Composer: Siegfried Matthus
Works: Das Land Phantásien (1995)
Performers: Michael Heltau (narrator), Bruckner Orchester Linz, Ingo Ingensand
Recording: Brucknerhaus, Linz, December 2000
Label: BERLIN CLASSICS 0017412 BC
Siegfried Matthus, born in 1934, emerges as a significant voice in contemporary classical music, often bridging the realms of the avant-garde and accessible orchestral works. His 1995 composition, Das Land Phantásien, serves as an orchestral fantasy inspired by Michael Ende’s beloved novel, The NeverEnding Story. This work is positioned within a tradition that includes the likes of Poulenc’s L’Histoire de Babar and Prokofiev’s Peter and the Wolf, yet Matthus retains a distinct voice that resists the temptation to overly simplify for his younger audience. Rather, his music resonates with a complexity that enriches the listening experience for all ages.
Ingo Ingensand leads the Bruckner Orchester Linz with a deft touch, capturing the intricate interplay between the narrator and the orchestra. Michael Heltau’s narration, though delivered in German, conveys a sense of wonder that aligns beautifully with Matthus’s imaginative soundscape. The orchestration is lush and vibrant, with prominent woodwinds and strings that frequently echo the narrative’s emotional arcs. One notable moment occurs when Heltau recounts a pivotal scene; the orchestral swell that accompanies his voice enhances the gravity of the plot without veering into melodrama. Matthus’s thematic development, while fragmentary in nature—a characteristic of incidental music—creates a cohesive listening experience through the use of recurring motifs that bind the narrative elements together.
The recording quality is commendable, with the acoustics of the Brucknerhaus adding a warm resonance to the performance. Each instrumental line is distinct, allowing the listener to appreciate the clarity of the orchestral fabric. The balance between narration and orchestral commentary is well-executed, ensuring that neither element overshadows the other—a common pitfall in similar works. This attention to detail reflects the careful engineering of the recording, which captures the nuances of both Heltau’s expressive delivery and the orchestral colors that Matthus employs.
As a contemporary counterpart to the established canon of children’s orchestral works, Das Land Phantásien stands out for its ambition and artistry. Matthus’s intention, as inspired by Kurt Masur, to create a narrative-driven piece that appeals to younger audiences is realized with finesse. The absence of an English translation in the accompanying notes may limit its immediate accessibility, yet the universal themes of adventure and imagination transcend linguistic barriers. With the right marketing and perhaps a future recording featuring an English narration, Matthus’s work has the potential to secure a place alongside its more celebrated predecessors.
Das Land Phantásien emerges as a compelling addition to the contemporary orchestral repertoire, combining engaging storytelling with a richly textured musical language. Matthus’s ability to engage a young audience without diluting the sophistication of his composition is commendable, making this recording not only a delightful discovery for listeners but also a profound testament to his compositional prowess. The work’s evocative nature and the high-quality performance make it a worthy exploration for both seasoned classical aficionados and newcomers alike.
