Strauss – Salome and Orchesterlieder

   At the end of 19th century, many considered the romanticism as an era gone irretrievably into the past. There were many different visions and attitudes towards music of forthcoming century. Some were ahead of their time. Others were conservative. Main style of these years called modernism was trying to reconcile different aspirations but in consequence led to expressionism. Richard Strauss (1864-1949) was one of most famous in the group of composers who transpose late 19th century music and its early modernistic meanings into full range modern style of first half of 20th century. In his works neoromantic idiom was developing into full-blown expressionism. While most famous part of his orchestral works are tone poems, and most adored operas are musical dramas Salome and Electra, there are great list of compositions between these extremes only music lovers and professionals know. Featured place on such register took songs. In Strauss’ oeuvres in total number of 180 songs, 41 were composed with symphonic orchestra.
   In vocal repertoire music by Richard Strauss is present with many features. He is popular for strongly emotional, dramatic stage music. Electra and Salome, likewise his deeply moving symphonic songs occupy the position of rich and complex artistic work. Thus many great singers performed and recorded his most popular songs as well as fragments of his dramatic music. These works in Strauss’ huge creative output are highlights being the source of pride even for the greatest stars. One of such recordings was 1978 album recorded by Leonard Bernstein with Montserrat Caballé and Orchestre National de France for Deutsche Grammophon (2530 963). Program comprises fragments from Salome: Final Song and symphonic Dance of the Seven Veils, and Five Songs for Voice and Orchestra, a choice of best known and highly appreciated songs from different opuses. 

Monserat Caballe in Richard Strauss' Salome and Orchesterlieder

   Symphonic fragment Dance of Seven Veils is the ballet scene where Salome seduces King Herod with sensual dance. King possessed by desire promises to fulfill the wish of Salome. The scene of Salome’s Final Song is one of most dramatic fragments in stage music. It is common idea in opera to give heroine last chance of expressing her attitude. Artistic and intellectual context and maybe model for this scene was final Love Death (Liebestod) scene from Tristan und Isolde by Richard Wagner. In this composed almost 50 years earlier fragment Wagner set romantic love beyond the value of life. Strauss in accordance with play by Oscar Wilde took one step further. Salome receiving the severed head of John the Baptist kisses it and declares her love. Seeing this, King Herod ordered to kill Salome. Whole final scene called in original Schlußgesang is often performed as the concert piece.

   Lust and sensuality combined with brutal desire, authority powers and human weakness, these are the key values in the aesthetics of expressionism. In program of the album conducted by Leonard Bernstein Tanz der sieben Schleier occupies central position as a kind of interlude between dramatic Schlußgesang and songs. Performing Final Song of Salome or Strauss’ songs is quite a challenge for singer. Problem is not quite technical, although it requires a big voice and perfect technique. The real difficulties are decisions regarding interpreting frame of musical and poetic message. As most romantic composers, Strauss was writing his songs as a kind of dramatic music. Short but rich in narrative and emotional contents, these songs require deep emotionalism and full control.
   In 1978 album Montserrat Caballé performed five songs from four opuses of Richard Strauss’ songs with orchestra: Cäcille Op. 27 Nr. 2 to the poem of Heinrich Hart, Wiegendlied Op. 41 Nr. 1 with text by Richard Dehmel, Ich liebe dich Op. 37 Nr. 2 with words by Detlev von Liliencron, Morgen Op. 27 Nr. 4 to the poem by John Henry Mackay and Zueignung Op. 10 Nr. 1 with text of Hermann von Gilm. Creating lyrical, deeply emotional renditions, Montserrat Caballé shows the other side of Strauss’ music. The sound of Orchestre National de France perfectly conducted by Leonard Bernstein makes the whole program powerful and rich. To sum up, this is perfect program of great Strauss compositions in one of best renditions. Four and a half of in five star scale.

Lorin Maazel – Symphony No. 1 by Gustav Mahler

   The cycle of Gustav Mahler’s symphonies consists of ten symphonies (the 10th was completed from the sketches) and one unnumbered work in form of symphony Lied von der Erde. Whole cycle completes the separate chapter in the history of music. The first of Mahler’s orchestral works, Symphony No. 1 in D major is most traditional and probably the best known. Some later works, 5th, 2nd Resurrection or 8th Symphony of a Thousand are also well recognized but the level of performing requirements makes them rare events in weekly concert repertoire. In fact the 1st, sometimes called Titan is not easy too, but along with 4th or even 5th, it’s easier to follow for average listeners, so this symphony is performed most commonly.
   The first version idea of this work was a symphonic poem basing on novel Titan by Jean Paul. Four volumes of romantic story on education and getting mature gives Mahler the idea of instrumental work, but later he dropped this project. The title Titan was applied to prior versions of 1st Symphony, but after some changes in the structure of symphony, Mahler removed the title and broke any connections with literary prototype. In 1896 he introduced new version with no additional title, and without Blumine which was the second movement in first three versions. Thus the composition following traditional four-part symphonic construction was more coherent and compact.

