Richter and Rostropovich Play Concertos by Robert Schumann

★★★★★

   Romanticism was artistic and intellectual movement of various directions and currents. One of dominants of the era was social and philosophical background of artistic activities. This was not new idea, but in prior eras it was always limited to one clear idea and all answers were already known. The one and only question was about how to render idea to find full understanding of listeners. In romanticism many composers were searching for new, more capacious musical construction and a new shape of musical forms. One of such ambitious composers was Robert Schumann (1810-1856), who was experimenting with new forms and trying to renew some classical ideas. He started as music critic and he was always aware of the possibilities and importance of meaning in absolute music. Most famous examples are his cycles of piano miniatures, cycles of songs and four symphonies. Also at least two of his concertos are concert favorites.

   Robert Schumann started composing piano concertos when he was twenty, but results disappointed him and in effect he criticized the idea of the form. In 1828 he worked on piano concerto in E-flat major, next year he tried to compose concerto for piano and orchestra in F major, then in 1839 he wrote one movement of concerto in D minor. When he was thirty, he wrote Fantasy in a Minor for piano and orchestra which became the first part of Piano Concerto in A Minor Op. 54, finished in 1845. His next concert pieces were Konzertstück for Four Horns and Orchestra Op. 86 and Introduction and Allegro Appassionato for Piano and Orchestra Op. 92, both composed in 1849, Cello Concerto in A Minor Op. 129 from 1850 and three concert works from 1853: Fantasy in C for violin and orchestra Op. 131, Introduction and Allegro for Piano and Orchestra Op. 134 and Violin Concerto in D minor.  Both concertos in A Minor are definitely most famous of Schumann’s concertos.

Richter Rostropovich Schumann - Concertos (1961, reissue 1971)

   Piano Concerto in A Minor is great success of Robert Schumann and His idea of emotionally driven concerto being continuation of Beethoven’s symphonic concerto and antithetic to concertos of Schumann’s contemporaries. The compact shape, fresh and clear melodic invention and construction subordinated to the clear dramatic idea are features of this work. The 1958 interpretation by Svjatoslav Richter (1915-1997) is probably the best rendition of Schumann’s Piano Concerto ever. Richter as virtuoso pianist had technical excellence and intellectual base sufficient to create great works of art. What makes him unique is his possibility of profound emotional connection with the composer’s idea and with listener’s sensibility. He communicates not as middleman; he is the fully proficient element of this process. His vision of Schumann is touchingly simple, like he was just playing notes finding them instinctively their natural place. Orchestra of Warsaw National Philharmonic conducted by Witold Rowicki sounds very good, with lots of space for soloist and well balanced proportions.
   Cello was one of instruments Schumann have studied in his youth, so he knew possibilities and limitations of the instrument enough good. But his idea of joining soloist with orchestra was rather to create emotional dramatic tension in musical narration than conventional piece in concerting style which he had so much criticized. He wrote concert in three united movements with concise solos and considerate answers in orchestral parts. In effect Cello Concerto in A Minor Op. 129 is Schumann’s great achievement and one of the best cello concertos ever. Its cheerful feeling, slide along and flowing action, reducing make it invariably great position in concert repertoire. Interpreted by Mstislav Rostropovich (1927-2007), one of best cellists recorded ever, Schumann’s Concerto sounds perfect, light and meaningful. Accompanied by the Leningrad Philharmonic Orchestra under Gennadi Rozhdestvensky, Rostropovich’s 1961 brilliant performance shows charm of Schumann’s Cello Concerto. Many qualities mentioned on Richter’s interpretation of Schumann’s Piano Concerto and Mstislav Rostropovich’s rendition of Cello Concerto in A Minor Op. 129 have their counterpart in each other. No wonder Deutsche Grammophon joined these two recordings in one album in 1961 and republished it in 1971. Five stars for these breathtakingly performances is quite natural rate.

Rozhdestvensky conducts Bruckner’s Fourth

   Symphony was pure classical form, perfectly matching enlightenment ideas with its formal balance and clear emotional rhetoric. After Beethoven’s improvements it became suitable container ready for romantic ideas. The augmented construction where minuet has been replaced with scherzo has still had a great potential for developing expressive and rhetoric means. And next generations in 19th century music have adopted this symphonic idea of forming and rebuilding construction of symphony. They gain excellent results giving different and new directions for French symphonic music, Austrian and German symphonies or Russian symphonic movement in romanticism and then in 20th century music. One of highest achievements as composer of full-blown romantic symphonies was Anton Bruckner.
   Anton Bruckner was born in 1924 in Ansfelden near Linz in the family of village teacher. He started school as 6 year old and his first teacher was his father, then he continued education to be an organist. When Anton Bruckner was 13, his father died, so was send to school in Augustinian monastery in Sankt Florian to be a choir boy, and to learn to play organ and violin. And, and from his early years he was an organist and a teacher of village schools. As composer he started career in his twenties, but real progress he made as 30 year old. He showed his Missa Solemnis and was accepted to be a student of famous music theorist Simon Sechter. Twenty years later, in 1974 he started to compose his fourth symphony, finishing first version in 1980. 

Anton Bruckner – Symphony No. 4 (1985)

   Symphony E-flat Major No 4 „Romantic” is probably most popular work by Anton Bruckner. On the list of his symphonies it is certainly the most commonly performed and recorded one. His nine accomplished symphonies are numbered from No. 1 to No 8. There is also an early „student” symphony called „00” and Symphony No. 0 D Minor (Die Nullte) which has been rejected by composer and thus numbered as Zero. Last of his great works, Symphony No. 9 D Minor remained unfinished. Many of his symphonies had different versions, because he was reworking most of his symphonies many times. This lack of clear decision and between concurrent releases was called The Bruckner Problem. One of such works was the Symphony No. 4. It was so frequently edited, with composer’s revisions it was known in seven versions and six versions were separately published. 

