Search - Felix Weingartner, Marko Letonja, Basel Symphony Orchestra :: Felix Weingartner: Symphony No. 4; Der Sturm [Hybrid SACD]

A neglected genius? Well, I'm probably at least half right

Russ | Richmond, VA | 08/12/2006

(4 out of 5 stars)

"CPO appears to have committed itself to recording Felix Weingartner's (1863-1942) seven symphonies and other substantial orchestral works. Weingartner is known to us today as a conductor, especially of Beethoven's symphonies. However, CPO is making a strong case for Weingartner as a composer.



If you are unfamiliar with the works of Weingartner it is important to understand he was extremely conservative (not to be confused with being serious or pretentious), and was not particularly interested in developing a unique voice. In the words of the composer himself: "He who wants to appear original has no hope of ever being so. First, he loses his naiveté absolutely necessary for creative production and expressing itself precisely in that open imitation, but then his work will also never be able to become a whole but will always remain a patchwork; as a result, however, it already forfeits the claim of being regarded as a work of art. ... If a composition bears the unmistakable facial features of its author ... then even a coincidental sameness of the notes with the passages of some other work is completely immaterial." (Note that the structure of Weingartner's compositions is far simpler than that of his sentences).



With that said, I hear similarities to Liszt, Mendelssohn, Beethoven and Brahms in the music of Weingartner. Sources suggest that Weingartner was a sunny, optimistic bloke, and this temperament is evidences itself in the bucolic 30 minute Symphony No. 4 (composed in 1916 - three years after the premiere of The Rite of Spring!). Given Weingartner's inclinations, the music doesn't take itself very seriously, especially in comparison to most Romantic music from the German school. For instance, Weingartner incorporates a brief brass chorale in the finale of the symphony, but the music refuses to get weighed down by this, and the chorale is overtaken by move cheerful, lively ideas at the conclusion of the work. This music strikes me as being well-crafted with any individual moment being engaging. Yet, the work, as a whole, drags in parts and I found myself disinterested in some of the longer sections. This, however, may be a criticism of this school of music, as opposed to Weingartner's mastery of it.



The real treat on this program is "Der Sturm." Outside of the overture's opening orchestral outburst, if a comparison to any weather pattern were to be made by this listener, it would be to that of a warm sunny day, with a slight breeze. The overture is quite lovely and tuneful, and contains some nice woodwind writing and a gorgeous central theme. The overture and accompanying suite definitely bring to mind the music of Mendelssohn. The finale of the suite sounds like Mendelssohn's "War March of the Priests" ("Athalie") meets the symphonies of Christian Sinding. Also notable is the "Scherzettino" which contains a delightful theme for flutes, bassoon and pizzicato strings.



There is nothing earth-shattering here, but this is attractive, cheerful music nonetheless. The recording and playing itself are exemplary, while the accompanying notes are beyond encyclopedic, even by CPO's standards. This release is recommended for those curious about the lesser known (and especially conservative) figures within the Germanic school of music. For those looking for music with just a little bit more character, I would recommend checking out the compositions of Weingartner contemporaries, Emil Nikolaus von Reznicek and Christian Sinding, whose symphonies have both been recorded by CPO.



67:49"