Johannes BRAHMS (1833-97)
Symphony No. 1 in c minor, Op. 68 (1876) [45:58]
Wiener Symphoniker/Sergiu Celibidache
rec. live, 30 October 1952, Konzerthaus, Vienna, Austria
WIENER SYMPHONIKER WS 002 [45:58]
This live 1952 recording of Brahms’ Symphony No. 1 is conducted
by the Romanian conductor Sergiu Celibidache (1912-1996). It seems appropriate
to provide some background to the complex context that surrounded Celibidache
around the time of this recording. He became a star in the classical music
world virtually overnight. In December 1945 Celibidache, aged only 33 and
blessed with matinee idol looks, was plucked from music school to succeed
Leo Borchard as the principal conductor of the Berlin Philharmonic. The Berlin
Philharmonic was almost certainly the world’s most famous orchestra
as right through the Second World War they served as the cultural flagship
of Hitler’s Third Reich. Wilhelm Furtwängler who had been the Berlin
Philharmonic’s principal conductor from 1922 left the orchestra in February
1945 fleeing for his life to Switzerland. Both Borchard and Celibidache as
‘intermediary’ appointments had been in effect keeping the seat
warm until Furtwängler returned to his principal conductorship.
After his de-Nazification process in December 1946 Furtwängler, who was
highly popular with the majority of the players, was cleared to return to
the Berlin Philharmonic and began conducting again in May 1947. Celibidache
was a guest conductor of several orchestras and his debut with the Wiener
Symphoniker was given at the Konzerthaus, Vienna in April 1949. At this time
Celibidache was in the midst of a Berlin Philharmonic power struggle. His
relationship with the players of the self-governing Berlin Philharmonic quickly
began to sour as he started to interfere in artistic and executive affairs,
aggravated relationships with the players owing to his erratic and antagonistic
behaviour and made excessive rehearsal demands. In addition his numerous guest
conductor appearances with other orchestras became another problem area. Soon
Celibidache had another important rival to contend with as the Karajan became
a regular guest and began to gain the respect of both orchestra and audience.
Consequently Celibidache’s position became increasingly untenable. The
inevitable happened in 1954 and a disaffected Celibidache broke his ties with
the orchestra.
The present performance of Brahms 1 was recorded by the American broadcaster
Red-White-Red at one of Celibidache’s guest conducting concerts that
had become such a bone of contention back in Berlin.
I’m sure that the re-mastering process has made significant improvements
to the sound quality of this Wiener Symphoniker recording. Nonetheless I was
left wondering just how much of the sound quality was responsible for clouding
the instrumental detail and reducing the general impact of the playing. I
was not entirely convinced by the weight of the timpani thuds that open the
first movement Un poco sostenuto - Allegro; they can sound so solemn
and threatening if heard at their finest. At point 2.08 (track 1) the oboe
playing of the beautiful rising motif came across as rather recessed and is
not heard anywhere near to its best advantage. Throughout this movement I
would have preferred to have heard more expressive power and nervous energy.
In truth no one has managed to provide an opening of such raw power approaching
that of Klemperer in his wonderful 1956/57 EMI recording with the Philharmonia
in the Kingsway Hall.
The Wiener Symphoniker give a fine lyrical account of the E major Andante
sostenuto. The burnished autumnal feel of the countryside is almost palpable.
It conjures up a scene on the edge of a tranquil and shadowy forest whilst
anticipating the ominous onset of inclement weather. Owing to the problematic
sound the solo violin sounds uneven and a touch vinegary unable to show its
real beauty. In addition the solo oboe doesn’t stand out as much as
I would have liked. Right from the swaying opening measures gracious lyrical
melodies abound in the short Un poco allegretto e grazioso. Celibidache
manages to convey a mood of joyous contentment together with a pleasing warmth.
Sadly the opening clarinet solo is difficult to hear and loses most of its
pastoral colour. This is fresh music of the great outdoors evocative of early
morning dew to a backdrop of Alpine scenery. In the final Adagio - Allegro
non troppo ma con brio it is as if the listener is lying on a verdant
bank watching the tones and shapes of a changing sky. Here Celibidache builds
a mood weighty, sombre and tragic. Probably the highpoint is the great C major
theme which unfolds with real affection.
Celibidache refused to make records or to allow any recordings of his concerts.
Since his death a number of live archive recordings have been officially issued
by permission of his family. Not surprisingly I have come across only a modest
number dating from the early post war years so it is good to have another
to add to the catalogue. Although re-mastered the present disc has some sound
quality problems and what we are left with reduces the quality of performance
compared to the finest versions. Nevertheless, I enjoyed this and it serves
as a useful historical document if not the most worthy testament to this talented
yet controversial conductor.
Michael Cookson
A useful historical document if not the most worthy testament to this talented
yet controversial conductor.
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