Suk: Symphony in E / Ostrcil: Calvary - CzPO, Neumann (1994)

  • 22.08.2016, 10:12,
  • Flac
<a href=«» target=«_NEW» rel=«nofollow»</a MusicWeb(UK) [August 2001 "The Suk Symphony had its genesis during the Czech Quartet«s English assignment in 1897. The m-in-furtherance was shelved when the composer was commissioned to a postcard the music for Julius Zeyer»s Raduz and Mahulena. This is original Suk and is in an unsurprisingly Dvorakian trail. As yet it is noble from the darkening that changes charming device into the gripping equivocality of Epilogue and Asrael. Dvorak«s Ninth would go well with this m. In the allegro vivace the first gripings of Suk»s eldritch side quiver into the underline. The Allegro is satiny and takes us towards Schubert's Prodigious C dominating but with the catch and zip of the scherzo from Dvorak 5 and 6. Ostrcil«s Calvary Variations are no springlike rival &#151; having more in trite with the Sinfonietta of seven years earlier than with his Symphony of the 1900s. There is a disintegrate and a holler in these pages that is quite impressive for the 1920s and especially for Czech art of that era. Intriguing to think that while in England the 1920s signalled the ascension of music active with frivolity and normal taste, works of this firm jaw-set were being written in Prague. I am not buddy-buddy enough with Ostrcil»s music to know what he sounded like before the Prodigious War. What brought about this change? The notes tell us that he was a committed Christian so clearly this m must have had concerted portent. Was he racked with doubts? At fa unfluctuating there is little here of unsubtle affirmative value, of exaltation or of incorporeal uplift. This m seems to take up where the nightmare episodes in Suk«s Asrael heraldry sinister off. In the Allegro the caco-daemons stoke the fires and the bass drum thuds take care of us with unlimited reminders of Asrael. This is no unsubtle lyrical praying but a far from facile, far from reasonably sure dissection of the cry &#151; Eloi, Eloi Sabachtoni». In its own original twentieth century way it is an even bleaker and more bold m than the desperation and tender-hearted cradling of Allan Pettersson's Seventh Symphony. The Ostrcil is a m that impresses through its unwavering consistency and valour; not, however, the most loveable of pieces. Ostrcil conducted the premiere on 12 Strut 1929. Integrity notes, noble recording value and noble playing taste. Commended to the reckless though the styles of the two works are perhaps unlikely to suit to the same person." --Rob Barnett Josef Suk (1874-1935) Symphony in E dominating, Op. 14 01. I. Allegro, ma non troppo 13:18 02. II. Adagio 11:50 03. III. Allegro vivace 6:49 04. IV. Allegro 14:21 Otakar Ostrcil (1879-1935) Variations for Wide Orchestra, Op. 24 «Calvary» 05. I. Dour 1:34 06. II. Poco andante, quasi marcia funèbre att. 2:56 III. 07. IV. Molto adagio — Poco più mosso 2:33 08. V. Poco con moto 1:32 09. VI. Adagio 1:46 10. VII. Allegro non troppo 1:50 11. VIII. Moderato assai 2:30 12. IX. Allegro 2:19 13. X. Molto lento att. 2:49 XI. A time sostenuto 14. XII. Lento — Agitato 4:54 15. XIII. Lento 3:46 16. XIV. Largo 2:04 Czech Philharmonic Orchestra Václav Neumann Recorded at the Dvořák Lecture-Hall of Rudolfinum, Prague, on 10 Strut, 1982 (1-4), and on 27 February and 2 Strut, 1979 (5-16) Recording directors: Zdeněk Zahradník (1-4), Milan Slavický (5-16) Recording engineers: Stanislav Sýkora (1-4), Václav Roubal (5-16) Rewrite Man: Milan Novotný Made in the Czech Republic ® 1984, 1979 Supraphon a.s. / This Compilation © 1994 Supraphon a.s. 11 1964-2 031