   But there was one more version of Bruckner’s Fourth. When Gustav Mahler was preparing in 1895 premiere in Hamburg, he cut some parts and rearranged the symphony by changing orchestration, giving the form and a whole sound more transparent and polyphonic character. And in Mahler manner it really sounds different, yet great in terms of symphonic form. Once more Anton Bruckner appeared as consequent continuator of the traditions of Austro-German Romanticism and talented follower of symphonic ideas derived from Beethoven's works. In 1984 great Russian conductor Gennadi Rozhdestvensky became the head of newly established ensemble, The USSR Ministry of Culture Orchestra. With this orchestra Gennadi Rozhdestvensky recorded in 1984 complete of Bruckner symphonies, published as a series of albums very next year. He choose Mahler’s version and it is probably the one and only recording of this beautiful version. Two composers presented in this solo work are both great and despite the difference somehow similar. Great version and great rendition both deserve more than four stars.

Gennadi Rozhdestvensky conducts Suites by Bach-Mahler and Janáček-Talich

   Gustav Mahler remains one of the greatest creators of symphonic cycle. He has completed development of the symphony form, and led it to the final results. In his works he was referring to folk and historical music, but one source of influences was always on top. This was work of Johann Sebastian Bach. Mahler was keen of musical output of the author of Kunst der Fuge. He was considering of connections between his own style and Bach’s creative attitude. He has to say that „in Bach, the vital cells of music are united as the world is in God”. It is interesting how much Mahler is Bach alike. The same what was Bach’s Kunst der Fuge for baroque polyphony, Mahler’s works mean for 19th century form of symphony. 

   In 1909 in New York, working on his Ninth Symphony, Mahler compiled and rearranged Suite consisting of four parts taken from two Bach’s Orchestral Suites. Some critics say this work remains one more Mahler’s sketch of symphonic cycle, but it was more his contribution to the promotion of great baroque composer in symphonic repertoire. In first decades of 20th century there were not too many baroque works in repertoire of symphonic orchestras. And what was even worst, there were virtually no orchestras specialized in playing baroque music. This was cultural background for many arrangements of baroque music, and many of this was just automatic transcriptions.

Rozhdestvensky – Suites by Bach-Mahler and Janáček-Talich (1977)

   Mahler was aware of difficulties and esthetic problems he has to solve. He wrote: “Instead of genuine Bach we are often offered a mere skeleton. Performers simply throw away the chords which make the music so rich and full of substance, as if Bach had written the bass part without any sense and purpose. But it must be played, and what a tremendous roar is produced then by the surging waves of chords!” Development of period instruments performances caused that not only pure transcriptions but also the creative developments of composers like Mahler and Busoni became rarely performed. It is worth devoting more attention to the album recorded in 1977 by Gennadi Rozhdestvensky with Leningrad Philharmonic Orchestra. In 1984 this album has been republished in US as audiocassette by Vox/Turnabout label.

Gennadi Rozhdestvensky – Tchaikovsky – Symphony No.4 F Minor op.36

Among many great works of Pyotr Tchaikovsky special position has Symphony No. 4 in F Minor op. 36. It was turning point in composer’s oeuvre, the moment he became enough independent, he was able to reject some intellectual principles and very conscious to search for deeper context of his music. Symphony was written in winter of 1876-1877. Working on this composition Tchaikovsky wrote to Taneyev, that „there is no line in this symphony that is not the result of deep emotions, not a reflection of sincere movements of my soul”.  Work has been finished in Italy and premiered February 10th, 1978 at concert of Moscov section of the Russian Musical Society conducted by Nicolai Rubinstein.

There are few explanations of composers ideas put into this symphony. Very first were descriptions Tchaikovsky gave in letters to his friends. And longest one was addressed to Nadezhda von Meck, whom he characterized in details every part the work. This interpretation shows composer’s formal thinking on the level of associations and emotional connections of the work and personal needs. In letter to Taneyev composer wrote: „Actually my symphony is imitative of Beethoven’s Fifth Symphony, that is, I did not imitate its musical thoughts, but it’s main idea”. It is founded on classical four-part scheme, but even though, this work is reaching the heights of romantic style.

Tchaikovsky – Symphony No.4 

Many performances show Tchaikovsky’s Fourth Symphony as much classical, disciplined and predictable as it was only a kind of intellectual game. And this is what makes some performances faulty in their assumptions. Reading this music as a traditional formal routine is in adversity to whole composer’s intention. Sometimes even very good renditions are keeping too much distance to emotional profundity of this music. And only best performances are able to establish equilibrium between intellectual capacity of symphonic form and individual work’s expression. Interesting recording of this symphony and came from Moscow Radio Orchestra conducted by Gennady Rozhdestvensky. For two decades it was seen as in new trend but still reliable model of interpreting Symphony F Minor.

Rozhdestvensky recorded complete symphonies by Tchaikovsky with Moscow Radio Great Symphony Orchestra in early seventies when he was principal conductor of the orchestra. It was one of best recordings in his early career. The series of recordings was published by Melodia in 1973 and republished in second half of the eighties in export edition with English and French linear notes. The time of second edition he was prominent conductor of USSR Ministry of Culture Great Symphony Orchestra, achieving lots of successes with orchestras all over the world. And four decades later this rendition is still fresh and clear, even if too much unambiguous or authoritative.