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Site review by Geohominid February 5, 2009
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Performance: Sonics: |
Josef Suk (1874-1935) had both the advantage and disadvantage of being Dvorak's son in law and pupil. He is best known, perhaps for his delicious Serenade for Strings, which stands shoulder to shoulder with the serenades of Dvorak, Elgar and Tchaikovsky. His works from the early 1890s clearly show the influence of Dvorak, but he was later able to develop his own unique voice.
Suk's Asrael Symphony for large orchestra in C minor was prompted by a double tragedy in his life. Having married Dvorak's daughter Otylka in 1898, he had only a few years of happiness before the death of Dvorak in1904. He began a five movement symphony titled after the ancient Hebrew God of Death, but only a year later he was further devastated by the death of his young 'Otilie'. Three movements of the symphony had been completed, and he was working on the fourth, with plans for a variations finale. His grief made him change the last two movements into adagios, and the work was completed in 1906.
The final structure of this extraordinary work - Suk's masterpiece - is as follows:
Part 1
I. Andante sostenuto
II. Andante sostenuto
III. Vivace
Part 2
IV. Adagio
V. Adagio e maestoso
The prospect of four slow movements and a vivace must surely appear as a challenge to conductors and listeners alike. Thus far, all recordings of Asrael have been by Czech conductors and orchestras, yet there is nothing identifiably Czech or Dvorakian about the symphony. Suk's orchestral music has become eclipsed by the more stellar Janacek and Martinu and he is overdue for a wider international re-discovery.
Ondine's choice of the Helsinki Philharmonic and Ashkenazy proves to be ideal, producing what is arguably the best performance so far, and certainly the best recording quality. Suk's slow movements are not slowly-drawn out melodic affairs as in Bruckner and Mahler but kaleidoscopic tapestries of superbly crafted orchestral colour, with many tempo and mood changes. They express a wide and organically changing gamut of emotions about young love and loss, ranging from the sweetest memories to profound anger and storming at the Universe. Ashkenazy draws out these magical changes with a natural ongoing sense of flow, building the tension up to the shattering climaxes unerringly. For their part, the orchestra plays as if possessed, the players making the most of the wonderful instrumental possibilities and challenges in Suk's highly original and imaginative orchestrations.
The brass chorus in particular make use of their long tradition of Sibelius playing to produce a blend of tone which is imposingly sonorous, burnished and gleaming. They build up to, and ride, the stormy climaxes brilliantly, together with pounding timpani and slams from an awesome bass drum.
Sonically, this 5.0 DSD is masterly, and taken from live performances in April 2008. The audience is silent and there is no applause (although it is much-deserved). The 3-D orchestral image is sharply focussed, hanging just behind the speakers, and bathed in the hall's ambience, yet full of amazing detail. The softest passages of Suk's transparent textures are as detailed and breathtaking as the overwhelming climaxes are awe-inspiring. Science, art and artistry come together here in service to Suk's neglected masterpiece.
This is a disc not to be missed; a triumph for Ondine and the performers. It will win awards!
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Copyright © 2009 John Miller and SA-CD.net
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