The first recording of the orchestral Hungarian
Rhapsodies on historical instruments couldn't be more authentic. The
recording took place in Liszt's hometown, and according to the booklet
- which lists the provenance of every instrument played - many of the
woodwinds “were played in orchestras conducted by Liszt.”
This is most likely to be true of a trio of Viennese horns dating from
1830.
What counts most of all, though, is that the performances, though not
especially fast, are infectiously spunky and exciting. At one point
I had to stop the CD to go meet a friend in a bar, and was a little
upset about it. There's one exception which proves the rule: the first
five minutes or so of No. 4 are rather saggy, starting with a disappointing
blurred horn fanfare. But everything else is a success. The period instruments
add just that much extra rustic color, and the players themselves are
energized by the live concert environment in which these recordings
were made.
At its very best moments (like the first rhapsody) the Orchester Wiener
Akademie reach the kind of hectic excitement and panache exhibited by
Dorati and other such greats. Even when they're not quite on that level,
they're very good, and the period sound is a big draw. Tempos are rather
broad; Ivan Fischer's disc is a full 10 minutes faster. The violin soloist
is Ilia Korol, whom you may know from excellent albums of
Graun,
Onslow
and
Brahms.
I like the engineering for the most part; there are a few times when
the timpani or trumpet are hard to hear, but the rest of the orchestra
is presented very well, a little dry but not that much. Live audience
sounds are only audible if you actively listen for them.
This is probably not a first choice, but it’s very much for period-instrument
and Hungarian Rhapsody fans. Just don't let anybody interrupt.
Brian Reinhart
