Alexander Zemlinsky (1871-1942)
Lyrische Symphonie, Op 18 (1923)
Franz Schreker (1878-1934)
Vorspiel zu einem Drama (1914)
Karan Armstrong (soprano); Roland Hermann (baritone)
ORF Vienna Radio Symphony Orchestra/Michael Gielen
rec. live 27 January 1989, Musikverein, Vienna (Zemlinsky); 31 August 1993, Wiener Konzerthaus. DDD
Texts not included
Orfeo C210241 [62]
Lightning can strike twice, it seems. Back in 2021, I reviewed two recordings of Mahler’s Das klagende Lied. One was a Decca recording, made under studio conditions by Riccardo Chailly, which Presto Classical had licensed for their on-demand CD service (review); the other was a live recording, issued by Orfeo, in which Michael Gielen conducted the ORF Vienna Radio Symphony Orchestra (review). Now it’s happened again. Only recently, I reviewed a Decca/Presto CD of Zemlinsky’s Lyrische Symphonie in a performance conducted by Chailly and now I have a live Gielen recording of the same work from Orfeo.
I refrained from making comparisons between the Chailly and Gielen recordings of Das klagende Lied; apart from anything else it didn’t seem fair to either conductor to compare a studio-made version with a live performance which, at the time it was given, was not envisaged for commercial release. For the same reason, I don’t propose to make detailed comparisons on this occasion, either. However, one or two general observations seem appropriate. One is that, though the Orfeo sound is jolly good, especially given the age of the recordings, it originates from a radio broadcast; consequently, it can’t quite match the detail in which we hear Zemlinsky’s orchestral scoring on the Decca studio recording. Also, there are times when the studio conditions enable Chailly’s soloists – and baritone Håkan Hagegård in particular – to sing in a more intimate fashion than was possible for Gielen’s soloists who were having to project into a large hall and with the accompaniment of a substantial orchestra. But lest you should think that all the general comparisons would be in favour of the Decca studio version, I should say that it strikes me that there is often a greater degree of fire and urgency to Gielen’s conducting than even the excellent Chailly produces. For what it’s worth, the crude measurement of the stopwatch tends to support that feeling: Gielen takes 43:14 for the work against Chailly’s 47:03.
When I was listening to Gielen’s performance, I recorded “passion” and “urgency” several times in my notes. At the time I wondered if this was at least in part due to the electricity of a live performance. However, when I came to write this review I followed a link to a recording of the work by Lorin Maazel; this was the first version I owned – I have it still – in its original DG incarnation. The Maazel has now been licensed to Brilliant Classics. When I investigated Rob Barnett’s review I spotted a link he had provided to a 1994 Arte Nova recording by Michael Gielen. I’ve never encountered that recording; however, I see from Ian Lace’s review of it that he referred to characteristic such as “dramatic power” in Gielen’s reading. Having read those comments, several of which mirror my own reactions to the Orfeo version, I suspect that what we hear on this CD is a typical example of Michael Gielen’s consistent vision of the Lyrische Symphonie.
He launches the first song with power and urgency. His soloist is the German baritone, Roland Hermann (1936-2020). Hermann’s singing is strong and forthright; both his tone and his diction are admirably clear. He comes across in the recording as though he’s positioned at the front of the stage (as does his fellow soloist). I’m sure that’s how the singers were placed for the concert, as you’d expect, but it’s important for the recording because it means we hear both of them clearly despite the large orchestral forces. Hermann’s singing is heroic – the upper register of his voice is very secure. Gielen’s conception of this first song is turbulent and passionate.
The second song introduces us to the American soprano Karan Armstrong (1941-2021). She sings with great commitment and intensity. At the start of the song Gielen conducts with great precision and attention to detail; in the second half of the song, where the nature of the music has changed, he brings huge energy to the proceedings. I do wonder if Hermann and Gielen are not rather too full-on in their treatment of the third song; I had less of that impression in the Hagegård/Chailly version but I should reiterate that this was made under studio conditions. By contrast, Gielen’s approach to the fourth song is, rightly, very subtle. He leads the orchestra in a wonderfully mysterious rendition of this nocturnal music. Karan Armstrong’s contribution is just as beguiling. This movement is full of beautiful music and the way it is sung and played makes it a highlight of the present performance. In reviewing the Chailly performance, I commented that Schoenberg would have been proud of the music that Zemlinsky wrote for the sixth song. The way that Armstrong and Gielen perform it makes the comparison with Schoenberg seem even more acute.
I think Roland Hermann is at his best in the final song. Here, we find him offering singing that is very expressive. He benefits from a very refined orchestral accompaniment. Gielen conducts this music with great empathy and once Hermann has finished singing, he inspires the orchestra to play the postlude with full-blooded passion before the magical, quiet ending, which is brought off admirably.
If I were forced to choose between the Chailly and Gielen recordings, the more nuanced approach that studio conditions allow, plus the more detailed Decca sound, might well tip the balance towards Chailly. However, such a choice would deprive me of the superb conducting of Michael Gielen, which is often white hot in its intensity and, at other times, beautifully detailed. He’s a conductor who was always worth hearing in whatever music he undertook. I’m delighted that I’ve had the opportunity to experience him in Zemlinsky’s Lyrische Symphonie.
The coupling is interesting. I learned from the Orfeo booklet that Franz Schreker produced Vorspiel zu einem Drama in 1914 at the request of Felix Weingartner, who wanted a new piece to conduct at a Vienna Philharmonic concert. The piece which Schreker composed is an expanded version of the overture to his opera Die Gezeichneten (1913-15); the only trouble is, no one seems to know whether the opera overture or the 1914 Prelude came first. I find it a somewhat diffuse piece. I have never heard the opera itself so I have no idea as to the extent that Vorspiel zu einem Drama complements the opera; that probably explains why I can’t discern much in the way of structure in the concert Prelude. Gielen is an ideal conductor for this sort of music. His keen ear for detail enables him to bring out the often-myriad detail in the scoring and he obtains a fine, colourful performance. As in the Zemlinsky, the ORF Vienna Radio Symphony Orchestra plays very well for him.
We’re listening here to recordings that are over 30 years old and which weren’t originally intended for commercial release. It seems to me that the sound has come up pretty well on the CD. The disappointing feature of the release is that Orfeo have not seen fit to provide texts and translations for the Zemlinsky. Given that the texts are not exactly familiar, I think this is an unacceptable omission.
This CD will be indispensable to admirers of Michael Gielen.
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Previous review: Christopher Little (February 2022)
