Franz von SUPPÉ (1819-1895)
Overture to
Leichte Kavallerie (1866) [6:33]
Overture to
Boccaccio (1879) [6:51]
Boccaccio-Marsch (1879) [2:36]
Overture to
Pique Dame (1864) [6:45]
Humoristische Variationen (1848) [5:46]
Overture to
Dichter und Bauer (1846) [9:26]
Marziale nach Motiven aus der Operette -
Fatinitza (1876)
[4:24]
Overture to
Das Modell (1895) [6:35]
Uber Berg, uber Thal (date uncertain) [2:35]
Overture to
Die schöne Galathee (1865) [6:51]
Juanita-Marsch (1880) [4:39]
Overture to
Ein Morgen, ein Mittag und ein Abend in Wien (1844)
[8:08]
Royal Scottish National Orchestra/Neeme Järvi
rec. Royal Concert Hall, Glasgow, 17-18 April 2012
CHANDOS CHSA5110 
[79:42]
Now that his operettas don’t really hold the stage any longer,
Suppé’s overtures and marches are pretty much all that
keeps his name in the musical spotlight. A Viennese contemporary of
Johann Strauss II, he worked in a lot of the same musical fields and
he is often seen as an also-ran next to the more famous Strauss family.
This disc reminds us of how unfair that is. Suppé’s music
may not be challenging - the overtures tend to follow the simple pattern
of
slow-fast-faster - but it’s enormously attractive,
and when played well, as it undeniably is here, it’s exceptionally
appealing.
Light Cavalry starts the disc off as it means to go on, namely
with gleaming brass sound, strings which are sharp in the faster passages
yet sumptuous for the Hungarian theme, and clean-sounding
tuttis
with never a hint of orchestral fog. The RSNO displays these qualities
in ample measure throughout the disc, and their playing is sensational
from first track to last. The Chandos engineers have also done a marvellous
job of capturing the sound so that there is a lovely bloom around
the playing, giving it presence while still retaining clarity in the
bloom. Most exciting of all, however, is the evident chemistry between
orchestra and conductor. The sheer joy of making this music glimmers
out of every bar. It really brings out the bandmaster in Järvi.
He goes at
Light Cavalry with splendour and pomp but his tempo
is noticeably sprightly, especially in the famous gallop, giving the
performance a sense of air and lightness that is incredibly attractive.
Orchestral lavishness doesn’t often go with nippy lightness,
but the combination works brilliantly here and really brings the disc
to life. It’s something that’s repeated frequently, such
as in the scampering strings in the faster section of the
Boccaccio
overture, or the famous
Poet and Peasant Overture which moves
from a delightful cello solo to a raucous full orchestral party.
Pique Dame begins with a persuasive string introduction and
develops with a light, tripping wind melody, stopping off via some
uproarious
tutti passages en route and finishing with a tremendous
sense of fun. A touch of Spanish colour enlivens the opening of
Isabella
and I loved the way
Galatea’s quick-fire opening melts
into a beautifully light waltz that Suppé then inflates to
provide the conclusion. For me,
Das Modell is probably the
most impressive discovery on the disc. Here the composer alters things
slightly and plays around with light and shade, displaying genuine
sensitivity and a flair for building up a convincing musical structure,
something not diluted by the usual crash-bang-wallop ending.
The marches on the disc are conventional but the orchestral clarity
and relaxed manner with which they are played here makes them every
bit as appealing as the longer overtures. The
Humoristische Variationen
are a racy, full-blooded set of variations on a Student Song made
famous by Brahms in his
Academic Festival Overture. They give
each section of the orchestra a chance to show off not only their
instrumental skill but also how much they are enjoying themselves.
The lachrymose cello solo sitting alongside a flirtatious glockenspiel
is a fine example of how skilful a musical chameleon Suppé
could be.
However, the primary characteristic of the disc is sheer good humour.
Everyone is having a whale of a time, and no doubt you will too. With
such top-grade playing and sound, combined with a conductor who is
letting go and enjoying himself, there is no reason to hesitate. Calum
MacDonald’s excellent booklet notes help to seal the deal.
Simon Thompson
See also reviews by
Dan
Morgan, John
Sheppard and
Rob
Barnett
