Johann Nepomuk David: Symphonies 1 & 6 -- a confluence of influences

Johann Nepomuk David
Symphonies Nos. 1 & 6
ORF Radio-Symphonieorchester Wien
Johannes Wildner, conductor
CPO

Johann Nepomuk David's (1895-1977) was an Austrian composer, teacher, and conductor who managed to go his own way. As a young man he was fascinated by Bruckner and Mahler. He later became a devotee of Brahms, and in the 1930's studied with Arnold Schoenberg. But it was the music of Bach that remained his life-long obsession and inspiration.

All of those influences come together in David's music. The result isn't a mishmash of styles, but a unique sound that happily acknowledges its roots.

The Symphony No. 1 (1936) starts with a bold, simple theme. That theme grows and expands, as Schoenberg might develop a 12-tone motif. In this case, though, the development remains firmly grounded in tonality (albeit the expanded tonality of Mahler). Structurally, the work moves from event to event like Bruckner. But it's the rigorous counterpoint that provides development and overarching organization for the work.

Written in 1954, David's Sixth Symphony shows how far the composer progressed. The orchestration is more adventuresome, the harmonies more ambitious, and even the counterpoint sounds more relaxed and intuitively written. David never totally abandoned tonality, although this work has a more modal sound than the major/minor melodies of the first symphony.

Johannes Wildner nad the ORF Radio Symphony Orchestra Vienna perform these works with clarity and precision, making the counterpoint easy to follow. The ensemble has a warm, smooth sound that seem to give David's harmonies an added richness.

I found these symphonies quite appealing, and I think listeners who enjoy Zemlinksy, Reger, or Martinu might find them so as well.

Schreker's "Die Gezeichneten" Seduces the Ear

Die Gezeichnete (The Stignatized)
Franz Schreker
LA Opera; James Conlon, conductor
Anja Kampe, Robert Brubaker, Martin Gantner, James Johnson, Wolfgang Schöne
3 CD Set
Bridge Records

Franz Schreker's 1914 opera "Die Gezeichneten" is a study of opposites. Alviano Salviago is ugly and physically deformed, but has a pure spirit. The beautiful island paradise he creates has been taken over by young nobles for their orgies. The artist Carlotta is first attracted to Alviano's inner beauty, but then gives herself to lustful attentions of outwardly handsome Count Tamare.

Schreker's shimmering, richly orchestrated score is indeed beautiful, while simultaneously conveying a sense of unease and overripe decadence. This live recording of "Die Gezeichneten" by the LA Opera captures the spirit of Schrecker's troubling work and delivers its emotional content in full.
Maestro James Conlon has a clear affinity with this music, and it shows. Schreker scored the work for an expanded orchestra. The LA Opera had to reduce the size of the ensemble to fit in the venue, but no matter. Under Conlon's direction, the music sounds rich and full. If anything, the paring down of the orchestra adds a limpid translucence to the score.

Robert Brubaker performs well as Salviago, also his upper register is a little thin at times. Anja Kampe, as Carlotta,  sings with a soft, rounded tone that sounds especially beautiful in the lower register. Their voices have a wonderful blend, making the duets between Salviago and Carlotta the high points of the recording (at least for me).

This three-CD set includes a booklet with the complete libretto in German, Italian, French, and English. Bridge's release captures the excitement and energy of the live performance with pristine sound (and virtually no distracting audience noise). Recommended.

Riisager Symphonic Music: An Unsung Composer Gets a Hearing

Knudage Riisager 
The Symphonic Edition, Vol. 1 
Aarhus Symphony Orchestra
Bo Holten, conductor 
Dacapo 

I have to admit I had never heard of Knudage Riisager before I received this CD (let alone any of his music). But after listening to this outstanding recording, I want to hear more.

Riisager is now recognized as one of Denmark’s greatest composers, although during his lifetime his music was received indifferently, forcing him to support himself in other ways. Riisager studied in Paris in the early 1920’s and was deeply influenced by the cadre of composers there. In this first volume of Riisager’s symphonic works, it’s easy to hear those influences.

Riisager’s orchestral music is written in a lush, post-romantic style, but no matter how many instruments are playing, it always sounds clean and transparent. That Ravel-like elegance is often offset by wry, humorous gestures that one might find in early Stravinsky or Prokofiev. The end result is a music that shows its influences, but remains absolutely unique.

This first volume presents Riisager’s first symphony and four symphonic tone poems. The tone poems, “Danish Pictures 1-4” reference various aspects of Danish life and culture. Structurally, they remind me a little of Richard Strauss’ tone poems. Collectively, the four Danish Pictures show a lot of imagination, both in terms of melodic invention and orchestration.

 Riisager’s first symphony is pleasant work of somewhat modest ambitions, but it succeeds completely in its intent. The structure is well-defined, and the music just sort of ambles along from one major theme to another. And what themes! They’re all very attractive, practically inviting the listener to hum along. The Aarhus Symphony Orchestra plays these works with confidence and precision. Conductor Bo Holten is a composer as well, which may be why the works on this album coalesce so beautifully. The performers believe in this music, and that attitude is infectious.

I'll be revisiting this recording often.