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Reviews for
GHCD 2343 - FRITZ BUSCH (1890-1951) -
LUDWIG VAN BEETHOVEN -
Symphony No. 9 in D minor Op. 125 – Kerstin Lindberg – Torlind, soprano –
Else Jena, mezzo – Eric Sjöberg, tenor – Holger Byrding, bass – Danish Radio
Chorus – Danish Radio Symphony Orchestra – Recorded 7 September 1950-
Leonore Overture No. II, Op. 72a -Recorded 24 October 1949 - 77:15
MusicWeb International Friday March 13 2009
Ludwig van
BEETHOVEN
(1770-1827)
Symphony No. 9 in D minor, Op. 125, “Choral” (1824) [63:17]
Overture, Leonore III in C, Op. 72a (1805) [13:38].
Kerstin Lindberg-Torlind (soprano); Else Jena (mezzo); Eric Sjöberg (tenor);
Holger Byrding (bass);
Danish Radio Chorus and Symphony Orchestra/Fritz Busch
rec. 7 September 1950 (sym.); 24 October 1949 (Leonore) (broadcast
performances). ADD
GUILD HISTORICAL GHCD2343 [77:15]
This is the only complete surviving document of Fritz Busch’s Ninth. Busch, who
in 1922 had been appointed Generalmusikdirektor of Dresden State Opera, was
dismissed from that post in March 1933 due to Nazi power. In June, Busch left
Germany, only returning at the very end of his life. Soon after his departure
from Germany he became affiliated with Glyndebourne; he was its first music
director from 1934.
The sound is clear and has fair body, with only mild muddying in the lower mid
to bass ranges. Most impressive of all is Busch’s structural grasp. He holds the
arrival points clearly in mind, and yet never undermines the emotional
importance of surface detail. His moulding of crescendi is expertly
managed. It is almost as if Busch can maintain Toscanini’s fiery surface motion
while keeping some of Furtwängler’s famous long-range thought. Could Busch have
been the missing link between the two, the so-called Toscwängler - a horrible
name, I know, but Furtanini sounds even worse?
The second movement Molto vivace is not as tidy of ensemble as the first
movement, but this is a sprightly performance. Busch sets a challengingly rapid
pace, and at times one can sense the Danish players struggling to keep to the
tactus. Timpani solos are incisive, though. It is the Adagio molto e
cantabile that is richest in dividends. The opening is serenely gentle and
it is here that we really feel the superiority of Guild’s transfer, Remastering
is courtesy of Peter Reynolds.
The opening of the finale laudably avoids distortion but inevitably perhaps
lacks the visceral edge of more modern recordings. The tutti sounds a little
blunted. No mistaking the Toscanini-like headlong dash around 5:50. Holder
Byrding has to use all of his persuasive powers to get the idea of “other”
sounds (joy) across. The recording clearly favours the choral tenors. Eric
Sjöberg, the solo tenor, is enthusiastic in his solo leading into the
concentrated fugue - wherein Busch generates tension aplenty. There is a ragged,
half-hearted choral entry at around 17:30. All is forgotten and forgiven when we
get to the magical passage for all four soloists around 21 minutes in. Rarely -
if ever - have I heard a quartet of soloists that works so well together and is
so perfectly in balance, with all four egos held on a strong leash. Worth it for
those moments alone, really; a more long-sighted critical appraisal simply
reinforces the strength and integrity of this account of the Ninth.
The Leonore Overture is superbly paced. The strings, in particular
impress, especially in the lead-in to the main, fast, body of the overture.
Lower strings move adeptly at speed. The solo trumpet fanfares do sound rather
brass-bandish, but the drama remains intact, and actually ignites in the
tempestuous coda. This Leonore seems to have previously only been issued
on LP on Denmark’s POKO Records label (PLP8401/3) and is therefore a greater
rarity than the Ninth which was previously on multiple labels, including
Heliodor and Melodiya (!) on LP and Urania on CD. The present CD was issued in
conjunction with two other Ninths (Toscanini/Colón 1941 and Furtwängler/Berlin
March 1942). Jonathan Woolf gives a typically perceptive
review
comparing and contrasting all three here on MusicWeb. This Busch Ninth
stands magnificently on its own merits, though, despite the occasional caveat.
