Alexander ZEMLINSKY (1871-1942)
Symphony in B flat (1897)
Sinfonietta (1934)
Czech Philharmonic Orchestra/Antony Beaumont
Recorded Dvorak Hall, Rudolfinum, Prague, 18-20 Jan 2001
NIMBUS NI 5682 [70.15]
Prelude to Es War Einmal (1899) (original version – world premiere recording)
Nimbus continues its commendable venture into the lesser-known realms of orchestral repertoire, and their latest offering of Zemlinsky’s works is a richly rewarding exploration. This disc features the Symphony in B flat, the Prelude to the opera Es War Einmal, and the Sinfonietta, each illuminating different facets of Zemlinsky’s evolving musical language.
The Symphony in B flat, composed when Zemlinsky was just 26, is an ambitious work reflecting both the influences of his contemporaries and the burgeoning individuality that would later characterize his oeuvre. The symphony opens with a sostenuto that possesses an assertive quality reminiscent of Schmidt’s Second Symphony, but with a distinct clarity of structure that speaks to Zemlinsky’s burgeoning mastery of orchestration. There is a remarkable confidence in the thematic development, particularly in the first movement, where the interplay between the Ländler and Furiant motifs provides a lively dance-like quality that contrasts with the more solemn moments. The finale, though it ultimately succumbs to a somewhat predictable formulaic flourish, is nonetheless a vibrant collage of themes that showcases the composer’s technical prowess.
In the Prelude to Es War Einmal, we transition into the lush soundscapes of fin-de-siècle Vienna, where Zemlinsky’s penchant for rich harmonic language flourishes. The piece evokes a dreamy atmosphere, redolent with a Delian quality akin to Delius’s Irmelin and Hassan. The orchestration here is particularly noteworthy; the woodwinds weave through the fabric of the strings with an ethereal lightness, creating a sense of floating that is both captivating and evocative. The Prelude hints at the operatic grandeur that Zemlinsky would later establish, though it remains rooted in the intimate expressiveness of the orchestral medium.
The Sinfonietta, composed in 1934, marks a significant stylistic shift and reflects the tumultuous socio-political climate of the time. The work is a pointillistic tapestry, deftly navigating through a landscape of biting irony and nostalgia. Beaumont’s interpretation captures the restless energy of the music, with tempos that are both brisk and thoughtful. The contrasts between the sardonic elements reminiscent of Weill and the poignant lyricism that recalls Suk’s Asrael are handled with finesse. Particularly striking is the second movement, where the ensemble’s precision accentuates the sharpness of the thematic material, allowing for a compelling dialogue between the instruments. The interplay of textures here is vibrant, and the overall pacing is judicious, allowing the music’s inherent sarcasm to emerge without overshadowing its lyrical moments.
In terms of performance, the Czech Philharmonic Orchestra under Beaumont’s direction offers a polished execution that reflects both technical proficiency and interpretive insight. The strings, while not as voluptuous as the music sometimes demands, still deliver an engaging sound, and the woodwinds are exceptional, providing the necessary color and nuance that Zemlinsky’s music calls for. The recording quality is commendable, capturing the subtle details of the orchestration with clarity and warmth, and the balance between sections is well-managed, ensuring that no instrument is lost in the orchestral fabric.
Historically, Zemlinsky’s works have often been overshadowed by those of his contemporaries, particularly in the wake of his emigration to the United States, where his music was less frequently performed. This recording serves not only as a testament to his artistry but also as a crucial reminder of the rich tapestry of early 20th-century music that deserves greater recognition. The Symphony in B flat, in particular, stands as an important document of a composer on the cusp of his mature style, exploring themes and forms that would later resonate in his operatic works.
In conclusion, this Nimbus release of Zemlinsky’s Symphony, Prelude, and Sinfonietta is a significant addition to the catalog of orchestral recordings. Antony Beaumont’s insightful direction and the Czech Philharmonic’s skilled execution provide a compelling case for the revival of Zemlinsky’s music, illuminating the nuanced interplay of his influences and innovations. As we continue to rediscover the rich landscape of early modernist music, this disc emerges as a vital contribution that warrants both attention and appreciation.
