CD 1
Wolfgang Amadeus MOZART (1756-1791)
Symphony No. 35 in D major, K385 Haffner (1782) [19:04]
Symphony No. 41 in C major, K551 Jupiter (1788) [34:59]
CD 2
Franz SCHUBERT (1797-1828)
Trout Quintet, D. 667 (1819) [41:29]
Notturno, D. 897 (1825) [8:51]
CDs 3-4
Joseph HAYDN (1732-1809)
The Seasons, oratorio Hob. XXI:3 (1801) [129:19]
CDs 5-6
Felix MENDELSSOHN (1809-1847)
Elijah - oratorio, Op. 70 (1846) [121:08]
CDs 7-8
Carl ORFF (1895-1982)
Antigonae (1949) [143:06]
Soloists and Chor und Symphonieorchester des Bayerischen Rundfunks/Wolfgang Sawallisch
rec. 1958/2001
Full performance and cast details at end of review.
EDITION GÜNTER HÄNSSLER PROFIL PH12041 [8 CDs: 54:12 + 50:41 + 71:40 + 57:39 + 60:00 + 60:00 + 77:24 + 65:42]
The Profil label has rushed out this 8 CD box set to commemorate the
death of conductor and pianist Wolfgang Sawallisch who died on 22 February
2013 aged eighty-nine. The set spans 43 years of his long and distinguished
career with the Symphonieorchester des Bayerischen Rundfunks but includes
examples of the great man’s other area of prowess, playing piano in a
chamber recital. Renowned for his interpretations of Bruckner, Wagner
and Richard Strauss, Sawallisch conducted extensively with the world famous
Berliner Philharmoniker and held posts at the Bayreuth Festival, Vienna
Symphony Orchestra, Hamburg State Philharmonic, Orchestre de la Suisse
Romande and the Philadelphia Orchestra in America. In Britain Sawallisch
enjoyed a long association with the Philharmonia in London. For more than
three decades Sawallisch also conducted annually with the NHK Symphony
Orchestra in Tokyo.
Munich-born and bred, Sawallisch studied at the city’s Wittelsbacher-Gymnasium
and the Hochschule für Musik. He is best known for his long association
in Munich with the Bayerischen Staatsoper and also the Symphonieorchester
des Bayerischen Rundfunks that feature on all but one of the eight Profil
discs. Sawallisch loved the Bavarian capital of Munich and there conducted
most of the major Richard Strauss operas. It seems his lifetime total
was around 1,200 opera performances in Munich, which included 32 complete
Wagner Ring cycles. I understand that the only major work by Richard Strauss
that he didn’t conducted was Salome. For much of his life Sawallisch
lived on his country estate at Grassau, a region of the Bavarian Alps
that he cherished so much; he also died there. During his extremely long
and distinguished career Sawallisch made a large number of recordings.
Sawallisch’s remarkable collection of Schubert’s Sacred Choral Works
recorded with the Chor und Symphonieorchester des Bayerische Rundfunks
for EMI is cherishable. His impressive list of soloists includes: Peter
Schreier (tenor); Robert Tear (tenor); Dietrich Fischer-Dieskau (baritone);
Helen Donath (soprano); Lucia Popp (soprano) and Brigitte Fassbaender
(mezzo). This outstandingly performed and recorded set of 35 Schubert
sacred scores was made in 1977 and 1979/83 at the Herkulessaal, Munich
and can be found in a 7 disc box set on EMI Classics 5 86011 2.
For the present commemorative release the Munich based Profil label has
selected seven pieces that go some way to display the diversity of works
that Sawallisch conducted. His approach is widely regarded as representing
the best traditions of the Austro/German school. The booklet notes show
the recording venues and performance dates but not the origin of the recordings.
So I am not able to report which are new releases and which are reissues.
In addition the set is let down by lack of texts and English translations.
CD 1
On the first disc Sawallisch is represented by two Mozart symphonies a
composer who was very close to the heart of the Bavarian conductor - especially
the operas. An impressive Mozartian Sawallisch’s wonderful 1972 studio
recording of Mozart’s Die Zauberflöte with the Chor und Orchester
der Bayerischen Staatsoper should be mentioned. The fine cast of soloists
includes Kurt Moll (Sarastro), Peter Schreier (Tamino), Edda Moser (Queen
of the Night), Anneliese Rothenberger (Pamina), Walter Berry (Papageno)
and Olivera Miljakovic (Papagena). Recorded at the Bürgerbräu, Munich
I have this Sawallisch double on Classics for Pleasure 3932662.
Sawallisch made the present recordings of the Mozart Haffner
and Jupiter in 1998 with the Symphonieorchester des Bayerischen
Rundfunks in front of a live audience in Munich for Bayerischer Rundfunk.
