Symphonie fantastique, Op. 14 (1830) [51:11]
Edgard VARÈSE (1883-1965)
Ionisation, for percussion ensemble of 13 players (1929/31) [6:28]
Symphonieorchester des Bayerischen Rundfunks/Mariss Jansons
rec. live 7-8 March 2013 (Berlioz), 1-2 July 2010 (Varèse), Philharmonie, Munich, Germany
BR KLASSIK 900121 [58:44]
This inventive programme on BK Klassik comprises Berlioz’s
self portrait and Varèse relinquishing pitched sounds almost
entirely. Written just over a century apart the two works by these
French-born composers were in their day considered to be at the
cutting edge. Today the Berlioz has endured as one of the best-loved
works in the repertoire. Conversely the Varèse is rarely
heard.
One of the first classical recordings on vinyl I ever bought was
the Symphonie fantastique played by the LSO under André
Previn. It was on CFP. Subtitled An Episode in the Life of
an Artist this is by some distance Berlioz’s most popular
score. The epitome of Romantic extravagance, this epic for large
orchestra was composed in 1830 and revised in 1831/32 and again
before being published in 1845. It was first performed at the
Paris Conservatoire in December 1830 conducted by François-Antoine
Habeneck.
Passionate about Shakespeare plays Berlioz became infatuated with
the actress Harriet Smithson and was fired up to live out his
fantasies in this symphony. In the manner of a Gothic
novel Berlioz assigns descriptive titles to each of the five movements.
These follow a programme of his obsessions including dreams, fits
of temper and despair, tender moments of ecstasy and images of
murder and execution.
A number of recordings have conductors who take an audaciously
near-explosive approach as if to see who can create the most drama.
This excess of power isn’t always translated into true drama.
It can feel contrived and exaggerated, sometimes sounding ragged
and far too loud. Avoiding this practice Jansons seems completely
at home with this tour de force. Right from the opening
Rêveries - Passions Jansons is judicious with his
pacing and focuses mainly on creating vivid orchestral colour.
I doubt I have ever heard Un bal - a Valse,
played with such stylishness. This should not be taken to mean
subdued. An Adagio the Scène aux champs
establishes and sustains a sense of restlessness. The onset of
distant thunder is conveyed splendidly; impressive sonics too.
To fail to mention the elevated quality of the woodwind playing
here would be remiss. Initially the famous Marche au supplice
feels predominantly stealthy before quickly becoming bolder. Not
as rip-roaring as some accounts Jansons provides excitement but
not at the expense of orchestral polish. The Finale:
Songe d'une nuit de sabbat sounding suitably devilish
and Jansons adds a disarming vibrancy.
Edgard Varèse was highly innovative and explored the use
of electronic music. Although born in France, Varèse spent
the greater part of his composing career in the USA. His magnum
opus, the heavily scored Amériques, is probably
his best known score. It’s extremely rare to hear his music
in concert, yet, I did hear a dazzling performance of Amériques
(1918/21 rev. 1927) at the Musikfest Berlin 2012 as part of an
American music concert by the Royal Concertgebouw under Mariss
Jansons.
Ionisation requires a wide array of around forty or so
percussion instruments that include sirens and ‘lion's
roar’. These are almost all unpitched until close to the
conclusion. This is very much an exercise in textures. The inscrutable
yet dramatic interactions of the Bavarian Radio players suggest
the sounds of a modern day city.
As I have come to expect from BR Klassik, these live performances
are quite excellently recorded. Originally in German the two essays
written by Jörg Handstein in their English translations are
interesting and instructive. The Symphonieorchester des Bayerischen
Rundfunks, one of world’s greatest orchestras, never seems
to rest on its laurels always looking for improvements and different
repertoire to try. Under Jansons these players breathe new life
into the Berlioz and do so with a deft touch that never feels
weighty or overblown. One senses that the percussion greatly relish
the Ionisation test which they pass with flying colours.
Michael Cookson
Masterwork Index: Symphonie
fantastique
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