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KORNGOLD Symphony in F Sharp Tänzchen Im Alten Stil

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KORNGOLD Symphony in F Sharp Tänzchen Im Alten Stil KORNGOLD SYMPHONY IN F SHARP TÄNZCHEN IM ALTEN STIL HELSINKI PHILHARMONIC ORCHEstRA JOHN STORGÅRDS 1 2 ERICH WOLFGANG KORNGOLD (1897–1957) Symphony in F sharp, Op. 40 (1947–52) 53’48 dedicated to the memory of Franklin Delano Roosevelt (1882–1945) 1 I. Moderato, ma energico 15’55 2 II. Scherzo: Allegro molto 11’03 3 IIII. Adagio: Lento 15’36 4 IV. Finale: Allegro 11’11 5 Tänzchen im alten Stil (1919) 7’18 Helsinki Philharmonic Orchestra JOHN STORGÅRDS, conductor Publisher: Schott Music Recordings: Helsinki, Finlandia Hall, 17.–18.9.2010 (Symphony in F sharp), 30.8.2010 (Tänzchen im alten Stil) A 24-bit recording in DXD (Digital eXtreme Definition) Executive Producer: Reijo Kiilunen Recording Producer: Seppo Siirala Recording Engineer: Enno Mäemets – Editroom Oy ℗ 2011 Ondine Inc., Helsinki © 2011 Ondine Inc., Helsinki Booklet Editor: Jean-Christophe Hausmann Photos: Schott Promotion (Korngold), Heikki Tuuli (Storgårds), U.S. Library of Congress (Roosevelt) Cover Design and Booklet Layout: Armand Alcazar This recording was produced with support from the Finnish Performing Music Promotion Centre (ESEK). 3 rich Wolfgang Korngold ranks securely among the principal composer Eprodigies. Born in Brünn, Moravia (now Brno, Czech Republic) on 29 May 1897, the second son of music critic Julius Korngold, he impressed Mahler with his cantata Gold when aged only nine, and duly consolidated this with his score for the ballet-pantomime Der Schneeman, premiered at the Vienna Court Opera in 1910. Numerous orchestral, chamber, and operatic works followed – including such as the Schauspiel-Ouvertüre (1911), the Sinfonietta (1912), and an operatic double-bill comprising Der Ring des Polykrates and Violanta (both 1916) – culminating with the dual premiere (Hamburg and Cologne) of his opera Die tote Stadt (1920) which made him world famous at the age of 23. However, the success of his next opera – the highly ambitious Das Wunder der Heliane (1927) – was blighted by the deteriorating political situation, while his last opera Die Kathrin (1938) could not be heard in Vienna owing to Austria’s Anschluss with Germany. Korngold had by now settled in Hollywood where, following an invitation by Max Reinhardt to collaborate on his lavish adaptation of Shakespeare’s A Midsummer Night’s Dream (1934), a series of often symphonically conceived film scores written over the next decade – such as those for Captain Blood (1935), The Adventures of Robin Hood (1938), The Sea Hawk (1940), and King’s Row (1941) – brought his music to an audience of millions. Following the Second World War, Korngold returned to Europe and to the concert hall but his unashamedly late-Romantic idiom was to find little favour in the austerity of post-war Vienna; while his death, on 19 November 1957, attracted only passing attention. This last quarter-century, however, has seen a considerable revival of interest in his music, with a host of performances and recordings to mark the centenary of his birth in 1997 as well as the fiftieth anniversary of his death in 2007. The Symphony in F sharp typifies the gulf between Korngold’s aspirations and the reality of his post-war milieu. The composer had prepared for it with several 4 large-scale works, notably the Violin Concerto (1945) and the Symphonic Serenade for strings (1947). Inspired by the death of U.S. President Franklin D. Roosevelt, and subsequently dedicated to his memory, it was begun in 1947 though written primarily during 1951–52. Its opulent yet by no means anachronistic orchestration and expressive immediacy seem to have been poorly served at its premiere – by Harold Byrns with the Vienna Symphony Orchestra – in 1954, while the intention of Dimitri Mitropoulos to perform it in New York was prevented by his untimely death in 1960. Rudolf Kempe made the first recording in 1972, since when the work has gradually made its way into the orchestral repertoire. The first movement opens with stealthy chords on strings and piano that alternate with a rhapsodic theme on clarinet, soon taken up by strings then discussed by woodwind before arriving at a forceful, horn-led climax on full orchestra that emphasizes the theme’s two-note ‘head motif’. This subsides into a second theme that unfolds suavely on the strings, then a reminder of the initial music brings with it a return of the two-note motif. A change of tonal perspective brings the third theme, introspective on flute above atmospheric divided strings, which makes for a ruminative codetta. The development begins with horn over piano and lower strings, the first and third themes brought into conflict in some of the work’s most virtuosic orchestration. As the tension falls away, the first theme is resumed on clarinet then passes to oboe and flute as the horn-led climax marks the start of the reprise. This unfolds with the suave second theme on strings