Suk Fantastic Scherzo; Summer Tale
Late-romantic orchestral works played by an ensemble which has this music in its blood, directed by a master of the idiom
View record and artist detailsRecord and Artist Details
Composer or Director: Josef Suk
Label: Decca
Magazine Review Date: 12/1999
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: 466 443-2DH
Tracks:
| Composition | Artist Credit |
|---|---|
| (A) Summer's Tale |
Josef Suk, Composer
Charles Mackerras, Conductor Czech Philharmonic Orchestra Josef Suk, Composer |
| Fantastické Scherzo |
Josef Suk, Composer
Charles Mackerras, Conductor Czech Philharmonic Orchestra Josef Suk, Composer |
Author: Andrew Achenbach
Completed in 1909, A Summer's Tale is probably the most easily assimilated of the four large-scale orchestral works conceived by Suk after the double-blow of the deaths (in 1904 and 1905 respectively) of his father-in-law Dvorak and wife Otylka. Cast in five movements, Suk's 'musical poem' (as the composer himself dubbed it) contains some of his most entrancingly original inspiration, not least the shimmering, heat-haze evocation that is 'Noon' and the succeeding Intermezzo entitled 'Blind musicians' (featuring a doleful, spare-textured dialogue between first a pair of cors anglais and then solo violin and viola). Certain commentators have criticized the piece's lack of cohesion, yet, in a towering performance such as that given by Michael Gielen and the Southwest German RSO at the 1993 Edinburgh Festival (and I believe German EMI currently own the rights to that same team's now-deleted Intercord recording - never officially distributed in the UK), its slumbering organic power, sense of spectacle and visionary beauty can take the breath away.
Sir Charles Mackerras's conception may not match Gielen's in terms of lucidity, but its dramatic fervour is tremendously compelling, and his magnificent Czech orchestra responds with commitment and poise throughout. A direct comparison with Libor Pesek's RLPO version perhaps reveals an added humanity and emotional clout on Merseyside (in recent years this partnership has championed Suk more than any other). Moreover, in his profoundly moving 1957 account, Karel Sejna locates an extra pain in the unforgettable central section of the nightmarish fourth-movement Scherzo as well as an infinitely touching, compassionate warmth in the awesome, concluding 'Night'. Inevitably, his rather rough mono recording doesn't begin to compare with the lustrous results achieved by Decca's Hazell/Lock production team. Indeed, I doubt whether the Czech Philharmonic has ever been captured by the microphones with greater richness and depth (bass-drum fanciers are in for a field day) ; provided the seismically wide dynamic range doesn't prove an obstacle to domestic harmony (best warn the neighbours in advance!), a sonic feast is guaranteed.
Pesek's extremely fine performance comes without a fill-up, whereas Mackerras offers a delectable bonus in the shape of the Fantastic Scherzo of 1903 (with its indelible, lilting second subject - once heard, forever etched in the memory). Truth to tell, Mackerras conducts with greater fire and temperament here than in the main offering (the music's danse macabre, at times positively Mahlerian, characteristics brought out most perceptively). Despite any minor qualms, then, this remains a classy, thrillingly accomplished coupling overall.'
Sir Charles Mackerras's conception may not match Gielen's in terms of lucidity, but its dramatic fervour is tremendously compelling, and his magnificent Czech orchestra responds with commitment and poise throughout. A direct comparison with Libor Pesek's RLPO version perhaps reveals an added humanity and emotional clout on Merseyside (in recent years this partnership has championed Suk more than any other). Moreover, in his profoundly moving 1957 account, Karel Sejna locates an extra pain in the unforgettable central section of the nightmarish fourth-movement Scherzo as well as an infinitely touching, compassionate warmth in the awesome, concluding 'Night'. Inevitably, his rather rough mono recording doesn't begin to compare with the lustrous results achieved by Decca's Hazell/Lock production team. Indeed, I doubt whether the Czech Philharmonic has ever been captured by the microphones with greater richness and depth (bass-drum fanciers are in for a field day) ; provided the seismically wide dynamic range doesn't prove an obstacle to domestic harmony (best warn the neighbours in advance!), a sonic feast is guaranteed.
Pesek's extremely fine performance comes without a fill-up, whereas Mackerras offers a delectable bonus in the shape of the Fantastic Scherzo of 1903 (with its indelible, lilting second subject - once heard, forever etched in the memory). Truth to tell, Mackerras conducts with greater fire and temperament here than in the main offering (the music's danse macabre, at times positively Mahlerian, characteristics brought out most perceptively). Despite any minor qualms, then, this remains a classy, thrillingly accomplished coupling overall.'
Suk Fantastic Scherzo; Summer Tale
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