Composer: Hans Huber
Works: Symphony No. 1 Tellsinfonie (1882), Symphony No. 7 Schweizerische (1917)
Performers: Stuttgarter Philharmoniker, Jörg-Peter Weigle (conductor)
Recording: Philharmonie, Gustav Siegle Haus, Stuttgart, Germany, 19-20 March 2001 (No. 1), 9-11 July 2001 (No. 7)
Label: Sterling CDS-1042-2
The Swiss composer Hans Huber occupies a unique, albeit often overlooked, space in the classical canon, straddling the transition from the Romantic to the early modern era. His two symphonies featured in this recording—Symphony No. 1, Tellsinfonie, composed in 1882, and Symphony No. 7, Schweizerische, completed in 1917—exemplify Huber’s adherence to Romantic ideals while simultaneously revealing the evolving musical landscape of his time. The First Symphony, deeply rooted in the aesthetic of late 19th-century Romanticism, evokes a spirited mélange reminiscent of early Mahler, Schumann, Dvořák, and even Smetana.
The Stuttgarter Philharmoniker, under the deft baton of Jörg-Peter Weigle, presents a performance of the First Symphony that captures its buoyant character and lyrical expansiveness. Each of the four movements unfolds with a charming mix of pastoral themes and dramatic contrasts. The opening movement sets a lively pace, characterized by its infectious themes and rhythmic buoyancy, reflecting Huber’s fondness for folk elements. However, it is in the last movement that the symphony’s cohesion falters, revealing a fitful sense of direction that likely stems from Huber’s compositional choices rather than any interpretive misstep on Weigle’s part. This movement, while colorful, lacks the sustained thematic development that might anchor the listener’s experience more firmly.
The Seventh Symphony, composed against the backdrop of World War I, showcases Huber’s nationalist sentiments while wrestling with the political turbulence of its time. The first movement, Auf den Bergen, is marked by a tempestuous energy, presenting a stark contrast to its predecessor. The turbulent moments that punctuate the movement, particularly around 11:43, suggest a struggle against the encroaching chaos of the era. Huber’s orchestration in this work bears a more modern sensibility, embodying the grandeur of the Swiss Alps while also channeling the emotional weight of the period. The second movement, a Ländlischer Hochzeitszug, bursts forth with a celebratory spirit, featuring exuberant horn passages that echo the influences of Mahler and Goldmark.
Weigle’s interpretation shines particularly in the third movement, Abendstimmung in den bergen, where the nuanced string work and brass textures evoke a serene yet poignant sunset, capturing the essence of alpine twilight. The finale, a vibrant and fresh closing statement, demonstrates Huber’s mastery in synthesizing the Romantic idiom with an emerging modernity, eschewing clichéd farewells for a more inventive conclusion. The Stuttgarter Philharmoniker’s familiarity with Huber’s style is palpable, having previously recorded multiple works by the composer, and their affection for the material lends a special depth to the performance.
The recording quality is exemplary, with a clarity that allows the orchestral textures to emerge distinctly, showcasing the individual contributions of each instrumental section. The balance between the strings, woodwinds, brass, and percussion is particularly well managed, ensuring that Huber’s intricate orchestration is faithfully rendered. This clarity is essential for appreciating the full scope of Huber’s compositional voice, which, while certainly influenced by his predecessors, also hints at an originality that deserves further exploration.
Huber’s symphonic output may not reach the impressionistic heights of contemporaries like George Butterworth or Rudi Stephan, yet it reveals a compelling musical imagination constrained within the frameworks of established Romanticism. The current recording serves as a testament to the richness of Huber’s orchestral language, which, while drawing from familiar sources, offers its own unique perspective. As the music world continues to unearth lesser-known composers, Huber’s symphonies stand as worthy representatives of the Romantic tradition, deserving of a place in the concert repertoire.
