Interesting insight into Rufinatscha

[Alan Howe]

A thoughtful assessment, it seems to me:

Vienna before Brahms

In a CD market dominated by live recordings of established works, it's marvellous to have companies such as Chandos providing new insights. When the story of 19th century music is rushed through, little if anything occurs between the period Schubert and Beethoven and that of Brahms in Vienna. The Imperial city goes dead before flourishing once again at the turn of the century. Not so, says this new disc of Johann Rufinatscha's orchestral works, with the BBC Philharmonic's spirited performances under Gianandrea Noseda making a sterling case for this forgotten figure.

Born in Südtirol, Rufinatscha arrived in Vienna in 1835. He became a feature of the music scene, just as the focus began to shift to Leipzig with Schumann and Mendelssohn (to say nothing of Wagner). Piecing together Rufinatscha's output at this time is difficult, with little completed work now surviving. The 6th Symphony is one piece to buck that trend and forms the backbone of this new disc. Yet after that symphony appeared Rufinatscha's compositions dwindle and the future of Viennese music was left open to Brahms. Some have inferred a sense of defeat but Rufinatscha ceased to produce at the same pace well before Brahms's arrival.

What occurred before that date will always be incomplete, yet this snapshot from Chandos gives a strong account of itself. The Overture to Die Braut von Messina is an imposing concert overture. A healthy and weighty tone from the BBC Phil (benefiting from recent Mahler outings) gives way to warm and caring solo lines. A slight murkiness of sound wants for more definition, yet Noseda's shaping and communication are highly convincing. Although the inspiration for the work was Beethoven, there is more than a hint at the figures of Brahms and Dvořák to come.

Although the 6th* Symphony similarly echoes Schubert's late symphonic endeavours, there too are flashes of Brahms's Czech friend and indeed Elgar pops through the texture at times. A smilingly lyrical work, Noseda elicits reverence for the brooding introduction, before investing the main allegro with aplomb. If some of the thematic material in the first movement lacks character, the Scherzo has a more secure, if irreverent nature. Like Dvořák's furiants, there are spirited swung rhythms, brought to life by light string work and piquant woodwind playing.

The Largo is an antidote to that quirkiness: a brooding pause in otherwise sunny surroundings. I miss some warmth in the middle voices of the orchestra, though strong horn work and a persuasive balminess to the sound make up for that shortcoming. The disc concludes with the symphony's strident and heroic finale, echoing the rhythmic eccentricities of the scherzo. As throughout, the BBC Phil and Noseda lavish care on this forgotten corner of the repertoire, prompting further reading and whetting our appetite for volume 2.

Posted 26th April 2011 by Gavin Plumley

http://entartetemusik.blogspot.co.uk/2011/04/vienna-before-brahms.html

*Of course we now know that this is Rufinatscha's 5th Symphony.

[Gareth Vaughan]

A very useful and interesting review, Alan. Thanks for posting it. Of course, we also know (Alas!) that there are no plans for a Vol. 2. Most disappointing.

[Alan Howe]

Quite so, Gareth. But at least we have vol.1 - and wonderful it is too.

[FBerwald]

No vol. 2? Any reason why?

[Alan Howe]

Not that I know of.

[Gareth Vaughan]

Pure speculation, but may be poor sales for Vol. 1 despite good reviews. Or maybe some bean counter at Chandos said "Who the hell is Rufinatscha? - no profit in him!"

[Alan Howe]

You could well be right, Gareth - on both counts. A shame - because the orchestra liked him...

[Gareth Vaughan]

I am sure most musicians would. As we know (and agree) he is a fine composer.