Composer: Bohuslav Martinů
Works: Symphonies No. 3 and 5
Performers: National Symphony Orchestra of Ukraine, conducted by Arthur Fagen
Recording: March 1995, Grand Concert Studio of the National Radio Company of Ukraine, Kiev
Label: NAXOS 8.553350
Bohuslav Martinů, a pivotal figure in 20th-century music, has often been overshadowed by contemporaries such as Stravinsky and Bartók. His symphonic output, particularly the Third and Fifth Symphonies, represents a critical juncture in his oeuvre that reflects the fusion of neo-classical elements with rich, innovative orchestration. The recording by Arthur Fagen and the National Symphony Orchestra of Ukraine provides an opportunity to reassess these works through a contemporary lens, showcasing both their inherent drama and structural complexity.
In the Third Symphony, Fagen opts for a broad interpretative palette. However, his approach tends to lack the visceral immediacy that one might find in the performances of Czech conductors like Karel Ancerl, known for his fiery interpretations. The opening movement, marked by its rhythmic vitality, feels somewhat restrained under Fagen’s baton. While his orchestra plays with commendable precision, the explosive energy of Martinů’s writing is not fully unleashed; the thematic material, especially the obsessive opening motif, could benefit from a more aggressive articulation. The contrasts in dynamics, so essential to the movement’s character, are sometimes muted, leading to a less vivid portrayal of the score’s dramatic arc.
The tragic Largo, a centerpiece of the Third Symphony, emerges with a darker sonority in Fagen’s interpretation. Although the lush textures are palpable, they risk becoming generic in the absence of a more nuanced emotional reading. The clarity that Martinů often demands from his orchestral palette is occasionally overshadowed by a tendency to rely on broader strokes rather than fine detail. Fagen’s flautist delivers a commendable performance, but the overall effect lacks the intimate personal color that is a hallmark of exceptional interpretations, as evidenced by Ancerl’s more idiosyncratic approach.
Moving to the Finale, one cannot help but notice the comparative pacing between Fagen and Ancerl’s interpretations. Fagen’s slower tempo, clocking in at 11 ½ minutes compared to Ancerl’s brisk 9 ½, results in a performance that feels less urgent. While there are moments of lyrical beauty, particularly in the woodwind passages, the rhythmic impetus that drives the movement forward is not fully realized. The contrasts between sections, which should feel like an exhilarating interplay of ideas, instead coalesce into a more static experience.
The Fifth Symphony, similarly, finds Fagen adopting a more measured approach, particularly in the first movement. Here, Ancerl’s acute sense of rhythmic impetus and clarity in orchestration serves as a benchmark. Fagen’s reading, while cohesive, lacks the crispness that makes Martinů’s work so engaging. The Larghetto, traditionally a showcase for angular string and woodwind writing, is portrayed with a certain plushness that, while pleasant, undercuts the inherent wit and playfulness that should define this section. Fagen’s interpretation does achieve a commendable clarity in the transitions, yet it often falls short of making Martinů’s neo-classical elements resonate with the vibrancy they demand.
Sound quality in this recording is commendable for its time, capturing the orchestra’s robust texture and the intricate interplay of instruments. The engineering allows for a clear delineation of the orchestral layers, though it does not quite match the liveliness found in the recordings by Ancerl, which boasts a more vibrant soundstage. The balance between sections is well managed, but there remains a sense of earthiness that, while suitable, does not evoke the same ethereal qualities present in the music.
Fagen’s interpretations of Martinů’s Third and Fifth Symphonies are undoubtedly cogent, offering a solid, if somewhat cautious, traversal of these significant works. While they do not reach the heights established by earlier masters of the repertoire, they still provide a valuable perspective on Martinů’s symphonic vision. The performances are thoughtful and polished, ensuring that these symphonies remain accessible to listeners and serve as a reminder of Martinů’s unique voice in the symphonic canon. However, those seeking a more electrifying experience may wish to turn to Ancerl’s definitive recordings, which capture the fervor and complexity of Martinů’s music in a way that Fagen’s readings, admirable as they are, do not quite achieve.
