Review of Eduard Tubin: Symphonies Nos. 6 & 10
Performers: Estonian National Symphony Orchestra (Symphony No. 10), Estonian Radio Symphony Orchestra (Symphony No. 6)
Conductor: Neeme Järvi
Label: Forte Classics AOR-16
Release: 2001
Duration: 58:35
Eduard Tubin (1905-1982) remains a singular voice in the 20th-century symphonic landscape, and this disc offers a compelling glimpse into the depths of his orchestral language through the Sixth and Tenth Symphonies. The recording resurrects the long-elusive 1962 Melodiya recording of Symphony No. 6 alongside the 1979 recording of Symphony No. 10, both conducted by the eminent Neeme Järvi.
The Sixth Symphony (1954) emerges as an austere yet profoundly humanistic work, characterized by its brooding intensity and rhythmic drive. Järvi’s interpretation reveals the symphony’s relentless, trudging motifs, underscored by a palpable sense of foreboding. The opening movement’s ‘chug-chug’ motif possesses a tactile quality, enhanced by the mono recording, which captures the raw energy of the Tallinn radio studio with a visceral immediacy that a more polished stereo version may lack. It is a striking choice that emphasizes Tubin’s ability to evoke a uniquely Estonian soundscape, one that resonates with the cold, searing acid reminiscent of Vaughan Williams’ Fourth and Sixth Symphonies.
The second movement, with its subtle nod to the triumphal moments in Panufnik’s Tragic Overture, further showcases Tubin’s compositional ingenuity. Here, Järvi’s pacing allows the music to unfold with a shuddering propulsion; the minimalistic outbursts of noise are balanced by a contemplative stillness that invites deep listening. The baleful trombone howls towards the movement’s conclusion are reminiscent of the darker textures found in Pettersson’s works, providing an emotional depth that is both unsettling and necessary.
Comparatively, Järvi’s 1986 recording with the Swedish Radio Symphony Orchestra offers a more expansive temporal interpretation, clocking in at a total of 31 minutes versus the 1962 version’s more concentrated 30 minutes. While the latter version’s atmospheric qualities and the unique tonal palette provided by the Estonian musicians cannot be overstated, the more recent recording affords a clarity that may appeal to those less accustomed to the ruggedness of earlier recordings.
Turning to the Tenth Symphony (1973), Tubin’s last completed symphonic statement, we encounter a single-movement work that defies the fragmentation often associated with contemporary atonality. Instead, Tubin adheres steadfastly to a tonal fabric reminiscent of his earlier works, echoing Miaskovsky’s rhythmic patterns while also invoking the emotional weight found in the wartime compositions of Schuman and Harris. Järvi’s interpretation reveals the symphony’s lyrical impulses, which are continually disrupted by a driving, stamping forward motion. The work’s extensive woodwind textures and the prominent French horn writing create a rich, atmospheric sound world that can be likened to Sibelius’s Seventh Symphony.
The recording quality of the Tenth Symphony, while a product of its time, lacks some transparency found in modern digital recordings. Nevertheless, it encapsulates the immediacy of Tubin’s compositional voice, allowing listeners to experience the music as it arose, “hot from the composer’s pen.” The historical context of this performance is further underscored by the circumstances surrounding Järvi’s departure from Soviet Estonia, which adds an additional layer of poignancy to the listening experience.
In conclusion, the release of Tubin’s Sixth and Tenth Symphonies under the baton of Neeme Järvi on Forte Classics is a significant contribution to the understanding of this often-overlooked composer. The recordings not only illuminate Tubin’s unique symphonic language but also capture the essence of Estonian musical identity during a transformative period. For those with hardened ears attuned to the nuances of Scandinavian music, these performances will resonate deeply, affirming Tubin’s rightful place in the pantheon of 20th-century symphonic literature.
