Schmidt’s symphonic canon really gets going with this magnificent
2nd
Symphony. Indeed, it is hard to believe that this is the
work of the same man who wrote the rather derivative
1st Symphony.
The twelve years that separate these works obviously helped Schmidt
hone his style and focus his musical thoughts. This
2nd Symphony is
a real
tour de force; three large movements, of which
the second is a theme and variations which incorporates a slow
movement and scherzo and trio. It’s not an easy work to
bring off in performance for it is thickly scored and there is
much counterpoint.
The
Fuga solemnis for organ, sixteen wind instruments
and percussion is Schmidt’s final work for organ - the
organ and the orchestra were the two media through which he spoke
fluently and eloquently - and it is a magnificent achievement.
You’d be forgiven for assuming that this work is an organ
solo; the ensemble doesn’t join in until after half the
piece has been played and then Schmidt works out his material
between the keyboard and wind.
Sinaisky chooses very good tempi for the
Symphony and
he certainly has a firm grasp on the structure of the work. He
draws excellent playing from his orchestra, the brass is rich
and sonorous, the strings resplendent, the wind colourful and
full of song. The recording, which is very immediate, is perhaps
a trifle too hard-faced, I would have welcomed some space between
me and the orchestra; I don’t want to feel as if I am sitting
next to the conductor on the podium. The recording of the
Fuga
solemnis is better in that it gives some feel of the room
in which it was recorded, but then there are fewer players to
contend with!
Part of me really wants to welcome this disk. It contains such
a fine
Symphony in a performance of some worth. I am afraid
however that there is a but. Throughout I was conscious of something
not being quite right with the interpretation. The performance
is fine but after listening to it a couple of times I reached
for a live version of Erich Leinsdorf and the Vienna Philharmonic
playing this Symphony. The Leinsdorf recordng was made in the
Großen Musikvereinssaal in 1983. Here we have the essence
of Schmidt’s work, played by his own orchestra. It will
be remembered that under Mahler Schmidt played in the cello section
and was often favoured by Mahler to play the solos even though
he didn’t lead the cellos. The Leinsdorf reading is in
totally Viennese style under a Vienna-born conductor. There is
a breadth of vision and the performance sits very comfortably
with the orchestra With the Malmö players there is, on reflection,
a touch of strain. The music doesn’t come as easily to
them as it does to their colleagues in Vienna. Just listen to
the restraint in the Austrian capital in the final chorale, held
back and never overpowering. In Malmö it seems to take on
a life of its own and overpower everything which stands in its
way. The Vienna performance can be found in a three disk set
called the
Vienna Philharmonic Plays 20th Century Masterpieces.
It is coupled with live performances of Berg, Honegger, Janáček,
Stravinsky, Schönberg, Webern and Wellesz, under various
conductors (Andante 4080). No other performance can match Leinsdorf.
It surpasses all other recorded performances. However, as the
Andante might be difficult to obtain I welcome this disk as a
fine performance of Schmidt’s Second
Symphony. It
is acceptable as a stopgap. I have not heard Neeme Järvi’s
Chandos recording with the Detroit Symphony (CHAN8779) and as
part of a complete set of the
Schmidt
symphonies.
What will whet Schmidt enthusiasts’ appetites is the only
recording of the
Fuga solemnis currently available. At
the price it’s worth the outlay.
Bob Briggs
see also review by Jonathan
Woolf
Anders Johnsson (organ) 
