Karl Goldmark creeps into the more expansive music reference works for two reasons: his brief teaching – in Vienna – of Sibelius; and his 1877 Rustic Wedding Symphony, a five-section, 45-minute divertissement which Sir Thomas Beecham enjoyed reviving. Other than that, he seems almost entirely forgotten (though a handful of violinists, including Joshua Bell and the late Nathan Milstein, have recorded his concerto).
Most people will have been totally unaware that Goldmark even attempted a Second (i.e. non-Rustic-Wedding) Symphony, but he did, and this is actually its second CD version. The first – a Marco Polo release two decades old – was unavailable for comparative purposes, which is perhaps as well, since the golden-toned new disc surely surpasses it. Singapore can now boast a really effective local orchestra, better than some Australian bands and worthy to rank with all save the topmost American ensembles. Touches of string portamento give a pleasantly old-fashioned atmosphere to various passages. Latter-day Beckmessers might dock points for some slightly crude trombone sounds and for the cornet-like first trumpet that dominates the symphony’s third movement; the rest of us will not care a toss about such venial flaws. While in stylistic terms the work owes something to Schumann’s exuberance (and shares with Schumann’s Rhenish the key of E Flat), Goldmark the orchestrator is in the highest 19th-century league, the league of Berlioz, Borodin, and Rimsky-Korsakov.
If you don’t yet know the Rustic Wedding, you should. Really, “symphony” is a wild misnomer here. We have, instead, a series of ingratiating tone-poems, splendidly tuneful, and again scored with a master’s hand. Several big conducting names have brought Rustic Wedding to the recording studio by now – Leonard Bernstein and André Previn, to name two – but in such exalted company the obscure Lan Shui proves something of a revelation, and can take an honourable place. BIS’s recorded balance is, as always with this company, admirable. Now, any chance of his once-renowned opera The Queen of Sheba? It could be fun!
The conductor talks about his recording of Vaughan Williams' Fifth and Sixth Symphonies with the Royal Liverpool Philharmonic Orchestra, Limelight's Recording of the Month in July.
The Hungarian conductor on why Mahler’s Third is the perfect symphony and why he will never conduct the Eighth. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in
★★★★☆ When you think of a composer doing it tough in Soviet Russia, your mind probably jumps to Shostakovich. Of course, he wasn’t the only one who struggled (and ‘struggled’ is putting it lightly). Mieczysław Weinberg, a Polish Jew, fled the Germans twice, and met further trouble in the Soviet capital when he was arrested on charges of “Jewish bourgeois nationalism”. Despite hardships, Weinberg managed a 50-year career, completing an impressive 22 symphonies as well as numerous concertos and chamber works. The Warsaw Philharmonic under Jacek Kaspszyk has chosen this lesser-known composer for its most recent release, with a performance of Weinberg’s Fourth Symphony and his violin concerto. Violinist Ilya Gringolts is a fantastic force on the disc, delivering an impassioned performance that shows off not only his skill but also his emotional depth. The orchestra is similarly fine, with gutsy playing in the faster movements of both works. In truth, the music pays a huge debt to Shostakovich. Telltale harmonic shifts, stark contrasts in orchestration in the faster movements (particularly wind writing), and a pervading sense of melancholy in the slow movements bear the unmistakeable influence of Weinberg’s friend and contemporary. And as Shostakovich’s music is stained with…
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