Martinu; Stravinsky; Honegger Orchestral Works
A slice of history‚ well prepared and played‚ with a particularly fine Stravinsky Concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Bohuslav (Jan) Martinu, Igor Stravinsky, Arthur Honegger
Label: Classics
Magazine Review Date: 1/2002
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: 74321 86236-2

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 4, 'Deliciae basiliensis' |
Arthur Honegger, Composer
Arthur Honegger, Composer Basel Chamber Orchestra Christopher Hogwood, Conductor |
Toccata e due canzoni |
Bohuslav (Jan) Martinu, Composer
Basel Chamber Orchestra Bohuslav (Jan) Martinu, Composer Christopher Hogwood, Conductor |
Concerto |
Igor Stravinsky, Composer
Basel Chamber Orchestra Christopher Hogwood, Conductor Igor Stravinsky, Composer |
Author:
The great thing about Paul Sacher‚ as both patron and conductor‚ was his willingness to move with the times. As Basel celebrated his 90th birthday in 1996 with a conference devoted to the same topic of the ‘classically modern’ (Klassizistische Moderne) as this new CDÊ–Êthe first of a seriesÊ–Êthe composers represented in the main tribute concert were Berio‚ Birtwistle‚ Boulez and Carter‚ whose modernity has little of the ‘classical’ about it. But things were different in 1947‚ and this revealing release reproduces the programme of premières which Sacher conducted in January of that year to mark the 20th anniversary of his Basler Kammerorchester (not to be confused with the Kammerorchester Basel‚ established in 1984).
To Honegger’s admirers‚ the splashes of bright instrumental colour and the jazzy rhythms of his Fourth Symphony are just the most obvious attractions in a work notable for its deft understatement. To me‚ the forms are not persuasively symphonic‚ and the material is bland. Martin²’s threemovement piece is more robust‚ and I can see why claims of substance and profundity have been made on its behalf. But the initial Toccata strikes me as more breezy than turbulent‚ and this sets the tone for a distinctly static second movement and an inflated finale which takes too long to reach its wellsignalled consonant ending. So it’s the shortest work‚ Stravinsky’s Concerto in D‚ which I enjoyed most – a concise study in string sonorities which is texturally transparent and rhythmically alive throughout.
Christopher Hogwood’s initial foray into this repertory is well prepared and well played‚ though it could be that a less respectful attitude to the changes of mood and pace in Honegger and Martin² – as well as a brighter recorded sound – would have helped to make a more positive impression. Even the Stravinsky errs on the side of reticence. But‚ as a historical document‚ this is a wellconceived project which deserves time to settle down‚ and further CDs of Sacher commissions‚ rarities and masterworks alike‚ will be well worth looking out for.
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