The first work is the Haffner, composed in 1782 just prior to
Mozart’s wedding to Constanze Weber. It started out as a serenade commissioned
for the ennoblement of Sigmund Haffner, the mayor of Salzburg. Mozart
later reworked it into the familiar Symphony that was introduced
in 1783 at the Vienna Burgtheater. The second work is the magnificent
Jupiter. Composed in 1788 it is Mozart’s final symphony and also takes
the longest to perform. It seems that impresario Salomon was responsible
for giving the symphony its evocative nickname Jupiter - as always
a valuable marketing tool for the publishers. Last May at the Dresden
Semper Opera I reported on a concert with Daniel Barenboim conducting
the Wiener Philharmoniker in the last three Mozart symphonies. It might
have been ‘big-band’ Mozart but it was quite stunningly played with everything
feeling fresh and newly minted under Barenboim’s direction. It was a truly
special concert that will live long in the memory.
Sawallisch’s affectionate Mozart interpretations immediately come across
as buoyant and spirited in the Allegros and gentle, if rather
passive in the Andante movements. Although Sawallisch could have
taken a more exhilarating and muscular approach the playing of the Symphonieorchester
des Bayerischen Rundfunks is sparklingly fresh. Most of all I was struck
by the well sprung rhythms, the finely judged changes of weight and tempi
and the elegance of the beautiful playing. The sound quality of this 1998
live recording was pleasing and reveals some really fine detail. The enthusiastic
audience applause has been left in.
In addition to these excellent Sawallisch recordings I remain greatly
impressed by the evergreen Deutsche Grammophon accounts from the Berliner
Philharmoniker under Karl Böhm. Recorded in 1959 and 1962 at the Jesus-Christus-Kirche,
Berlin/Dahlem, by today’s standard these performances would be classed
as ‘big-band’ Mozart. They are none the worse for that. Böhm’s accounts
wear their age lightly, remaining full of vitality and character as well
as containing attractively elegant playing. I have the release on a re-mastered
double disc Deutsche Grammophon ‘The Originals’ 447 416-2 (Symphonies
36, 38, 39, 40).
CD 2
Here we have two fine examples of Sawallisch the chamber music player.
A talented pianist, Sawallisch in the first of these Schubert performances
Die Forelle (The Trout) is joined by Jan Pospichal (violin);
Wolfgang Klos (viola), Wilfried Rehm (cello) and Ernst Weissensteiner
(double bass). The recording was made in 1997 at the Classic Sound Austria
recording studio in Vienna. The enduring popularity of this glorious work
is well deserved. The score was commenced in the summer of 1819 maybe
as a commission by Sylvester Paumgartner, a wealthy patron who also played
the cello. Evidently it was Paumgartner who suggested it might include
a theme and set of variations on Schubert’s own lied Die Forelle
D.550 (1817) hence the descriptive title - which is a publisher’s dream.
The provenance of the Notturno D.897 for piano trio is uncertain.
Probably composed in 1825 it was published posthumously in 1846. Many
Schubert scholars believe the Notturno to be a discarded Adagio
movement for his Piano Trio in B-flat Major, D.898. It is likely
that the title was created at the behest of a publisher.
Sawallisch and his fellow chamber musicians are on splendid form conveying
their collective pleasure in delightful music-making. This is persuasive
version of the Trout Quintet and it just sparkles with vibrancy.
The speeds are judiciously judged and there’s affectionate phrasing and
refined textures. Considerable sensitivity is offered in the Notturno
yet there is no sense of the players handling the music like fragile Meissen
porcelain. The recording engineers have provided splendid sonics with
a particularly well judged balance between piano and strings.
While the Sawallisch is splendid my favourite account of the Trout
Quintet remains the evergreen played by Clifford Curzon and the Wiener
Philharmonisches Streichquartett. Curzon and his Vienna string players
are on their finest form offering highly polished playing, captivating
expressive eloquence and tremendous lyricism. Recorded in 1957 at the
Sofiensaal, Vienna, the analogue sound has been successfully re-mastered
on the Decca ‘The Classic Sound’ series (c/w Clifford Curzon, members
of the Wiener Oktett: Dvorák Piano Quintet, Op. 81).
CDs 3 and 4
In 1801 Haydn was prompted to write his oratorio Die Jahreszeiten
(The Seasons) by the great success of his previous oratorio Die
Schöpfung (The Creation) from 1798. Cast in four parts that
correspond to the four seasons of the year the text has a rather secular
quality creating an idealized vision of nature and country life. I have
treasured this greatly underrated oratorio since attending a stunning
performance in 2009 at the Berlin Philharmonie given by Sir Simon Rattle
and the Berliner Philharmoniker and the Rundfunkchor Berlin. Rattle’s
striking trio of soloists was John Mark Ainsley (Lukas), Thomas Quasthoff
(Simon) and Christiane Oelze (Hanne).
