Symphony No. 3 in F major, Op. 90 (1883) [30:08]
Symphony No. 4 in E minor, Op. 98 (1884/5)* [37:20]
*London Symphony Orchestra/Felix Weingartner
London Philharmonic Orchestra/Felix Weingartner
rec. 6 October 1938, *14 February 1938, Abbey Road Studio No 1, London
PRISTINE AUDIO PASC334 [67:28]
Some years ago I reviewed
a set containing the recordings of all four Brahms symphonies which Felix
Weingartner made in London between February 1938 and February 1940. Now
Pristine Audio has released the last two of these symphonies in new transfers
by Andrew Rose. He has processed the first two symphonies separately (PASC281)
but I’ve not heard the results.
I don’t find that my view of either interpretation has changed. Last
time I described Weingartner’s approach to the Third symphony as “lean
and muscular”; indeed, that description could be applied equally well
to all his Brahms interpretations. It’s possible that part of that
may be attributable to the recorded sound but mostly it’s a question
of style. In many ways I like it; it’s direct and bracing. However,
since writing that review back in 2006 I’ve heard the performances
of all the Brahms symphonies by both Sir Charles Mackerras and Sir John
Eliot Gardiner. The approach of both conductors is similarly lean and direct,
shorn of any extraneous padding. By comparison with them Weingartner fails
to shape the phrases quite as winningly. These more recent conductors shape
the wonderful conclusion to the Third symphony more satisfyingly - though
Weingartner’s way with this passage is convincing and of a piece with
his clear-eyed approach to the symphony as a whole.
Last time I wrote of the Fourth that Weingartner’s view of the work
is “clear and forthright”, not least in his disciplined control
of rhythms. In his hands I found the finale trenchant and darkly powerful;
I still do. The performances of both symphonies are well worth hearing.
What of the transfers? Andrew Rose admits in a booklet note that he found
both recordings a challenge, as he has found several recordings emanating
from Abbey Road in the late 1930s. However, he has persevered, using Columbia
LPs from the 1960s. It’s been interesting to compare these, movement
by movement, with those which I’d previously heard that David Lennick
made for Living Era.
In comparing the Third I listened to each movement in the Living Era transfer
first. In each case I found the Pristine audio transfer is preferable. Rose’s
work offers warmer, fuller sound with rather better bass definition. For
example, the sound of the woodwinds and then of the answering string phrases
at the start of II has better definition. It’s a similar story in
I and III; the Living Era sound seems a little flatter. At the opening of
the finale the Pristine, as reproduced on my equipment, evidenced a better,
fuller bass response and the jagged chords (from 0:50) have more body; they
sound somewhat shrill on Living Era. Unsurprisingly, perhaps, the wonderful
coda (from 6:43) is more satisfyingly reproduced on Pristine, the sound
having a bit more warmth and presence.
When it came to the Fourth I reversed the process and listened first to
each movement in the Pristine transfer. In the first movement I found I
had a slight preference for the Pristine over the Living Era but that the
difference between the two was slight. I assessed honours as even in II.
Andrew Rose commented that the recording of the Fourth is less well recorded
than the Third in the louder sections and goes so far as to describe the
sound as sometimes having a tendency to “coagulate into a rather heavy
mush”. There’s evidence of this in III where the booming timpani
tend to compromise the tutti sound. In some ways the leaner, dare
I say thinner sound from the Living Era transfer alleviates this problem
but the Pristine sound is more pleasant to hear. On balance I prefer the
sound that Pristine offers over the course of the symphony as a whole but,
as indicated earlier, the differences between the two transfers are not
as marked in this symphony.
If you already own the Living Era transfers I would not suggest discarding
them - I won’t be doing so. Their set is offered with good notes by
David Patmore whereas Pristine Audio merely reprint an extract from The
Gramophone’s 1938 review and a brief note about the transfer.
The Living Era transfers are offered as part of a two-disc set of all four
symphonies; The Pristine transfers reproduce Weingartner’s performances
of the last two Brahms symphonies, which are well worth hearing, to best
advantage.
John Quinn
Weingartner’s lean and muscular Brahms in good new transfers.
Masterwork Index: Symphony 3 ~~ Symphony 4
Availability |