Search - Felix Draeseke, George Hanson, Wuppertal Symphony Orchestra :: Draeseke: Symphony No.1, Op.12, & Piano Concerto, Op.36

What to make of the music of Felix Draeseke?

David A. Hollingsworth | Washington, DC USA | 01/27/2001

(5 out of 5 stars)

"Felix Draeseke (1835-1913) is someone of an enigma in music history. Before this recording was issued in 1999 no more than several CDs and LPs combined contain any significant works of the composer (and he was fairly prolific and successful). Even music literature barely mention the life and works of Draeseke. This CD is therefore a very welcoming one, especially due to among the most impressive booklet essays accompaning this CD to date. Draeseke's fate in the eyes of the audience is somewhat similar to that of Sir Charles Villiers Stanford (1852-1924) or even Max Reger (1873-1916). Before Vernon Handley's enterprising and pioneering survey of Stanford's works on Chandos, less than a handful of conductors took his works up & Reger's popularity did not take shape until after the late 1980s. Therefore, is this CD and at least three others of his music signify a sign of awaken interests in Draeseke's works? Perhaps (and hopefully).Like Stanford or even Reger, Draeseke had a sense of mystery and independence in musical thought that even pinpointing any musical influences can be cumbersome (their subtlety are disquieting for the most part). The influence of Brahms is present in the works of these composers (more so in Stanford's). But their musical identity and personality remain strong. Draeseke's First Symphony in G major op. 12 (1872) is a good case in point. The beginning of the First movement is Beethovenian, quasi Brahmsian, in it's staunch sense of purpose. But the Allegro and the lyrical slow passages admirably stand on their own two feet. This is truly personal stuff here and even in the Scherzo, despite some Mozartian sense of sparkle & wit. The Adagio third movement shows us why Draeseke favored this more than the others. It is deeply moving and passionate, and the noble ideas are nicely drawn together. The Finale is very impressive, somewhat Mendelssohnian in its sense of wit & gaity (with the opening of the Italian Symphony coming to mind) while Wagner's Lohengin (the beginning of Act III) shows its presence throughout. The exhilarating coda however, has Draeseke written all over it and overall, the conception behind the Symphony is indeed personal. The Concerto for Piano & Orchestra op. 36 (1886) is altogether simpler in mood & and not as ambitious as the First Symphony although the piano writing, owing much to Liszt, Chopin, and perhaps Rubinstein, has attributes of a bravura. The spirit of Beethoven is of presence in the first movement and the Finale, with the passages majestic & proud (think of the Emperor Concerto). The second movement has an attractive set of variations following the theme delicate & noble in nature that even Erno von Dohnanyi would have been proud to claim as his own. The Wuppertal Symphony Orchestra under George Hanson gave essentially flawless, enthusiastic performances while pianist Claudius Tanski played the Concerto admirably, especially in the second movement. The recording is warm and natural and this CD should do much for a Draeseke revival in a vein similar to Stanford and Reger."

A worthy Successor to Beethoven's Emperor Concerto

Keon Garraway | Brooklyn, NY | 09/14/2006

(5 out of 5 stars)

"Beethoven made the Key of E flat famous and popular by composing 2 gigantic works in this key. These works are his "Eroica" Symphony (3rd symphony), and his "Emperor" Concerto, (5th piano concerto). Ever since then whenever a composer decides to compose any symphonic work in these two keys, the forboding pressure of Beethoven constantly weighs on his shoulders. Few have dared, and few have succeeded in pulling off a great work in E flat ever since. The only attempt that matches Beethoven in E flat is Bruckner's 4th Symphony dubbed, "Romantic". It has been said that Tchaikovsky himself wrote a draft of a symphony in E flat and then destroyed it. Schumann composed his Rhenish Symphony in E flat, and while this symphony has great ideas and vision and is even enjoyable, Schumann's talent in no way could have put it on the status of a Beethoven's 3rd and a Bruckner 4th. Brahms himself avoided the key at all cost, and the closest he came to composing a major work in E flat major is in his second piano concerto that he composed in B flat. Those who are schooled in music know how close B flat Major is to E flat Major.



Anyway, Draeseke decided to put his first and only piano concerto in E flat. Since receiving this cd, I've listened to this work on end, and yes, we have a work in E flat that can sit at the table of Beethoven's Eroica and Emperor and Bruckner's 4th Symphony, eventhough it would not be the most honored guest at the table.



Draeseke's concerto is brilliant and original eventhough at times it can seem a bit rigid. The main theme of the first movement is majestic and heroic, and quite in the same vein as its predecessor composed by Beethoven. And while Beethoven allows the piano to flow in with ascending scales after each successive chord played by the orchestra in the opening, Draeseke duplicates this, but not in the introductory manner as Beethoven, but by having the Orchestra play the main theme, with the piano interrupting it with a rush of scales. But these scales are not like the Beethoven type scales, these scales issue a loud growl and roar like a lion, hence the majestic nature of this concerto is not purely pretty but it has a warrior element attached to it. Warrior King I suppose might be a good nickname for it. As the concerto develops, there aren't any new twists and turns, but I wouldn't say it is monotonously predictable. On the contrary it is quite an enjoyable ride and showed the eclectic nature of Draeseke as he draws from himself, Beethoven, Lizst, Chopin and Wagner.



The slow movement, so far hasn't impressed me at all, but it is quite enjoyable and unique. I based this largely on the fact that I am now in the discovery stage as it relates to Draeseke's music. I am sure as I become mature in my knowledge of him, I would appreciate this slow movement as I ought.



The last movement is brilliant. I guess that's a cliche. It's a dance but not in triple time as Beethoven's emperor, but in double. The majestic nature of the first movement is restated in this grand dance. But the heroism and the warrior spirit is lost to pure buoyant happiness.



The only negative I have of this work is that Draeseke didn't add a scherzo to it. I feel that this work finishes too soon, and more could have been gleaned from the themes that he has set down."