Fritz Busch’s post-war
recordings with the Danish Radio
Symphony Orchestra are important
documents that preserve his vital,
unostentatious and wholly persuasive
musicianship in pretty good sound.
They’ve retained their place in
the reissue market – the Linz
and the Sinfonia Concertante
for example are also to be found
in the Great Conductors of the Twentieth
Century series in which Busch, naturally
enough, featured [EMI 7243 5 75103
2 5]. Eine Kleine Nachtmusik
has also been transferred on
Biddulph 83066 – and so on.
There’s a sense
of masculine directness, unaffected
and unfussy, that courses through
Haydn’s G major symphony. It opens
weightily but is propelled through
acute rhythmic control and in the
slow movement we can hear some richly
phrased woodwind statements that
attest to Busch’s cordial relationship
with the orchestra. Similarly the
winding violin lines are precisely
unveiled. It’s a pity that there’s
some congestion in fortes from time
to time but it doesn’t seriously
limit enjoyment. Certainly the rusticity
of the Menuetto won’t hinder pleasure
and the finale – con spirito
is taken at its word – ends the
performance on a real high.
It’s very remiss
of Guild not to note the names of
the four soloists in the Sinfonia
Concertante so I’ve saved some of
their blushes – but I shouldn’t
have had to. This is a robust, no-nonsense
account, stylish, alert, splendidly
prepared and well balanced. The
string players have slim-line but
attractively eager tones, nicely
scaled and equalized though not
overtly expressive. Violinist Leo
Hansen plays with elfin eloquence
in particular. Wolsing was an excellent
oboist and makes his accustomed
mark, as does bassoonist Carl Bloch.
Busch had recorded
the Linz in London before
the War with Boult’s BBC Symphony
– but this later recording is preferable.
With the BBC he had been guilty
of rather tapered phrasing and a
degree of mannerism. The Danish
orchestra largely eschews the kind
of pervasive portamenti that the
BBC indulged in. The highlight is
the affectionately moulded – but
not manicured - slow movement.
Nobody really needs
another Eine Kleine Nachtmusik
though arguably historical performances
are different. Of the two competing
transfers the Biddulph is noisier
but more present, this Guild more
recessive and treble suppressed.
I’d trade some of the noise for
the greater vitality of the Biddulph
but I dare say the smoother aural
ride of this Guild would get other
people’s vote.
A very good if
well known conspectus, reasonably
transferred, fallibly documented.
Jonathan
Woolf
Waldemar Wolsing (oboe), Carl Bloch (bassoon),
Leo Hansen (violin) Alberto Medici (cello)
