Liszt’s Dante Symphony is a work of astonishing imagination. His evocation of the ‘Inferno’, the shade of Francesca da Rimini and her sad remembered love is marked by strokes of genius which, with bewildering frequency, pre-empt the mature Wagner (who was, incidentally, the dedicatee of the work). If the second and third movements – the ‘Paradiso’ was wisely commuted to a setting of part of the Magnificat plus a brief Hosanna – don’t quite match the sweep and control of the first, they have their own particular magic. Even so, the work has not acquired the popularity of the Faust Symphony. Barenboim’s new recording with the Berlin Philharmonic is thus particularly welcome. Not only does it augment the number of available recordings to four, it is also the most polished. Even performing ‘live’, the Berlin Philharmonic turns in a performance of near-perfection – the solo lines are a particular joy.
Gustav Mahler’s epic Symphony No. 2 ‘Resurrection’ with Simon Rattle and the Berliner Philharmoniker, the Rundfunkchor Berlin and star soloists Kate Royal and Magdalena Kožená was recorded in concert at Berlin’s Philharmonie in late October 2010. The Symphony, scored for orchestra, soloists and chorus, tackles the great mysteries of life and death and was already among the most successful and popular of Mahler’s symphonies during his lifetime. Not only was the work premiered by the Berliner Philharmoniker (in 1895) but it is an important work in Simon Rattle’s musical trajectory. The partnership of Sir Simon and the BPO in Mahler’s Symphony No. 2 portends a ground-breaking new recording.
When at last it was revealed what Mahler’s final intentions were regarding the ordering of the inner movements of his 6th Symphony, 90 years of theory, history, & performance practice went right out the window. For theorists, it altered the harmonic structure of Mahler’s A minor Symphony. For historians, it modified the meaning of Mahler’s “Tragic” Symphony. For players & conductors, it changed the musical progress of Mahler’s 6th Symphony. For listeners, it made Mahler’s deepest & darkest symphony even deeper & darker. With the achingly nostalgic Andante moderato now coming before the bitingly bitter Scherzo, the triumph of the opening Allegro energico sounds even more hollow & empty & the collapse of the closing Allegro moderato sounds even more final & total.
Rafael Kubelik was one of our foremost interpreters of Dvorak and other great Czech composers such as Smetana and Janacek. His critically acclaimed 1960's Dvorak symphony Deutsche Grammophon cycle was reissued several years ago as a budget-priced collection.
This was one of the first digital version (the very first?) of Tchaikovsky's violin concerto and remains pretty competitive though perhaps not a first choice. Kremer's playing is surely polished and technically impressive; the phrasing is wonderful and the tone beautiful. Still, it is unfortunately a little short on charm and expressive depth - Tchaikovsky's concerto isn't really the most appropriate vehicle neither for classical restraint nor almost curmudgeonly introspective approaches; it is peripatetic grand drama and passion and heart-on-sleeve through and through and despite Kremer's sweetness of tone he never manages to scale the heights or plunge the emotional abysses of the music.