Lorin Maazel – Mahler –  Symphony No. 1 (1980)

   The most important requirement for the good performance of Mahler's symphony is the precision and richness of orchestral sound. This is what really makes so interesting to follow different renditions with different orchestras. And it’s really hard to find a good orchestra or a conductor who didn’t try their powers in Mahler’s music. The orchestra of considered achievements with this repertoire is Orchestre National de France which over the decades was basis for many conductors and many interesting albums. And one of most deserved Mahler’s interpreters recording with this orchestra was Lorin Maazel’s rendition who in late seventies conducted performance recorded and published by CBS Masterworks.
   Maazel’s recording shows how open and deep can be Mahler’s First Symphony. Under the grey cover, the performance as the music itself is shimmering with colors. From soft, almost impressionistic nuances in pianissimo, to brave expressive phrases of chamber groups of instruments, from mysterious moments of expectations to the clarity of revelation. Perfectly set tempos and the sound of Parisian Orchestre National is what makes this performance so colorful. Wind instruments can work as a sample of sound capacity. Some romantic reminiscences in culmination of first part, in dancing fluency of scherzo (Ländler) and in inevitable marching continuity of third movement, orchestra is exploding with colors and emotions. The climax of narrative idea is the fourth movement which gives a chance for connecting various ideas. Four and half of highest star.

Bernstein – Berlioz – Harold in Italy

   Hector Berlioz, great romantic composer and innovator in orchestration, one of best French artists ever, was prized mostly for his Symphonie fantastique, or still very popular in 19th century and one of his most recognized work program symphony Harold in Italy. In most of his works he was breaking the fixed rules of music constructions. The most famous works on his account, like La damnation de Faust which Berlioz described as “légende dramatique” and Roméo et Juliette called by composer “symphonie dramatique”.
   After great artistic success of Symphonie fantastique, Hector Berlioz was credited as main personality of French romanticism and highly priced for musical language and form innovations. He was declared as an atheist, he composed also Te Deum in 1849, a quasi-liturgical work. His most famous religious work is Grande messe des morts op. 5 known also as the Requiem, a monumental composition written in 1837 by the commission of French Minister of Interior to commemorate soldiers who died during Revolution of July 1830.
   Although Berlioz second symphony is precisely defined in its title – Harold en Italie, Symphonie en quatre parties avec un alto principal op. 16 – it is not well fitting to any known form. This is more the symphony set of orchestral scenes corresponding with moods presented in Lord Byron’s poem Childe Harold's Pilgrimage, with melancholic parts of viola corresponding to the title hero dreamy character. The first idea to write a composition with extensive viola parts came from Nicolo Paganini. In December 1933, after performance of Symphonie fantastique great violinist commissioned work for solo viola he could play with extraordinary viola by Antonio Stradivari he possessed. But after great virtuoso seen first sketches of Berlioz new composition, he was disappointed and refused.

Leonard Bernstein – Berlioz – Harold in Italy (1977)

   It is worth to remember Harold in Italy is not titled sinfonia concertante, viola is very well displayed but not in concerting manner. From formal point of view it is freely constructed program symphony with viola representing the hero of Byron’s poem. In some ideas this work can be seen as a predecessor of symphonic poem, the romantic form established by Liszt almost two decades later and this is real value of this symphony. Nicolo Paganini heard the Harold in Italy symphony four years after premiere in 1938 and in front of audience he knelt before composer kissing his hand. Few days later Berlioz received congratulations and bank draft for 20 000 francs as a personal award for commissioned work.
   In 1977 EMI Records released recording of Harold in Italy interpreted by Leonard Bernstein with Orchestre National de France and violist Donald McInnes. Published in quadraphonic pressing, this performance gives the audiophile satisfaction of clear and deep sound. String phrases are strongly outlined and the whole orchestral sound is rich and filled with colors. Soloist plays viola with full, silky sound. He is observant and precise, giving the viola part nostalgic, sometimes melancholic temper. Formal frame of the program symphony, narrative continuity and permanent exploration of possible, sometimes even surprising new readings with full orchestral expression are features marking this recording so significant, deserving five in a five-star scale.