Paul Büttner: Symphony No. 2, A Vision, Heroic Overture

[eschiss1]

now listed at JPC and streaming on Amazon Music.
Started giving the symphony a listen, first movement so far, rest later. Nice!!!
(I might be wrong but I'm getting the impression here that Draeseke was a good teacher...)

[Alan Howe]

I'm getting the impression here that Draeseke was a good teacher...

Yes: the new Büttner CD is proof of that!

[Alan Howe]

The Symphony is, I believe, a major find. It has a distinct personality, expressing a wide range of sentiments, all clothed in masterly writing for the orchestra of a facility rivalling his great contemporary Strauss. And this within a 36-minute span. Miraculous!

[Tapiola]

It's been one of the most jocular, carefree symphonies I've listened to recently. It just oozes good vibes from start to finish, conveyed through an outstanding use of the orchestra and a strong sense of development. I hasten to add that, much as I enjoyed it, I prefer the most heroic and 'Wagnerian' 4th (I also listened to it recently and wow, this is exceptionally brilliant music, quite eloquent when needed too).

Eine Vision is not far behind in greatness. This is the most serious piece in the CD and not for that less attractive. In fact, it could be the work that gave me the most favorable impression overall. The structure of Prelude, Fugue and Epilogue sounded quite convincing and compelling. The Heroic Overture, on the other hand, was entertaining, but not at the same level of inspiration as the aforementioned pieces.

One of my favorite recordings of this year. Can't wait for the next installment of CPO project.

[Alan Howe]

One of the features of the recording is what sounds like a rather sparing use of vibrato by the string section. Has anyone else noticed this? (I'm not complaining, just observing; I think the performance is terrific.)

[semloh]

Like you, Alan, I noticed that Rosenkavalier-like section in the first movement. And, now you've pointed it out, Mark, yes sparing vibrato in the strings....  It's a marvellous recording, and does full justice to the fine music.

[Alan Howe]

Here's a rather lukewarm review which demonstrates a poor understanding of Büttner's idiom and importance:
https://musicwebinternational.com/2025/02/buttner-symphony-no-2-cpo/

Where's the influence of the composer's teacher Draeseke? Where's the comparison with his contemporary Strauss? Very disappointing. IMHO, of course.

[eschiss1]

Also, the reviewer implies that the new recording of the Overture is slower rather than uncut...

[Alan Howe]

the new recording of the Overture is slower rather than uncut...

Oh dear. A case of consulting the sleevenotes rather than the music? Are you able to check this out for us, Eric?

[Ilja]

If we look at the waveforms (Weigle at the top and Pflüger at the bottom) the image seems pretty conclusive. Weigle is even a bit quicker in passages, particularly during the first third. About a minute of music cut by Pflüger can be found around the four minute mark in Weigle, and there's another minute or so at 14:00.

[Alan Howe]

Thanks, Ilja. And all missed by Mr Woolf! There should surely be a correction...

[eschiss1]

I remember this being talked about right here awhile back. Yes, I agree re correction: -nota bene!-  Musicweb message board policy for awhile now is to bring this sort of thing directly to the attention of the reviewer rather than posting it publicly on the board, as i recall ( one can do so through Mr. Mullenger since it's not as though all their addresses are public knowledge.)
(I recently forgot that recently when a reviewer claimed that Krenek was one of Schoenberg's pupils, but my mistake was easily fixed... (and I have edited the mistaken webpage which seems to have served as the author's source, though I doubt the article will end up edited, ah well. That's irrelevant, though.))

[tuatara442442]

If I remembered correctedly the cut of heroic overture is in exposition of the second subject (by the way I'm so sad that there's no literal recap of the second subject) and before the coda. The latter one is actually meandering in my opinion and the piece does not suffer much from this omission.

[eschiss1]

A solution to my mind would be to have two excellent recordings available, one uncut, one cutting that latter section. Cuts are, as Walker notes Liszt pointing out in the former's fine biography, a tool, not a bad thing - Liszt referred to the cutting process itself as a work of art of a kind (or as part of the work of art, if you prefer!), and I understand what he meant (or I suppose I do!) especially since he made a point of trying to create condensed works that still "worked" formally/logically as music rather than as distressing chunks. It's possible, I realize, as with other composers besides Liszt (Reger too, e.g.) that the Buttner cuts might be authorized...

[Alan Howe]

We're in danger, though, of missing the point here. It appears that the MusicWeb review failed to realise that the older recording was cut whereas the new one isn't. This isn't an argument about the validity of cuts, but rather about the failure to compare like with like...
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