January 26, 2015

  • Last of the Romantics: Ernst Rudorff

     

    Rudorff: Symphony #3; Variations
    Bochum Symphony Orchestra/Frank Beerman
    CPO 777 458-2
    Total Time:  60:17
    Recording:   ****/****
    Performance: ****/****

    One of the significant figures of 19th-century Berlin was Ernst Rudorff (1840-1916).  With a family that boasted connections to the Mendelssohns, Carl Maria von Weber, and likely even heard conversations in his home from the intellectual elite of the time.  He would at one point receive lessons from Clara Schumann and begin a correspondence of some 200 letters over the course of their developing friendship.  He studied at Leipzig with Reinecke, Moscheles, and Hauptmann among others before heading briefly to Cologne.  Here he founded the Bach Society before eventually returning to Berlin to teach at Joachim’s Hochschule fur Musik.  Rudorff suffered from severe stage fright which essentially cut short his career as a concert pianist, but he would go on to be a significant composer/conductor featured often with the Berlin Philharmonic Orchestra which debuted in 1882 under his baton.  Most of his academic life, Rudorff spent editing the works of Mozart, Chopin, and Weber, though he also composed some 60 works for orchestra and numerous chamber pieces.  His aesthetical feel for nature, an early environmentalist in fact, somewhat comes through in his very romantic musical language that bears resemblance to Weber, and more contemporary Robert Schumann.  The music was often accused of being too “overwrought” due to its use of interesting syncopations, suspension, and use of dissonance; these being components of much greater interest and acceptance to modern listeners.

    It is this intense rhythmic syncopation which marks the opening bars of the third symphony heard here.  The work grew out of Rudorff’s own frustration at the end of an era that was now shifting course musically.  His language and style were by 1908 already a bit behind the ultraromanticism prevalent in Austria and France growing out of the Wagnerian musical developments.  The third would be premiered in 1911 with the Berlin Philharmonic sharing a program of music by Bach, Max Marschall, and Richard Strauss (the notes do not say, but Der Rosenkavalier had recently been completed).  Unfortunately, most critics at the time “reviewed” and came to their opinions far before actually hearing the piece.  The work is in four traditional movements, but already in its opening movement we hear the exciting syncopated  brass rhythms and interesting thematic development that bears a resemblance to Beethoven’s motive connections.  These motivic ideas will be one of the connecting features of the work.  The masterful use of the orchestra’s expressive capabilities is another hallmark of the movement.  The second movement adagio is an intriguing funeral march.  Percussion are used here, but this is not a traditional march where there influence is mostly felt not heard.  The result is at times a rather depressing pall perhaps reflecting at the loss of the culture and life Rudorff himself was experience as the century moved past him.  The third movement is a brief andantino provide some contrast.  The lat movement is marked “giocoso” but it too is anything but jolly with dark harmonies and unusual shifts as it bubbles away.  Throughout are peppered beautiful solo ideas for winds.  Interesting spinning out of motives is also a bit present.  One aspect of the string ideas feels almost like a deconstructed Viennese waltz that is somewhat similar to Richard Strauss.  The work thus shows both a great variety of Romantic thrusts, including a delicious snap rhythm, feeling like the last word on the aesthetic of the 19th Century.  The music is quite exciting and in some cases feels like it holds a host of ideas summarizing Romanticism.  The music is quite engaging and yet there is a sense of an older artist at the top of his game with a sense of stating that he just does not get what is happening.  Yet, the symphony is by no means anachronistic, and certainly bears hearing and programming on concert programs as it is a tightly-constructed work not as meandering as the work of another contemporary, Joachim Raff, can tend to be at times.

    The release also includes a set of variations for orchestra (Op. 24) composed between 1874-1875—a rather fertile period for lovers of 19th-century music.  It was inspired by Brahms’s Haydn Variations who also admired the work.  The orchestral premiere would take place in 1887 conducted by Joachim with the Berlin Philharmonic.  On his 70th birthday in 1910, the BPO would program this work in his honor.  Even his teacher Carl Reinecke singled out his set over similar ones by Grieg and Sullivan.  The original theme is sent through a variety of permutations.  Here we are able to explore some of Rudorff’s excellent rhythmic language and brilliant orchestral writing.  The faster tempos also make the work a rather exciting piece with energetic writing and fast-paced treatment of the primary ideas.  Along the way, more discerning ears may hear flavors of contemporary styles that had been integrated into Rudorff’s own musical language.  This too is another fine work worthy of some resurrection.

    The orchestra here, settled in the city of Bochum, was founded in 1919, and has gained a great reputation through many festival appearances throughout its history known as one of western Germany’s greatest concert groups.  More recently they were the touring orchestra with Sting and earlier even performed in a crossover concert with Jethro Tull.  The performances here, led by Frank Beermann, are very committed performances with crisp articulation rivaling that often reserved for top tier Beethoven orchestra recordings.  The great balance achieved here is perhaps also due to the work’s themselves, but the orchestral playing is simply superb throughout.  The music does not feel like a fast run through of lost repertoire, but a committed interpretation of languishing repertoire worthy of notice.  Highly recommended for those wishing to discover more about one of the great Berlin composers active into the 20th Century.  To date, it is the only release of Rudorff’s music that is available.