Composer: Ernst Toch
Works: Symphonies No. 2, Op. 73 and No. 3, Op. 75
Performers: Berlin Radio Symphony Orchestra, Alun Francis (conductor)
Recording: Recorded in the Jesus-Christus Kirche, Berlin in April and June 1999
Label: CPO 999 705-2 [DDD]
Ernst Toch’s symphonic output, particularly in the mid-20th century, merits deeper exploration, revealing a composer whose innovative spirit thrived even amidst the prevailing avant-garde movements. The symphonies presented here—No. 2, composed in 1951 and dedicated to Albert Schweitzer, and No. 3, completed in 1955 and awarded the Pulitzer Prize—exemplify Toch’s distinctive blend of lyrical expression and complex counterpoint. These works emerge during Toch’s “Indian Summer” of creativity, showcasing a profound engagement with both traditional forms and modern orchestration techniques.
The Second Symphony opens with a series of jarring, distorted fanfares that establish a palpable tension, drawing the listener into its intricately woven fabric. Alun Francis’s direction brings a keen sense of urgency and focus to the performance, particularly notable in the scherzo, where the orchestra navigates Toch’s intricate rhythms with an impressive lightness. The performance shines as the players maintain a taut narrative throughout, accentuating the emotional undercurrents of the work. The inclusion of two harps, organ, and a piano duet enriches the orchestral texture, allowing for a myriad of coloristic possibilities. However, a minor blemish occurs with a trumpet split early in the performance, which, while distracting, does not detract significantly from the overall impact of the interpretation.
The Third Symphony, commissioned to celebrate the 300th anniversary of the Jewish community in the United States, showcases Toch’s adventurous spirit in orchestration. The addition of the Hammond organ and unconventional instruments like the rotarion and “glass balls” invites a broader sonic palette, which Francis and the Berlin Radio Symphony Orchestra navigate with finesse. The first movement’s march is executed with remarkable vigor, illustrating Toch’s capacity for dynamic contrasts and rhythmic vitality. The Andante tranquillo unfolds with a serene grace, where the ensemble’s careful attention to phrasing allows the lyrical qualities to resonate deeply. The finale, marked Allegro impetuoso, encapsulates the symphony’s frenetic energy, characterized by angular motifs and driving rhythms.
Recording quality plays a pivotal role in the presentation of these symphonies. CPO’s engineering captures the nuances of Toch’s orchestration, allowing the listener to appreciate the interplay of timbres and the spatial dynamics of the ensemble. The acoustics of the Jesus-Christus Kirche enhance the orchestral sound, providing a warm yet detailed environment that supports the clarity of counterpoint and the subtlety of dynamic variations. This disc stands out not only for its compelling performances but also for its technical fidelity.
Exploring Toch’s symphonic landscape reveals a composer whose music deserves greater recognition within the canon of 20th-century orchestral works. While the string quartets may exhibit a more liberating compositional imagination, the symphonies presented here offer a riveting glimpse into Toch’s artistic vision. The Berlin Radio Symphony Orchestra’s interpretation under Francis’s baton is both thoughtful and invigorating, marking this recording as a significant contribution to the understanding of Toch’s oeuvre. This disc is an essential listening experience, inviting both seasoned aficionados and newcomers to discover the profound artistry of Ernst Toch.
