Rauchenecker Symphony No. 1 in F minor, etc.

[Alan Howe]

Now forthcoming from cpo, conducted by Howard Griffiths:
https://www.jpc.de/jpcng/cpo/detail/-/art/georg-wilhelm-rauchenecker-symphonie-nr-1-f-moll/hnum/11015446

The Symphony dates from 1875-6, i.e. around the same time as Brahms 1.

Wowee!!

[Ilja]

If Martin Walsh's rendition of the Prelude to Adelheid von Burgund is anything to go by, this'll be an orgy of Wagnerian excess. I can hardly wait.

[Gareth Vaughan]

I remember about 15 years ago I looked for the 2 piano concertos but at that time failed to find any material (though the 1st was supposed to have been published). I see now, however, that the orchestral parts for no. 2 are available on IMSLP. Does anyone know if either the solo piano part or the full score has surfaced. And does anyone have information about the 1st PC, please?

[Alan Howe]

If Martin Walsh's rendition of the Prelude to Adelheid von Burgund is anything to go by, this'll be an orgy of Wagnerian excess. I can hardly wait.

Maybe not excessively so. From the blurb at jpc:

<<Trotz Raucheneckers engem Kontakt mit den Werken der neudeutschen Schule und seiner persönlichen Bekanntschaft mit Richard Wagner zeigt sich der Komponist in diesem Werk als Bewahrer der symphonischen Tradition. Aus dem Werk spricht gewisser Weise ein Bekenntnis zur «absoluten Musik», denn auf programmatische Anspielungen sowie explizit koloristische instrumentale Wirkungen wird komplett verzichtet.>>

Translation:

<<Despite Rauchenecker's close contact with the works of the New German School and his personal acquaintance with Richard Wagner, in this work the composer shows himself to be a keeper of the symphonic tradition. To a certain extent the work speaks of a commitment to «absolute music», because there are no programmatic allusions or explicit coloristic instrumental effects.>>

Just a quick reminder of what our friend Reto Schärli said about the Symphony:

<<The Symphony really worked out very well, it's a nicely orchestrated piece, though sometimes a bit thick. The first two movements are very Wagnerian, I also hear some Bruckner in the first one (long building-up passages, a "misterioso" coda, starting only with Timpani, Celli/Basses). The third movement is a very wild "impetuoso" scherzo, twice alternating with a lyrical trio. The finale has an introduction featuring a big Cor anglais solo, starting in a very elegiac mood. The main theme is played by Violas, very stormy character, whereas the second subject is a very clear reference to Wagners "Meistersinger" prelude. The symphony ends with a big and brilliant stretta!

All in all, a very nice, very "melodic" piece, I'd say rather easy to grasp quickly Well-crafted and original, though in its overall design rather conservative middle-of-the-road German Romanticism. Certainly worth a listen, am very much looking forward to the recording! >>

[Alan Howe]

From the Foreword to the score of Symphony No.1:

