Most Helpful Customer Reviews
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Late romanticism in optima forma, 4 Dec 2006
The people at the German classical label CPO have over the years displayed a knack for uncovering forgotten composers from the late romantic era. As it turns out, some of them (like Weingartner and Pfitzner) were top conductors in their time, who also turned their hands at composing. Richard Wetz saw the post as conductor purely as a means of making a living and although strongly championed by Weingartner, never fronted any top ensembles. His main interest lay in composing. Born in 1869 he came under the influence of Wagner, Liszt, Mahler and Bruckner and it is in Bruckner's style that Wetz continued to compose until the end of his life. There seems to have been no development in his composing style (the Kleist overture from the late 19th century is not markedly different from the second symphony, composed some twenty years later). The developments in music by Debussy, Stravinsky or Schönberg etc. seem to have passed him by largely unnoticed. While the Kleist Overture is in keeping with the times (it was well received at the time), the second symphony is clearly an anachronism. Around the early thirties, Wetz comlained that people found his music to be satisfactory, when they got the chance to be exposed to it, but they very seldom were.
That said, it is undeniable that the music is well composed in a rich harmonic language, with enough drama to keep things interesting, but without the sometimes hysterical overtones of a Mahler or the empty bombast of a Wagner or Liszt. But of course (and that is the reason for four stars instead of five), they were originals who broke new ground for men like Wetz, who otherwise might have still composed in the style of Mendelssohn.
Personally I welcome these releases by CPO, because they go to show that, regardless of personal success, the mid to late 19th century produced some very fine craftsmen who composed music that, although an anachronism in their time (and the subject of scorn and ridicule by the Bergs and Weberns), can still satisfy the listener with beautiful, rich orchestral textures. The recording technique and the conducting are exemplary in that they manage to produce a very luminous picture of the music.
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4.0 out of 5 stars
Very much in the German Late Romantic tradition, 8 Dec 2008
Richard Wetz (1875-1835) a German composer very much in the Late Romantic tradition, and a great admirer of Bruckner was far from a prodigious writer and completed only three symphonies.
From the very first chords of the opening movement of his second symphony one is aware of Bruckner, and the broad sweeping and memorable melody which ensues confirms this impression. The second movement is rather sorrowful, a lament, but not without its climaxes. The final movement of this three movement symphony opens with sense of urgency before easing back into another relaxed and spacious theme yet with an underlying tension, all the time working towards typical Brucknerian like climaxes. There is even a touch of Mahler evident especially in the first movement.
The overture which is also included here, intended as a symphonic poem rather than an introduction to a play, is a satisfying dramatic work of contrasts with broad melodies sweeping to frequent climaxes. However neither this nor the symphony manages to match the giddy heights which Bruckner achieved, and while listening to these works one can't help feeling Wetz is driving with the breaks on.
The recording is good with rich full bodied sound. There is no doubt that if you like Bruckner you will find the two works here, as well as Wetz other two symphonies, appealing and very interesting.
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~ Richard Wetz
~ Richard Wetz
~ Felix Draeseke
~ Felix Draeseke
~ Hermann Bischoff
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