STRAUSS Alpine Symphony
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Strauss
Genre:
Orchestral
Label: Decca
Magazine Review Date: 09/2014
Media Format: CD or Download
Media Runtime: 51
Mastering:
DDD
Catalogue Number: 478 6422DH
Tracks:
Composition | Artist Credit |
---|---|
(Eine) Alpensinfonie, 'Alpine Symphony' |
Richard Strauss, Composer
Daniel Harding, Conductor Richard Strauss, Composer Saito Kinen Orchestra |
Composer or Director: Richard Strauss
Genre:
Orchestral
Label: BR Klassik
Magazine Review Date: 09/2014
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 900124
Tracks:
Composition | Artist Credit |
---|---|
(Eine) Alpensinfonie, 'Alpine Symphony' |
Richard Strauss, Composer
Franz Welser-Möst, Conductor Richard Strauss, Composer Symphonieorchester des Bayerischen Rundfunks |
Intermezzo |
Richard Strauss, Composer
Franz Welser-Möst, Conductor Richard Strauss, Composer Symphonieorchester des Bayerischen Rundfunks |
Author: Rob Cowan
Harding’s ‘On Alpine pasture’ enjoys more crystalline air than Welser-Möst’s, with plenty of frosted sparkle among the upper frequencies. As to the two superb oboe soloists in ‘On the summit’, it seems unfair to prefer one at the expense of the other but Harding’s princely-sounding Philippe Tondre falls on the ear with seductive grace while the powerful sting of low brass afterwards is more effective on the Decca recording. Come the ‘Thunder and tempest’, both versions are magnificent, with joist-shaking big drums, but on Welser-Möst’s BR-Klassik CD you hear more of both the wind machine and the organ – also, at the very end of the work, the quiet, final downwards-sloping glissando on the violins.
Weighing the balances is difficult because both performances are so extremely good. Welser-Möst and his excellent Munich players conjure more of the score’s wooded elements, its mists and occasional mellowness, while Harding gravitates more to blue skies, cold air and glacial contours. It’s a close-run thing. Then again, Welser-Möst adds the four colourful ‘symphonic interludes’ from Strauss’s opera Intermezzo, vividly played. Competition is strong from elsewhere, what with Karajan in Berlin, Haitink in London and Amsterdam, Ozawa, Thielemann and Previn in Vienna, Kempe in Dresden and many more, all of them offering strong varieties of tonal splendour. But of the two versions under review I would favour Daniel Harding and his Saito Kinen players, albeit only by a very narrow margin.
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