This Sawallisch performance was recorded in the summer of 1994 at the
Marienmünster at Dießen am Ammersee. I was immediately struck by the high
quality of the Bavarian orchestra whose compelling playing spells refinement
and enthusiasm. The Bavarian choir is on superb form too. They display
an especially fine quality of tone and unison. Typically Sawallisch has
chosen his soloists well. Tenor Robert Gambill as Lukas is in quite wonderful
voice, fresh and bright and very expressive with exceptional vocal clarity.
A fine example of Gambill moving adroitly through his range is his cavatina
Dem Druck erlieget die Natur and the aria Hier steht der
Wandrer nun. Sturdy bass-baritone Alfred Muff as Simon impresses
with his smooth, rich timbre and control especially in his arias Der
muntre Hirt and Erblikke hier, betörter Mensch. As Hanne,
Ruth Ziesak has never sounded in better form. Her delightfully fluid and
creamy tone is gratifying and appealing and this confirmed by her aria
Welche Labung für die Sinne. How effortlessly she slides gloriously
through her range in her cavatina Licht und Leben sind geschwächet.
I greatly enjoyed the trio Sie steigt hereof, die Sonne with
the voices blending perfectly with the choir and orchestra. Sawallisch
is in complete control, demonstrating his innate feeling for the score.
Disappointing that there are no texts and English translation. Complete
with crystal clear and well balanced sound this is the most enjoyable
recording of Die Jahreszeiten (The Seasons) I have heard.
I’m sure it will become a cornerstone of my Haydn collection.
CDs 5 and 6
One of the pinnacles of Mendelssohn’s output, Elijah is probably
the most famous of all nineteenth century oratorios. This sacred masterpiece
is Mendelssohn’s second great oratorio and was completed just a year before
his untimely death in 1847. It was Mendelssohn himself, using an English
translation of the text, who conducted the première to great acclaim in
1846 at the Birmingham Town Hall in England. In 2001 Sawallisch recorded
Elijah with the Chor und Symphonieorchester des Bayerischen Rundfunks
live from the Herkulessaal at Munich. I reviewed
this recording in 2011. This is highly pleasing and can compete with the
best around. Directing effortlessly managed singing of towering veneration
Sawallisch assuredly obtains dramatic playing.
My highlights include No.2 Herr, höre unser Gebet! and the beseeching
duet Zion streckt ihre Hände aus between lyric soprano Andrea
Rost and Marjana Lipovsek in the alto role. Also of note is No.21 Höre,
Israel, höre des Herren Stimme!, a substantial and brilliant soprano
aria. There’s magnificent reverential singing from Andrea Rost and her
aria is a highlight. Throughout I was struck by Rost’s pleasingly bright
tone, impressive projection and diction. Another high point is the glorious
trio of Angels comprising sopranos Rost and Letizia Scherrer and alto
Lipovsek in No.28 Hebe deine Augen auf zu den Bergen. Add to
this the impressively long lyrical line of bass soloist Michael Volle
in No.37 Ja es sollen wohl Berge weichen. The sound quality is
to a high standard revealing plenty of detail. Slowly burning applause
at the score’s conclusion serves to enhance the atmosphere of the occasion.
Asgain it’s a pity that we are not given texts and English translation.
CDs 7 and 8
The final work is Carl Orff’s rarely performed stage work Antigonae.
It was introduced in 1949 conducted by Ferenc Fricsay at the Felsenreitschule,
Salzburg. Orff described Antigonae as a ‘musical setting’ of
the Greek tragedy by Sophocles although in effect it serves as an opera.
Here Orff uses Friedrich Hölderlin’s German translation virtually verbatim
of the Classical Greek play by Sophocles. The highly unconventional orchestration
comprises of a rank of 9 double basses, 4 harps, 6 flutes (doubling as
piccolos), 6 oboes (3 doubling as cor anglais), 6 muted trumpets, 4 harps,
6 pianos each with 2 players with a large battery of percussion requiring
10/15 players. The score provides considerable challenges for the performers.
Orff employs Singstimmen - a sort of half way house between speaking
and singing. American soprano Astrid Varnay, who was then based in Munich,
played Eurydice in Antigonae in the opening performance of the
1975 Munich Festival given to commemorate Orff’s 80th birthday. In her
autobiography 55 Years in 5 Acts Varnay remarked on the technical
difficulty of this rewarding role and its demand for a high tessitura.