Colin Clarke
BBC Music Magazine February 2009
BEETHOVE N
Symphony No. 9 (Choral);
Leonore Overture III
Judith Wellwig (soprano),
Lydia Kindermaann (contralto), Rene Maison (tenor), Alexander Kipnis (bass);
Teatro Colón Choir & Orchestra; PhilharmonicSymphony Orchestra of New York /
Arturo Toscanini
Guild GHCD 2344 77:43 mins
Symphony No. 9 (Choral); , Leonore Overture II
Kerstin Lindberg-Torlind, EIse Jena (soprano), Eric Sjöberg (tenor), Holger
Byrding (bass); Danish Radio Chorus & SO / Fritz Busch
Guild GHCD 2343 77:15 mins
Symphony No. 9 (Choral);
Leonore Overture III; Egmont Overture; Coriolan Overture; plus Handel: Concerto
grosso in A, Op. 6/11; Schubert: Rosamunde-excerpt; Castro: Overture to a Comic
Opera Tilla Briem (soprano), Elisabeth Hoengen (contralto), Peter Anders (tenor),
Rudolf Watzke (bass) Bruno Kittel Choir; Berlin PO; Stockholm PO; Concertgebouw
Orchestra; Teatro Colón Orchestra / Wilhelm Furtwängler
Guild GHCD 2345-6 142:35 mins
(2 discs)
BBC Music Direct: single discs
£5.86; Furtwängler (2 discs) f13.70 These three live performances of
Beethoven's Ninth Symphony,
issued separately but with comparative notes, would make absorbing and often
intensely moving long-term listening, as one went from one to another. The most
recent of them is nearly 60 years old, so tolerance is needed, though the sound
is remarkably smooth. Too smooth, in fact: Guild has done a thorough job of
de-clicking, and so on, as well as adding appreciable amounts of echo. The
presentation, though is slapdash: each issue is alleged to contain a performance
of Leonore Overture III by the Same conductor, but in fact the Busch disc has
Leonore II; and an disc two of the Furtwängler issue there are supposed to be
two Moments fror Schuberts
Rosamunde, but in fact we get one and then the Overture to a Comic Opera by the
Argentinian Jose Maria Castro, not a deathless masterpiece and only performed
because Furtwängler was in Buenos Aires. Those important sloppinesses apart, the
Sound is good enough for anyone not brainwashed by recent technology to
recognise that these are performances of a kind one would be unlikely, and lucky,
to come across in a concert now. Toscanini's account, perhaps the finest of his
that survives, with the Teatro Colón Orchestra in 1941, is intense without being
hard-driven in the way that he often was. Tempos are an the whole rapid, but
there are moments of relaxation and of almost static ecstasy, and to listen to
it is still to be shaken by its integrity. The Busch performance, from 1950,
though remarkable given that it was virtually unrehearsed, is in muck betten
Sound, but probes the work less deeply, and is, in the light of one's
expectations of this great conductor, a bit disappointing. The Furtwängler
performance, from Berlin in Manch 1942, is incandescent from First note to last,
and indeed one of the most astonishing performances that even he gave of this,
or any other, work. The first movement is almost unbearable in its raging fury,
the second a nearly insane dance, while the third brings time to a stop. The
last movement is less of a Hymn to Joy than a Hymn to the hope that joy 1might
return. Musical experiences of this degree of greatness only come a few timen in
a lifetime.
Michael Tannen
PERFORMANCE
(TOSCANINI) * * * *
(BUSCH) * * *
(FURTWÄNGLER) * * * * *
RECORDING (ALL DISCS) * * *
Page revised Friday December 18 2009 2009
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