Eugen
Jochum (1902-1987) was a welcome visitor to London during
the last couple of decades of his career and on this CD we
hear him with the two London orchestras with which he enjoyed
fruitful collaborations.
He
recorded all the ‘London’ symphonies of Haydn with the LPO
for DG in the early 1970s and the present two performances
took place around the time of some of those sessions. I haven’t
heard the DG recordings but, on the evidence of what is presented
here, that’s an omission I must correct. Nowadays Haydn’s
symphonies are heard so often in performances either by chamber
orchestras using modern instruments or by period instrument
bands that opportunities to hear them played by modern symphony
orchestras sometimes seem to be in danger of becoming as
rare as the proverbial hens’ teeth. That’s a great pity for
Jochum emphatically demonstrates here that “big band” Haydn
can be stylish and satisfying.
So
in the ‘Military’ symphony he builds the slow introduction
to the first movement carefully before setting off on a carefree
account of the allegro itself. In the Allegretto,
which features the percussion contributions that led to the
symphony’s nickname, he ensures the rhythms are lifted nicely
and he shapes the phrases very well. It’s when the percussion
play that the “big band” nature of the performance is most
apparent. I love the smiling gait that Jochum imparts to
the minuet and the finale bounds along with great zest.
His
reading of the ‘Clock’ symphony is just as pleasing. I like
the suspense in the first movement introduction and the allegro
that follows it is fresh and lively. The slow movement, with
its ticking clock ostinato, is graceful and the music is
played affectionately. There’s just the right amount of weight
in the minuet – but the performance is definitely not too
heavy. I relished the excellent contribution of the solo
flute in the trio. The finale is light on its feet. Here
the LPO play with particular agility and drive.
Jumping
forward some 150 years Jochum presents another good-humoured
work in the shape of Hindemith’s cumbersomely titled but
very clever Symphonic Metamorphoses. I first
got to know this attractive and inventive piece from the
inside a good few years ago when I took part in an orchestral
study weekend directed by Music Web contributor, Arthur Butterworth,
which featured this piece among others. It’s a brilliant
orchestral showpiece and very ingenious and resourceful in
its use of the orchestra. Jochum, aided by the individual
and corporate virtuosity of the LSO, gives a splendid account
of it. I wouldn’t normally associate him with Hindemith’s
music but in his interesting liner note David Patmore relates
that when Jochum was working in Hamburg from 1934 onwards
he courageously programmed music by Hindemith and by other
composers whose music had been banned by the Nazis.
The
first movement exhibits great vigour here. There’s a lot
going on in the score but Jochum ensures there’s clarity
in the playing. The scoring in the ‘Turandot Scherzo’, which
comes next, is even more teeming with complexities. However,
Jochum and his players bring out a good deal of the detail.
The fugue for the brass (4:09 – 5:13) exemplifies the excellent
work done by this section of the orchestra during this movement.
Towards the end of this particular passage – and elsewhere
in the work - there’s some thrillingly incisive playing from
the LSO’s timpanist. The Andantino third movement
features some fine solo woodwind playing, especially from
the first flute near the end. The exhilarating finale is
tremendously exciting and is crowned at the end by exultant
horns.
Those
who associate Eugen Jochum primarily with devoted, committed
performances of Bruckner symphonies may be pleasantly surprised
by this CD. The booklet includes a couple of engaging photographs
of him, taken in rehearsal, where he’s smiling broadly and
clearly enjoying himself very much. That happiness comes
through consistently throughout these excellent performances.
This is a highly entertaining CD, which I enjoyed immensely.
John Quinn
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