budget priced 9 disc all Strauss set, on EMI
Classics 7243 5 73614 2 2 as well as a Brilliant Classics
box. There’s also the historic 1941 Munich recording of Richard Strauss conducting his own score
with the Bayerische Staatskapelle on Dutton CDBP 9720.
Perhaps
the best known account is that from Karajan with the Berlin
Philharmonic Orchestra, recorded in 1980 at the Philharmonie
Berlin, on ‘Karajan Gold’ Deutsche Grammophon 439 017-2. High
on virtuosity and artistry Karajan’s Berlin players
are commanding and the strings in particular display their
magnificence throughout. Karajan’s version has been a favourite
of mine since it was first released on vinyl, however, this
Naxos account from Antoni Wit is its equal.
I
admire the live version from Christian Thielemann with the
Vienna Philharmonic Orchestra, from 2000 at the Musikverein
Vienna, on Deutsche Grammophon 469 519-2 c/w ‘Der Rosenkavalier’
Suite. This offers an exciting performance but without the
same vital forward momentum as the accounts from Karajan and
Wit.
The
sound quality from the Naxos engineers is realistic and well balanced. Keith Anderson’s
booklet notes are up his usual high standard. There is however
enough space on the disc to have accommodated another substantial
score.
A
golden recording of which Naxos should be very proud.
Michael
Cookson
see also Review
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