then, after a response from full orchestra, the third theme plaintively on woodwind. The coda recalls the first theme on clarinet over sepulchral lower strings, before alighting on a tonally equivocal chord. The Scherzo begins with a perky idea on flute which, though it is always complemented by a mysterious held chord on strings, has a rhythmic incisiveness that ensures unflagging impetus through a range of harmonic adventures, and to 5 which a noble theme on unison horns brings evident contrast. The music then passes through a hushed fugato on strings, which in turn brings a resumption of the lively opening music on the way to a decisive pause. The trio section focuses on an evocative, Eastern-sounding theme on strings and woodwind that unfolds in sensuous harmony yet without sacrificing any of its prevailing languor. Out of its final chords the initial flute idea emerges, bringing a resumption of the scherzo music that is now curtailed so that the horns’ melody assumes greater prominence. This time, too, a brief recall of the trio music is abruptly set aside by a rapid crescendo and the decisive final cadence. The third movement opens with a spacious theme across the strings, soon joined by woodwind and brass as a mood of epic majesty is first established then intensified. A degree of contrast is provided by the second theme, with upper woodwind and percussion to the fore, rapidly building to a forceful climax that brings greater rhythmic interplay across the orchestra. The lengthy central span expands upon elements of both themes in some of the work’s most texturally resourceful and harmonically adventurous writing, the underlying mood now suffused with a greater degree of emotional warmth as the music grows in ardour. A pensive transition for solo flute over divided strings effects the return of the first theme, whose main motif can initially be heard deep in the harp’s lowest register and which then builds across the whole orchestra towards a crowning climax in which the theme is sounded out in all of its plangent, even tragic intensity. From here the music winds down to a brief but intense coda, with the theme seeming as though submerged in a glacial texture of string harmonies that reaffirm the essentially fateful mood. The Finale commences with brusque interchanges on strings, then a lively theme on upper woodwind (a transformation of the flute theme from the opening movement) emerges nonchalantly, capped by a galloping chordal motif from 6 strings. The second theme, shared between lower and upper strings, is more restrained without impeding the initial animation, which continues unabated through a vigorous development in which thematic elements from earlier in the work are encountered. The music reaches an expectant pause, from where the initial theme starts up with renewed impetus and the ensuing ideas are duly recalled. At length the flute theme then the clarinet theme from the first movement return, as if preparing for a subdued conclusion, but the initial theme suddenly emerges from nowhere to take the work through to an ending of defiant affirmation. Very different in its manner and content, Tänzchen im alten Stil [Dance in the Old Style] seems to have been composed in 1919, though performance details are uncertain; that by the present conductor at the Jyväskylä festival in 2007 might well have been the public premiere. Scored for modest forces and restrained in expression, the piece is closer to the incidental music Korngold had recently written for Shakespeare’s Much Ado About Nothing than the symphonic overture Sursum Corda which immediately preceded it – exuding a charm and an insouciance typical of the younger composer. It begins with an affectionate theme shared between solo woodwind and upper strings, exuding something of a genteel and even antique air as it does so. A more impulsive theme on strings provides contrast, then the initial theme proceeds on its unruffled course. A central section centres on a warm hearted melody for cello against a richly harmonized backdrop on strings, unfolding leisurely before a sudden pizzicato chord and then a pause usher in the initial theme much as before. A coda tenderly recalls the central section before the piece capers to its good-natured close. Richard Whitehouse 7 The Helsinki Philharmonic Orchestra, the oldest professional symphony orchestra in the Nordic countries, was founded as the Helsinki Orchestral Society by the young Robert Kajanus, its firstC hief Conductor, in 1882. Well known today for its tradition of performing Sibelius, it premiered many of Sibelius’s major works, often with the composer himself conducting. The orchestra undertook its first foreign tour to the Universal Exposition in Paris in 1900 and since then has visited most European countries, in addition to visiting the USA and Japan, both on four occasions. The orchestra’s current Chief Conductor John Storgårds assumed his position in 2008, having previously served as Principal Guest Conductor from 2003.
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