This is the third and final volume of the Nielsen symphonies reissued
by Naxos from original Dacapo sources. It has more
than adequate but less extensive notes than those accompanying
the original issue. I enthusiastically welcomed Volumes One (see
review)
and Two (see
review). With this volume, things are not quite as clear-cut.
As before, the main competition for these symphonies - often considered
Nielsen’s greatest - is the mid-price Decca reissues with Herbert
Blomstedt and the San Francisco Symphony. As with the earlier
volumes, Schønwandt’s performances with the Danes have a certain
natural quality that is as beguiling as it is difficult to describe.
At the same time, Blomstedt’s recordings have an extra dimension
of excitement and drive that’s hard to ignore. After listening
several times to both discs of these symphonies and doing a close
comparison, I come down in favor of Schønwandt for the Fourth
and Blomstedt for the Fifth. Also, to a greater degree than for
the earlier volumes, these two symphonies have had some legendary
recordings that have stood the test of time. Here I’m thinking
in particular of Jean Martinon’s Fourth with the Chicago Symphony
(see
review) and Leonard Bernstein’s Fifth with the New
York Philharmonic (see review). Still, Blomstedt and Schønwandt -
the latter primarily in the Fourth - have nothing to fear from
the competition.
Starting with the Fourth Symphony, Schønwandt obtains
a fine orchestral balance that brings out both the warmth
and the dynamism. Clearly part of this is due to the superb
acoustics of the Danish Radio Concert Hall, but the idiomatic
performance of the orchestra and the unobtrusive direction
of Schønwandt are what make this sound so beautiful. This
is not to imply any blandness but a real naturalness that
does not draw attention to itself. And when it comes to excitement,
I have never heard a better timpani duel in the last movement.
Whereas Schønwandt’s opening Allegro is exuberant and
sparkling, Blomstedt’s is harder hitting and more exciting
if not as joyous. The difference in the recorded sound here
is notable: more brilliant for Blomstedt and warmer for Schønwandt.
Both are valid, I think. However, in the Poco allegretto
second movement Schønwandt wins hands down with his more relaxed
tempo and suppler woodwinds. Also, I find Blomstedt’s clarinet
with what sounds like clicking keys annoying. There is not
a lot of difference in the third movement between the two
performances. The sound on Blomstedt’s recording can get a
bit shrill in the upper strings at times and is a little congested
when the whole orchestra is playing fortissimo. In the blazing
finale, Blomstedt is dynamite with riveting timpani. So is
Schønwandt, with terrific trombones cutting through at 1:12-1:17—more impressive
than in the same place for Blomstedt. Overall, Schønwandt’s
brass is very impressive as is his timpani duel. Here, the
clearer, cleaner sound on his recording makes the famous duel
really tell. Blomstedt’s while very powerful is not as clear.
It is fitting that Schønwandt’s timpanists, René Mathiesen
and Christian Utke Schiøler, get credit on the back of the
disc. I wouldn’t want to be without either recording of this
great work, but if forced to choose, I would pick Schønwandt
over Blomstedt.
In the Fifth Symphony, though, things are reversed.
Of all of Schønwandt’s Nielsen cycle, this is the only mildly
disappointing account. Taken on its own it certainly more
than satisfactory, but when compared to Blomstedt, for example,
it comes off as a bit tame. It still has enough interest to
recommend the disc, especially since it comes coupled with
such a superlative Fourth. It is notable that Blomstedt’s
overall timing for this work is 35:34, while Schønwandt’s
is 38:30. The extra three minutes do make a difference and
not in Schønwandt’s favor. In the beginning Schønwandt’s orchestral
choirs are well delineated, and the placing of the timpani
in the march is excellent. When it comes to the famous snare
drum solo, though, Schønwandt sounds too tame. There is simply
no question here who will win the battle between the snare
drum and the rest of the orchestra. Indeed, the brass is spectacular
throughout. The bassoon and clarinet solos near the end of
the symphony’s first part I, the Adagio, are also wonderful,
as they are for Blomstedt. With Blomstedt’s battle, however,
there is the sense of a real struggle between the drums and
the rest of the orchestra.
The same holds true for the symphony’s second part.
Blomstedt’s more flowing tempos are really a plus. In the Allegro
Schønwandt is more straightforward and a little rigid, though
his orchestra plays spectacularly with whooping horns, terrific
lower brass, and solid timpani. While the lower brass for Blomstedt
is not quite as telling, his timpani resound like gunshots, and
the performance as a whole is more exciting. This is true, as
well, in the following Presto where Blomstedt’s faster
tempo is not only exciting but even frightening. Both conductors
capture the tranquillo of the following movement’s Andante
poco tranquillo extremely well and are more evenly matched
here than elsewhere in the symphony. The symphony’s ending with
its burst of glory in the brass is well captured in both recordings,
but again Blomstedt is just that much more blazing. As in the
earlier symphony, Schønwandt’s soloists - here Niels Thomsen,
clarinet and Tom Nybye, snare drum - receive credit on the back
of the disc case. As far as the clarinet solos are concerned,
this is truly deserved and both performances are well matched.
However, as I mentioned earlier, Blomstedt’s snare drummer is
superior to Schønwandt’s, at least as heard on the recordings.
The bottom line: both recordings are recommended, especially
Schønwandt’s for the Fourth and Blomstedt’s for the Fifth.
Both are budget priced. If, however, you can choose only one,
I’d go with Blomstedt ‘s Double Decca where you get superb
performances of the last three symphonies and the Little
Suite for Strings and Hymnus Amoris thrown in for
good measure. Nevertheless, if you are collecting the Schønwandt
series, do not hesitate.
Leslie Wright
Danish National Symphony Orchestra/Michael Schønwandt