This is a complete recording of Antigonae from Sawallisch of
the 1958 radio broadcast from the Herkulessaal, Munich. It has previously
been released only in part. Sawallisch has gathered together a team of
excellent soloists led by legendary German mezzo-soprano Martha Mödl in
the title role. Contralto Lilian Benningsen played Eurydice and Marianne
Radev (Ismene); William Dooley (Chorführer); Carlos Alexander (Kreon);
Paul Kuen (Wächter); Fritz Uhl (Hämon); Josef Traxel (Tiresias); Kurt
Bohme (Bote). Although the music does not greatly appeal to me on disc
I would love the opportunity to hear it live. I cannot help but congratulate
the excellent singers for giving such a notable performance. Of the main
characters the great Martha Mödl who was probably in her prime is inspiring
as Antigonae and is in splendid mature voice with an expressive sense
of line and dark timbre. With plenty of vocal heft she is highly dramatic
in Jetzt aber komm'ich, eben, selber and O
Grab! O Brautbett! from act 3. Marvellously in tune and comfortable
in her high register I am struck by Mödl’s great vocal control. She takes
all the hurdles with ease in this challenging writing. As Eurydice
Lilian Benningsen is compelling in the fourth act O all ihr Bürger!
eine Rede merkt' ich and displays flexibility and impressive
vocal control with especially fine diction. In his third act aria Als
wie von Gott, himmlisch kommt die Besinnung Fritz Uhl is comfortable
as Hämon and his bright smooth tenor, is both expressively fluid and finely
controlled. Carlos Alexander as Kreon has a rich and smooth baritone that
is steady and enjoys striking diction. Kurt Bohme as Bote is dark and
rich voiced with agreeably clear enunciation. William Dooley as Chorführer,
Josef Traxel as Tiresias and Paul Kuen as Ein Wächter offers first-rate
support. From such a renowned recording venue as the Herkulessaal I found
the sound quality most satisfactory: belying its 55 years.
Sawallisch’s memory is marvellously served by this 8 disc set; a great
credit to Profil. Although these versions would not always be my first
choice all, without exception, are beautifully played and recorded. Included
in the timings is audience applause where applicable. The only thing that
rather let the side down was the lack of texts and translations.
Michael Cookson
Sawallisch’s memory is marvellously served by this set.
Full performance and cast details
CD 1
Wolfgang Amadeus MOZART (1756-1791)
Symphony No. 35 in D major, K385 Haffner (1782) [19:04]
Symphony No. 41 in C major, K551 Jupiter (1788) [34:59]
Symphonieorchester des Bayerischen Rundfunks/Wolfgang Sawallisch
rec. live, 1998, Bayerischer Rundfunk, Munich, Germany
CD 2
Franz SCHUBERT (1797-1828)
Trout Quintet, D. 667 (1819) [41:29]
Notturno, D. 897 (1825) [8:51]
Wolfgang Sawallisch (piano); Jan Pospichal (violin); Wolfgang Klos (viola),
Wilfried Rehm (cello) and Ernst Weissensteiner (double bass);
rec. 1997, Classic Sound Austria, Vienna, Austria
CDs 3-4
Joseph HAYDN (1732-1809)
The Seasons, oratorio Hob. XXI:3 (1801) [129:19]
Ruth Ziesak (Hanne); Robert Gambill (Lukas); Alfred Muff (Simon);
Chor und Symphonieorchester des Bayerischen Rundfunks/Wolfgang Sawallisch
rec. 31 July 1994, Marienmünster, Dießen am Ammersee, Germany
CDs 5-6
Felix MENDELSSOHN (1809-1847)
Elijah, Oratorio for four soloists, SATB choir, orchestra and
organ, Op. 70 (1846) [121:08]
Michael Volle (bass); Andrea Rost (soprano); Marjana Lipovsek (alto);
Herbert Lippert (tenor); Letizia Scherrer (soprano); Thomas Cooley (tenor);
Barbara Fleckenstein (soprano);
Chor und Symphonieorchester des Bayerischen Rundfunks/Wolfgang Sawallisch
rec. live, 12 July 2001, Herkulessaal, Residenz, Munich, Germany
CDs 7-8
Carl ORFF (1895-1982)
Antigonae (1949) [143:06]
Martha Mödl (Antigonae); Marianne Radev (Ismene); William Dooley (Chorführer);
Carlos Alexander (Kreon); Paul Kuen (Ein Wächter); Fritz Uhl (Hämon);
Josef Traxel (Tiresias); Kurt Bohme (Ein Bote) and Lilian Benningsen (Eurydice);
Chor und Symphonieorchester des Bayerischen Rundfunks/Wolfgang Sawallisch
rec. 1958 Bayerischer Rundfunk, Herkulessaal, Residenz, Munich, Germany
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rec. 1958 Bayerischer Rundfunk, Herkulessaal, Residenz, Munich, Germany