Search - August Halm, Per Borin, Württembergische Philharmonic Reutlingen :: August Halm: Sinfonie A-dur

An exceptionally genial late Romantic symphony

Larry VanDeSande | Mason, Michigan United States | 09/20/2005

(3 out of 5 stars)

"This is probably the first recording of the Symphony in A major of German late Romantic composer August Halm (1869-1929). I read a review of this in a national critical journal that likened it to Bruckner, and particularly to Bruckner's 6th Symphony. Halm apparently wrote a book about the Bruckner symphonies.



Having heard this disk, I would say little in this music other than a motivic device or two reminds me of Bruckner. The symphony begins with an allegro comodo that goes on for 15:51 and is composed around an ostinato flute theme usually followed by strings, something akin to a bird followed by butterflies. Later, a horn followed the flute and strings, adding an appealing geniality.



The development section reminded me of Richard Strauss, with brief dramatic development at the 10-minute mark or so. Yet the overarching feeling I had listening to the opening movement was of music that might have been written by Felix Mendelssohn if he had lived and composed in the late Romantic era.



The second movement adagio begins with woodwinds followed by strings in a very typical late Romantic movement. There is nothing exceptional here and not much memorable, either. The third movement -- called Szene - attaca -- begins at andante with more flutes and violins and slows to an adagio before engaging in folk dance.



Where's the drama in this late Romantic symphony, you ask? I kept asking that question myself. Surely, I thought it would embark during a tempestuous final movement -- Rondo. Allegro moderato. But this section, like the others, began on the ostinato flute theme and wandered aimlessly in an abyss of gentle persuasion.



Some drama did emerge at about 8 minutes of the 16-plus minute movement but it was short-lived and followed by an almost English stateliness. I was far more reminded of Faure than any other composer until a a timpani roll seemed to indicate a growing resentment. But, instead of giving rise to romantic mania, more quiet solitude followed, eventually collapsing into a hard gear change at the end.



The sound on the Sterling disk -- recorded in June 2004 in Reutlingen -- is fine and the performance by conductor Per Bonin and the Wurttemberg Philharmonic only begins to suggest the possibilities inherent in the symphony. They consistently underplay any drama that may be available and regularly corral the brass sections of the orchestra, never allowing any moment to get too big.



This may be a result of a score bleed dry of brass appeal, but I think the performers consciously recreated this music at the lowest pressure point, never giving rise to changing speeds, tenuto, fortissimo or other affects that could lend drama to the music.



The notes to this issue succintly capture the message of the music by saying, "Standing at August Halm's grave, overlooking a picturesque valley in the tranquility of the Thuringen forest, it is easy to imagine the origin of his A major symphony."



If you think you'd enjoy a gentle 53-minute stroll through a country pasture in unidiomatic orchestral language that sounds much more French than German, you will probably enjoy this music. If you are looking for something that naturally follows the models of Bruckner and Mahler, give the Symphonies Nos. 2 and 3 of Richard Wetz a spin and forget this."