Schoenberg: Orchestral Works

Did Wagner praise or deride Brahms' "symphonic" chamber music (I can't remember)? Certainly some pieces do have a grandeur and a length that invites talk of orchestral sonority and it's only a wonder that Mahler didn't take it upon himself to rescue this, the best of Brahms' piano quartets, from the overweighted performances that provoked Schoenberg's realisation for chamber ensemble (later full orchestra as here).

Nowadays Mahler's transcriptions or reorchestrations aren't admired in the way those of Schoenberg or Webern are and whilst this one has been recorded by other top metropolitan groups (Chicago, Vienna) the prospect of hearing Rattle's Berliners certainly promises something special. I'd say they don't disappoint. This piece has been in their repertoire some time and though it's taken nearly two years for this recording to appear, it's been well worth the wait. I think you still need a copy of the original piano quartet, given that Schoenberg's criticisms have long been taken into account and pianists don't play overbearingly as they allegedly once did. I had the feeling that in miniature the Schoenberg orchestration plays a similar game to that of his Gurrelieder, starting in the romantic nineteenth century and drawing Brahms' gypsy finale forward into the twentieth; a kind of stylistic schizophrenia: Brahms looking through a kaleidoscope.

Anyway, the Brahms/Schoenberg is the meat of this disc, but the performances of the film music and the Chamber Symphony No.1 could easily win new fans for this still challenging modernist genius. There's a great deal of emotion in these pieces, even if the film score is mostly negativity and the symphony rather too busy at times, it's worth persevering and no hardship to do so. Anyone who shudders at the memory of the Variations For Orchestra can rest assured there's nothing here as troublesome as that. The symphony is a kind of compression of Schoenberg's earlier romantic self and you can still hear the vocabulary.

Suffice to say, I recommend this the latest from the Berlin Phil and Rattle/EMI. Perhaps they could keep the 'spirit of Brahms' theme alive and give us their interpretation of Parry's Fifth Symphony. Now that's really Brahmsian.

Schoenberg's orchestration of Brahms' Piano Quartet No. 1 has, for some reason or another, received neglect that is undeserved. So it should be with anticipation that we turn to this new disc, which features Sir Simon Rattle with his stunning Berliners. Rattle had already proved himself in this repertoire with his 2009 set of the Brahms symphonies, and here he seems almost, if not equally inspired. That's not to mention the works that are purely Schoenberg's creations, the Accompanying Music to a Film Scene and the Chamber Symphony No. 1. In all the works, Rattle consistently shows vision that can do nothing but increase our appreciation of the composer whose radical writing is anything but easy to grasp.

Let us first take a closer look at the Brahms/Schoenberg Piano Quartet. From a compositional standpoint, this is a unique work, as Schoenberg started out with what was already a brilliant piece of chamber music. But along the way, while keeping in plenty of Brahmsian elements, his orchestration makes the end result as much about Schoenberg as about Brahms. Rattle as an interpreter seems to clearly see the complexity that follows such an undertaking. Those conducting the work will face enormous challenges of clarity, but Rattle seems to have mastered the score. Words fail me, but Rattle has kept things under such control that it sounds like a real symphony, one that almost deserves to stand behind the actual Brahms symphonies in terms of power and inspiration. But he hasn't lost the spirit in the process. We hear moments of heartbreaking beauty and tantalizing structural greatness, but no matter what we hear in the specific moments, we never lose sight of the Brahms (or is it Schoenberg?) of autumnal reflection. Even in the finale, easily the most exhilarating, foot-tapping piece of music ever written, we hear moments of lyricism that leave me breathless. That's not to say that you won't want to shout listening to the finale, as Rattle brings out the power and drama there in an utterly convincing way. But everything is done in a way that brings out the character of the individual moment while still keeping a vision of the cohesive whole. I don't even need to tell you that the Berliners are a joy to hear. To me it's a solid winner.

My ears suggest that the Accompanying Music to a Film Scene is a work in purely atonal form. It's anything but an easy first listen, but Rattle is so convincing you'll want to listen to it over and over again. Rattle keeps plenty of the horror in, but he keeps things from being merely threatening. He's managed to make it personal, wandering and introspective as it is. The score presents almost impossible things from the orchestra, but the Berliners aren't a bit concerned. Their playing is effortless, making us forget how challenging it actually is.

The Chamber Symphony No. 1 is much easier on the ears than the preceding work. Even here, though, it is difficult to comprehend. No piece by Schoenberg has ever achieved popularity with the casual listener, and this is no exception. The sheer greatness of the Berliners makes this a must-have for anyone interested in this piece, but Rattle is every bit as involved himself. The music is dreamy, always ethereal, yet the strong structural backbone of the work is keenly felt. This combination of mystery and symphonic grandeur is captured by Rattle in a wonderful way. The Berliners play as if though their life depended on it. This is truly an "on the edge of you seat" performance that is gripping in every way. Once again, this isn't music that is easy to grasp, but Rattle's performance of it is so fine that it is worth many listens.

In closing, this is a marvelous disc. Rattle has tried to make a persuasive argument for Schoenberg, and the results could hardly have been better. I'm left awe-struck and I'm sure you will be too.

Those who have read my reviews may recall that I have not been a fan of EMI's Rattle/BPO output-recording quality very variable, interpretations I haven't liked and very uninvolved if sleek playing. In sum, I have found most of these recordings to be dull! I was recently happily uplifted by the Nutcracker recording-not everyone's favourite by it works for me (mostly)- and the Mahler 2 which I found to be a triumph. I have unreserved praise for this new recording, which should appeal to Brahms and Schoenberg adherents alike! The Brahms has been well done before-Jarvi's rollicking and raucous LSO recording still enjoys my affection,and Dohnanyi's Vienna recording had magnificent sound though was more matter of fact- but Rattle's new recording has an infectious joy about it -everyone really sounds as if they are enjoying themselves, especially in the finale of the Brahms where Rattle displays a real mischievous bent. Could he be a future Straussian after all-Johann and Josef that is!? Those who don't know this realisation may rest assured that it really captures the spirit of Brahms, and one would not detect Schoenberg's hand in it if not informed in advance. I've always thought of it as Brahms 5th Symphony and this recording supports my view. Nonetheless, I differ from Philster in his excellent review in that I think that the real meat of the disc is the Chamber Symphony in its magnificent full orchestral version, Schoenberg's final thoughts on this work. Nothing Chamber about this-the orchestral forces are vast, in the manner of Gurrelieder. It is a highly perfumed, tonal excercise in the latest of late romanticism spilling over just occasionally into modernism, and is redolent of Wagner, Strauss, Mahler, Debussy and even Scriabin. Playing and recording are again superb, and Rattle's reading is inspired. Sandwiched in between is a brief but slightly more abstruse work, the music to accompany a film scene which might hold some terrors for Brahmsians-but they should find it interesting at least. Thus this disc is loaded with delights for both ends of the musical appreciation spectrum and I urge all lovers of Brahms and Schoenberg to sample it-and I feel sure that those who would normally shy away from Schoenberg but love Brahms will find much to enjoy also.
It gives me great pleasue to award this superb disc unlimited stars!! Stewart Crowe