The Symphony in F minor which is being published here for the first time in a new edition was composed in Winterthur in 1875-6 and is known to have been given its premiere there on 23rd February 1876 by the newly founded Municipal Orchestra, conducted by the composer. The work was sympathetically received by the press:
"The Symphony is of noble substance throughout, demonstrating a true grasp of the principles of the New School and masterly construction. .... The entire orchestration and layout of this piece of music reveal both profound understanding and brilliant compositional skill." (Foreword to Rauchenecker's String Quartet No.6, Amadeus-Verlag, Winterthur, 2012).
This work, the first of his three symphonies, is testimony to Rauchenecker's roots in German romanticism: neither the classical layout in four movements, nor the orchestration requiring double woodwind, nor its length exceed the bounds of the model established since the time of Schumann. However, one unusual feature is the use of the solo cor anglais in the introduction to the finale.
The main theme of the first movement emerges mysteriously and gloomily from the background of a pedal point played by the horns. A vigorous and dramatic crescendo leads to the first climax and then gives way to a second cantilena-like theme on the French horn which is closely related to the first theme. In the closing bars and in the ensuing development section both themes are then combined using extensive and elaborate counterpoint. A grand, sweeping coda brings the movement to an end.
Both of the arch-shaped middle movements are based on two themes. The Adagio con espressione begins with a song-like theme in the strings which is once again very finely worked out from a polyphonic point of view and sounds vaguely like the Entry of the Gods into Valhalla from Wagner's Das Rheingold. In the course of the movement this theme is contrasted with a scherzo-like episode (più mosso). The third movement is of a somewhat martial and fiery character, taking us back to the drama and vehemence of the opening movement.
The finale opens with an elegaic cantilena played by the cor anglais which then turns into the main theme of the ensuing Allegro vivace. Pedal points in the strings and chromatic, syncopated figures bring echoes of the first movement. The brass announce the march-like second theme (un poco ritenuto) which, combined with the main theme (marcato), brings the symphony to a stormy close in a broadly conceived coda (Presto).
The Symphony in F minor is Rauchenecker's most ambitious orchestral work. In spite of his enthusiasm for Wagner and the 'New German' School (Rauchenecker had already made a contribution to the genre of the symphonic poem in 1870 with his Friedrich Rotbart and composed operas in the spirit of Wagner's music dramas), he did not include any explicit programme when writing his First Symphony. The work captivates us with its song-like, yet at the same time finely worked themes, its skilful orchestration and its structural simplicity.
Due not least to the huge amount of competition from all over Europe this work (as, unfortunately, is the case with most of Rauchenecker's compositions) has been totally forgotten. That the composer himself thought highly of his composition is proved by the fact that it was published not long after (in 1882, by Breitkopf & Härtel) and that it had many performances during his lifetime in Winterthur, Zurich, Frauenfeld, Konstanz, Berlin, Dessau, Barmen, Düsseldorf and Bremen. Indeed, it was with this work that the late master was honoured in Winterthur in 1906. The last-known performance took place in Elberfeld in 1932.
Berlin 1883: "The four movements of the symphony are so clearly laid out, so cleverly constructed and so excellently orchestrated that it is a genuine joy. But it is impossible not to notice that sometimes Beethoven or Weber and at other times Mendelssohn and not least Wagner are godparents to its best ideas." (Der Klavier-Lehrer, 15th October 1883, p.243)
Düsseldorf 1887: "Thematically well developed, carefully thought out and simple, but natural-sounding, having an almost transparent clarity in its entire internal construction – these are the positive attributes which are immediately recognisable on first hearing. That such an excellent conductor as Herr Rauchenecker has orchestrated his work with complete understanding of the instruments and the sounds they make hardly needs mentioning... The symphony requires a large orchestra and a strong string quartet." (Düsseldorfer Neueste Nachrichten, 24th April 1887).
These excerpts from the rare revews that exist demonstrate that opinions about the work were inconsistent. Up till now there has been no recording to help us form our own judgment.
Rauchenecker wrote works in all the usual genres that existed in his day. His comprehensive oeuvre consists of approx. 120 compositions, including 9 operas, 6 string quartets, one piano quintet, wind octet and string sextet, several instrumental concertos, 3 symphonies and many songs and choral pieces. At present a complete catalogue of his works is not yet available and his discovery by the music-loving public lies in the future. Perhaps this publication will contribute to the rediscovery of this unjustly forgotten composer.
Frank Rauchenecker (2017, Lebensdaten)
Reto Schärli (2017, stilistische Einordnung)

[Alan Howe]

[Alan Howe]

Audio samples are now available at jpc:
https://www.jpc.de/jpcng/cpo/detail/-/art/georg-wilhelm-rauchenecker-symphonie-nr-1-f-moll/hnum/11015446

Tracks:
1. Sinfonisches Tonwerk im Stil einer Ouvertüre (Symphonic Composition in the Style of an Overture) - apparently not mentioned on the front cover of the CD.
2-5. Symphony No.1 in F minor:
I. Allegro ma non troppo
II. Adagio con espressione – Più mosso – Tempo I – Più mosso – Tempo I – Più mosso
III. Allegro impetuoso
IV. Moderato – Allegro vivace – Un poco ritenuto – a tempo – Un poco riten. – Presto – Tempo I
6. Orientalische Phantasie (Oriental Fantasy)

[semloh]

Alan, thank you so much for all that information, and the link to the jpc page.
The samples sound like Wagner and I could definitely see the Rhine Maidens swirling about in the symphony! This disc holds out much promise, and definitely one for the wants list!

[Alan Howe]

My copy's on its way from Germany. Wonder how long it'll take...

[Mark Thomas]

The audio samples sound gorgeous, but I'll wait for the download.

[Alan Howe]

Mark, you're going to love this!

The Symphony is more than gorgeous - it's absolutely fabulous in its melodic memorability and generosity. The nearest comparison I can make is Dvorak, specifically his (much later) 9th Symphony. There are also distinct pre-echoes of Mahler 1 in the slow movement and the clear influence of Meistersinger in the finale.

Kudos to Howard Griffiths and his orchestra, the superb Musikkollegium Winterthur from northern Switzerland, for giving us this wonderful music.

This will without a scintilla of doubt be my CD of the Year. I urge everyone to purchase it forthwith.  Forget the umpteenth new recording of Rott's lumbering Symphony and buy this greatly superior work!

BTW, it only took a week to arrive from Germany!

[Mark Thomas]

I'm slavering....

[Richard Moss]

Like Mark, I too prefer downloads wherever possible.  Does anyone have any info on expected download availability in the UK - PRESTO aren't showing this in the next 3 months?!

Cheers

Richard

[Alan Howe]

You may have to wait for another month before it's listed at Presto (the CD's only just out in Germany) - and in any case I'm not certain whether everything on cpo is offered as a download. Mark might be able to enlighten us...

[Ilja]

Usually they appear as downloads and streams a few months after the CD release, but not always. I imagine it depends on whatever cpo agreed on with the orchestra and radio station.