Warner Classics have delved into
their cavernous back catalogue to assemble this double set
of Dvořák’s four great symphonic poems from 1896. On
the first of these parsimoniously filled discs The Golden
Spinning Wheel and The Noon Witch are heard in
live performances. The remaining two scores are studio recordings.
Sadly a fifth symphonic poem A Hero’s Song B.199,
Op. 111 (1897) was not recorded by Harnoncourt and is not
included although there is more than enough space to accommodate
it.
In the mid-late 19th century many
composers began setting music inspired by literary subjects.
This genre where a composer would use a poem or story to
provide descriptive programmes for their orchestral music
became known as the symphonic poem or tone poem. It became
the domain of the ‘New German School’ centred around Liszt,
Wagner and Strauss.
The symphonic poems form Dvořák’s
last major body of orchestral music. They were written after
his return to Prague following the composition of his New
World Symphony in America. The symphonic poems are orchestral
descriptions of the collection of folk ballads entitled Kytice (A
Bouquet of National Ballads) from Karel Jaromír Erben
(1811-1870) the Czech poet who hold an iconic position in
19th century Czech literature. Erben’s stories were remarkably
blood-curdling affairs and the gruesome subjects created
ripples of unease amongst the sensitive urban public. In The
Noon Witch a mother threatens her whining child with
the noon witch then suffocates the child. In The Water
Goblin the creature abducts a young girl and fathers
a child with her whom he decapitates. A peasant girl in The
Golden Spinning Wheel is killed and mutilated by her
step-mother and step-sister. In The Wild Dove a young
wife poisons her husband and subsequently drowns herself.
It is hard to find fault with
the performances. The Concertgebouw’s playing is quite superb
throughout, from fast moving tempos to the reflection of
swiftly changing complex emotions. Saturated with colour
and infused with energy, from the first bar to the last,
Harnoncourt’s readings avoid overcrowding the orchestral
climaxes and provide a showcase for open-hearted and spontaneous
playing from the Amsterdam players. In The Golden Spinning
Wheel the ‘love music’ of the King and the peasant girl
is movingly portrayed and Harnoncourt provides great rejoicing
in the closing pages where the King takes the peasant girl
back to his castle. I enjoyed the exciting and colourful
playing in the vivacious opening section of The Water
Goblin describing the evil creature singing about his
wedding. The allegro vivace which portrays the storm
on the lake is vividly interpreted. In The Noon Witch one
can almost imagine the disturbing scene of the mother clutching
her child to her breast for protection and frantically struggling
with the witch. To conclude Harnoncourt obtains exciting
orchestral power from the orchestra vividly portraying the
witch proclaiming victory. In The Wild Dove I especially
liked the way that Harnoncourt draws such beautiful and expressive
playing in the opening funeral march. In the andante section
where the woman tragically drowns herself the poignancy of
this interpretation is highly impressive.
The Warner recording engineers
provide fine sound throughout this mix of live and studio
events. The concise booklet notes are pleasantly informative
adding to the success of the presentation. From my collection
I remain impressed with the complete accounts of these Dvořák
symphonic poems from the Czech Philharmonic Orchestra under
Václav Talich on EMI 5754832, the Scottish National Orchestra
under Neeme Järvi on Chandos 8798 and also from the Czech
Philharmonic Orchestra under Zdeněk Chalabala on Supraphon
3056.
Harnoncourt and his Concertgebouw
Orchestra are on top form. Buyers should not hesitate with
this Warner Classics release.
Michael Cookson
Royal Concertgebouw Orchestra/Nikolaus
Harnoncourt 
