Not without merits but no match for the Czechs
Philippe Vandenbroeck | HEVERLEE, BELGIUM | 05/10/2009
(4 out of 5 stars)
"There are two remarkable facts about Suk's Asrael symphony. First, as most reviewers of other versions of this work have noted, it is striking how such a compelling and imaginative work has been allowed to drop out of the canon of great romantic masterpieces. Despite its status as an "ersatz" national hymn for the Czechs, there have been relatively few recordings of the work. Second, the symphony's monumental character - and the biographical background that goes with it - seems to suggest that "Asrael" was crafted by a fully mature composer. (The standard CD booklet pictures of Suk as a middle-aged, rather thickset man reinforce this impression.) However, Suk had only just turned thirty when he completed this epic, one hour long composition! True, Mahler was only 25 when he finished his First and Berlioz only slightly older when the ink was dry on his Symphonie Fantastique, but that doesn't make it any less remarkable how these precocious talents - including Josef Suk - where to manifest themselves so self-assuredly in these large scale symphonic forms.
Asrael is written in a lush, late romantic idiom mixing Bohemian earthiness with a sophisticated, exotic chromaticism. It reminds me of Franck's celebrated Symphony in D minor (1888) and it hints at the even more luxuriant hothouse atmosphere of Schoenberg's Pelleas und Melisande (1902/03), Szymanowsky's Song of the Night (1916) and Scriabin's Divine Poem (1904, also in C minor). As some sort of requiem for the composer's wife and father-in-law (Antonin Dvorak), the general tone of the work is understandably somber and strident, evoking Mahler's cataclysmic and contemporaneous "Tragic" Symphony. Formally Suk relies on the typically late romantic strategy to support large scale symphonic structures by weaving a limited number of motto themes into the symphonic tapestry. The one that is most easy to pick up is a declamatory, four note "death motif" that announces itself early in the symphony and is signposted in most of the other movements (very notably also at the start of the final Adagio).
I have been happily listening to Behlolavek's Asrael recording on Chandos for years (Suk: Asrael/Fairy Tale/Serenade). Recently, EMI re-issued a friendly-priced collection of Suk symphonic works - including Asrael - by Libor Pesek and the Royal Liverpool Philarmonic (Josef Suk: Asrael; Zrání; Praga). And now Ashkenazy comes with this full-priced (live) recording in SACD format. My clear favourite amongst these three is the Pesek: white-hot but scrupulous and cogent readings that dispel any doubts as to this music's stature. Coupled with two other major Suk tone poems ("Praga" and "Ripening") and at a super budget price this set is a no-brainer.
That doesn't mean there isn't much to admire in the Helsinki production. Interestingly, Ashkenazy reveals the Slavic undercurrent in this work. Already in the very first bars the darkly sonorous strings conjure up the bleak soundscape of a vintage Shostakovich symphony. And later on we hear echos of the edgy splendour of Mussorgsky and the moody impressionism of Liadov and Rimsky-Korsakov. The first movement is a giant, savage threnody and Ashkenazy's reading is suitably urgent. The Ondine engineers have done a wonderful job of capturing a detailed and forceful orchestral sound (it's more attractive than the Pesek recording which is weighty but slightly airless). The strings have a wonderful bloom, the brass is resplendent, and the fateful blows on the bass drum in the movement's climax come through with breathtaking impact.
However, in the ensuing Andante the tension already slackens. Ashkenazy seems more keen to dwell on the ravishing colours of Suk's orchestral palette than to plumb the score's shady depths. The music sounds too polished, almost innocuous. Pesek does much better in maintaining the music's pulse and its mournful, death-haunted feel. As a result it is not difficult to remain involved from start to end in the latter's reading whereas with Ashkenazy, who plays on contrasting the tempos and moods, one loses sight of the larger narrative. The Scherzo lacks bite and the Adagio again misses out on the subtle mix of terror and redemption. Ashkenazy plays the movement quite simply exquisitely beautifully. By the time he unleashes his Helsinki forces for the finale we have been disconnected too long from the first movement's turmoil to really get involved. Again, the shimmering, luminous coda is expertly delivered.
The Ashkenazy recording clearly has its merits but the Pesek is, I find, in another league. And those who have listened to Kubelik's recording on Panton (difficult to get), or the classic Talich (Dvorák: Stabat Mater; Suk: Asrael) and Neumann (Josef Suk: Asrael; A Summer's Tale; The Ripening; Epilogue; Fairy Tale; Praga)on Supraphon say they are even more compelling. I'd give the new Ondine recording 3,5 stars and recommend checking out some of the Czech alternatives."
A Great Recording of a Great Work
A. Craig | Grand Junction,CO | 08/11/2009
(5 out of 5 stars)
"First of all I have to wonder why this symphonic work is not more well known. Josef Suk who after his father-in-law Antonin Dvorak was one of Czechoslovakia's greatest
composers. His Serenade for Strings is a match for Dvorak's or Tchaikovksy's. The Asrael Symphony Op.27 is a heartfelt, glorious work that is simply put a tribute of love to both Dvorak and to Suk's wife, both of whom died within a year of each other. Suk although devistated by his double loss, found solace in writing this
music. Vladamir Ashkenazy and the Helsinki Philharmonic perform this work, not as a
sonic blockbuster,though it certainly is one. They perform it just as an amazing
"roller coaster" ride of musical sounds and pictures. One moment the music is calm and peaceful, the next the music is loud frightening overwhelming. The engineers at Ondine having employed the newer DXD recording techniques have done an amazing job of capturing every nuance of this piece, both the loud and soft sections of this work. Mention must be made about the Andante movement of this symphony it is one of the most lovley in the catalog. Hopefully this recording as well as the one with Flor and the Maylasian Philharmonic will go
a long way to bringing this work to a wider audience. It certainly derserves one."
Track Listings (5) - Disc #1