Composer: César Franck
Works: Symphony in D minor, Les Eolides
Performers: New York Philharmonic Orchestra/Kurt Masur
Recording: Recorded at Avery Fisher Hall, February 1992 (Symphony live)
Label: WARNER
César Franck, a towering figure in the late Romantic era, composed his Symphony in D minor between 1886 and 1888, a time when he sought to imbue the symphonic form with a distinctly personal voice. This symphony is a testament to Franck’s ability to weave thematic transformation and cyclical form into the fabric of orchestral writing, a technique that he would elaborate upon throughout his life. Alongside the symphony, the symphonic poem Les Eolides, composed in 1876, reflects the influence of Wagner’s lush orchestral textures while offering a more pastoral and impressionistic soundscape, making it an intriguing companion piece for this recording.
Kurt Masur’s interpretation of Franck’s D minor Symphony reveals a performance that, while technically proficient, often falls short of the dramatic intensity that the work demands. The New York Philharmonic, under Masur’s baton, produces a sound that is polished and well-balanced, yet it lacks the emotional weight that characterizes the best renditions of this symphony. The Lento introduction of the first movement, though marked by a sense of foreboding, feels restrained, almost cautious. The climactic moments, which should resonate with fervor, instead come across as merely ‘almost’ convincing. Masur’s approach seems to emphasize precision at the expense of vitality; the finale’s opening, while rhythmically assertive, does not quite achieve the necessary punch, leaving the listener yearning for greater dynamism.
The second movement stands out as the most successful aspect of this performance. Masur’s choice to embrace a true Allegretto tempo allows for a fluidity that captures the movement’s lyrical essence. Noteworthy solo contributions from the woodwinds and strings provide moments of beauty, yet they are still encumbered by an overall lack of spontaneity. The recording, while clear and well-engineered, exhibits a somewhat studio-bound quality that undermines the vitality expected from a live performance.
In juxtaposition to celebrated recordings by conductors such as Sir Thomas Beecham and Charles Munch, who bring a more visceral approach to Franck’s orchestration, Masur’s interpretation feels overly restrained. The symphonic poem Les Eolides, while more diffuse and less tightly structured than the symphony, offers a welcome opportunity for the orchestra to explore a more fluid, dance-like character. Here, the performance reveals a bit more of the orchestral colors that Franck so adeptly employed, but even this work does not escape the overarching sense of reservation in Masur’s conducting.
This recording, while commendable for its clarity and technical execution, does not capture the full essence of Franck’s orchestral vision. It presents a portrait of a composer whose works have been better realized in other interpretations that embrace the dramatic potential of the music. The New York Philharmonic’s capabilities are evident, yet the performance ultimately feels constrained, lacking the emotional depth that Franck’s symphony and Les Eolides so richly deserve.
