8 of 8 people found the following review helpful:
4.0 out of 5 stars
A masterpiece well-performed, though a shade too lean!, April 8, 2001
This review is from: Josef Suk: Symphony "Asrael" op. 27 (Audio CD)
Josef Suk's Asrael Symphony of 1905-1906 represents the turning point of his career (and his musical identity). Before the symphony, much of Suk's writing was under the heavy influence of his teacher and father-in-law Antonin Dvorak (in mannerism) and Richard Strauss (in orchestration), even to the point of being derivative. Hence, Suk's Seranade for Strings is pleasantly written, with the Adagio introspective & melancholic. But the Suk's personality have little presence while the world of Dvorak is profound (too profound for its own good I'm afraid).
The Asrael Symphony changed all that. Asrael, an angel who takes the soul from the departed in Muslim folklore, occupied Suk's mind after the death of Dvorak in 1904. Originally, the Symphony was to be in three movements, all of which were completed by the spring of 1905 and dedicated to the memory of Dvorak. Otilka, Dvorak's eldest daughter and Suk wife by 1898, passed away on July 5th, 1905 of a heart condition, and Suk added two movements to the symphony dedicated in her memory.
Never before had Suk written a work of such profound originality and depth, with the conception every bit as powerful as a Mahler symphony (minus the neuroticism). It's striking how the Finale begins: with the announcement four timpanies, thus returning to the reality of the tragic losses after the sweet, innocent adagio portraying Otilka (with the irregular drum beat signifying her weak heart). In Asrael, and in every work since, Suk had entered a new music territory, his reflections of life in every way profound and genuine, giving us his journey from shock and uppermost despair, to his gradual acceptance of the beauties and the pains life has to offer.
Peter Schneider and the Philharmonic Orchestra of Montpellier Lanquedoc-Roussillon gave overall a very satisfactory performance, and in most counts measures up to the recordings of Belohlavek, Pesek, Neumann, Talich, Kubelik, and to my mind Svetlanov. I find myself in rapport with Schneider's choice of tempo, although the pace is a bit too fast towards the end of the First movement. Consequently, the latter part of the movement (with the pounding of the bass drum) lost some of its emotional impact (Neumann's account is thrilling in that regard). Furthermore, this live recording is a shade congested, not allowing the tuttis to bloom more than hoped for while some of the details remain blurred. Minor quibbles, nevertheless, for this recording is very fine indeed.
Believe it or not, my favorite recording of this masterpiece is Svetlanov with the State Symphony Orchestra of Russia (Russian Disc CD-nla?). Though the recording is not first class as in Chandos (featuring Belohlavek) or in Virgin Classics (with Pesek), Svetlanov's reading is every bit gripping and compulsive. His Adagio is poetic and liquid, and I'm awed at his reading of the latter part of the finale, with the transition from anguish to quiet contemplation (andante maestoso-adagio e mesto) rather magical.
A tough choice then, for every recording versions listed above are extremely fine in their own right. But Schneider's account is worthy of acquisition, though the sleeve note is only in French, which by itself is not a very good marketing decision when selling this otherwise worthwhile product across international borders.
Warmly recommended, nevertheless.
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