Erwin SCHULHOFF (1894-1942)
Double Concerto, for flute, piano and string orchestra with two horns, WV89, Op.63 (1927) [19:57]
Flute Sonata, WV86, Op.61 (1927) [13:39]
Three Pieces for String Orchestra, WV5, Op.6 (1910) [9:37]
Viktor ULLMANN (1898-1944)
Chamber Symphony, Op.46a arranged from the String Quartet No.3, Op.46 (1943) by Kenneth Woods [13:20]
Vilem TAUSKÝ (1910-2004)
Coventry – Meditation for String Orchestra (1941) [8:14]
Ulrike Anton (flute) and Russell Ryan (piano)
English Chamber Orchestra/David Parry
rec. March 2012, Parish Church, St. Jude-on-the-Hill, Hampstead,
GRAMOLA 98964 [65:25]
The Lost Generation of composers here is Czech. Over the last two decades
the names of Schulhoff and Ullmann have become increasingly visible and
numerous recordings of their music have attested to the very personal
qualities, and very different means, pursued by both. Decca has been an
especially active agent with an extensive series devoted to such music,
but other labels have been busy too.
This Gramola disc begins with a performance of Schulhoff’s Double Concerto
for Flute, Piano and Strings, written in 1927. This revels in the busy,
lissom neo-classical Franco-Czech style also cultivated by Martinu. It
was inspired by the French flautist virtuoso René Le Roy. When the orchestral
badinage thins to flute and piano exchanges the logic of the distribution
between the two instruments becomes clearer, though it’s true to say that
the flute takes the lion’s share. Schulhoff could also draw on a kind
of post-impressionist orchestral palette, as he does in the Andante,
whilst returning to the clarity of the opening in the finale. This is
a richly pointed affair.
The Flute Sonata is a better-known work, one again inspired by the composer’s
friendship with Le Roy, and sharing the same date of composition, 1927.
It’s cast in four movements rich in French clarity, with especially fast
tonguing required in the scherzo. The Aria is quite
cool but the finale is exciting. It sits a little oddly in the otherwise
all-orchestral context. We also hear the Three Pieces for String Orchestra,
Op.6, which were written when he was 16; charming reminiscences of Grieg
though lightly spiced so as to avoid pastiche and a central one a touch
more up to date.
Vilem Tauský’s Coventry is the English Lidice though
the notes are wide of the mark in suggesting Delius as an influence: Vaughan
Williams, yes.
Viktor Ullmann is represented by the Chamber Symphony, Op.46a
which is actually an arrangement, by Kenneth Woods, of the String Quartet
No.3. Written in 1943 it’s saturated in rich lyricism and strong rhythmic
drive. Curiously the expansion makes it sound more late-Tchaikovskian
in places than in the Quartet original, and the waltz figures can sound
almost like the Britten of the Bridge Variations. The expressive crux
of the matter is the slow movement, a most beautiful one, whilst the finale
is taut, intense, with a defiant quality turning ultimately to hopeful
belief. String orchestra arrangements, such as this one, are usually slower
than the quartet originals, but interestingly this one is quicker than
the only quartet performance I know, which is by the Kocian Quartet. The
difference is largely in the slow movement which the Kocian play more
intensely and slowly.
This is a very worthwhile addition to the catalogues. The Schulhoff Double
Concerto gets a finely disciplined performance and the Flute Sonata is
well balanced, though others have given it a faster reading. Ullmann’s
Chamber Symphony takes on valid life in its expansion, though I always
remain ambivalent about such reworking. Woods’ workmanship is not in doubt,
however, nor the performance.
There is an extensive booklet in German and English. Included is a five-page
essay on one of the disc’s sponsors, Bank Austria’s shameful history during
the National Socialist Era.
Jonathan Woolf
This is a very worthwhile addition to the catalogues.
See also review by Rob Barnett
Support
us financially by purchasing this disc from |
|
 |
 |
 |
 |
 |
|