Johann Nepomuk David (1895-1977)
Symphony No. 3 Op. 28 (1940-41)
Symphony No. 7 Op. 49 (1954)
ORF Radio-Symphonieorchester Wien/Johannes Wildner
rec. 2014, Studio 6, ORF Funkhaus, Vienna
cpo 777 964-2 [63]

What an admirable company is cpo. For decades now they have been methodically excavating repertoire which is usually deserving. They present it in the best of audio glad-rags. So it is here, and in so doing, they demonstrate one of the label’s other strengths: stalwart adhesion to a project. In this case it is Austrian composer Johann Nepomuk David’s symphonies. They, Wildner and ORF have already issued symphonies 1 and 6 and 2 and 4. Now the doors are opened further with two of David’s other symphonies. These play either side of the thirty minute marker.

The war-time Third Symphony is securely entangled in melody. It is not a thing of ecstatic abandon; rather, while avowedly lyrical it is endued with a sort of puritan constraint. It was written in Leipzig and, across four movements, meshes a style that bridges Schubert to Bush (Alan not Geoffrey). The inclination towards tuneful expression is there but a tight hold is kept. Yes, delight is celebrated and these rites carry over into the last movement (IV). The work’s second movement is a calming essay and holds on to a bird-song flightiness akin to the harmonic world of Rubbra’s Fifth Symphony. There is little or no angst in this score. If you were expecting a reflection of world events, think again. For that, in symphonic form, you need Shostakovich, RVW 4 and 6, Prokofiev 6, Stanley Bate’s Third Symphony or the still unjustly ignored Arthur Benjamin Symphony.

David’s Seventh Symphony is in three movements, of which the first is imbued with a Bergian tincture and some emotional complexity. Here is a world at one remove from the liberated abandon of this composer’s teacher, the glorious Joseph Marx. David’s unworldly bitterness might well satisfy those who would expect some shadow of aggressor-nation shame or at least a knowledge of horrors inflicted. Uncertainty is present, not lyrical confidence. This is not about out-and-out dissonance but is a step in the direction of contemporary Karl Amadeus Hartmann. Another, and final, symphony was to follow from David in the mid-1960s.

Whereas the Third might be seen as a prodigal son from shades of Pfitzner or Schmidt, the Seventh is the fruit of a sour harvest.

Deeply delving liner-notes are proffered in German and English. They are by Dr Bernhard A Kohl of this composer’s Archive organisation in Stuttgart.

The sound is honest and forthright and clear. Do I sense another CPO boxed set in the offing? I hope so.

Rob Barnett

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