Review of: Dances and Marches Vol 3
Composer: Carl Michael Ziehrer (1843-1922)
Works: Selected Dances & Marches Vol. 3
Performers: Razumovsky Sinfonia, conducted by Christian Pollack
Label: Marco Polo 8.225172
Recording Date: June 2000
Duration: 75:55
Release Date: November 2001
Carl Michael Ziehrer, a prolific composer whose career flourished at the turn of the 20th century, occupies a somewhat shadowy yet significant niche in the pantheon of Viennese composers. His Dances and Marches Vol 3 offers a delightful survey of his characteristic style, which rivals that of the Strauss brothers, particularly in the realm of dance music. This recording, performed by the Razumovsky Sinfonia under the insightful direction of Christian Pollack, brings to light a collection of Ziehrer’s works that, while less frequently performed today, encapsulate the vibrant spirit of Viennese musical life during his era.
Historically, Ziehrer’s music reflects the milieu of late 19th-century Vienna, a time when the waltz and polka reigned supreme in dance halls and theaters. The Schönfeld March, Op. 422, is a particularly notable opening piece, showcasing a militaristic brashness that hints at Ziehrer’s background as a bandmaster. The rhythmic vitality paired with a harmonic palette that draws upon folk elements creates a sound world that is both engaging and distinctly Austrian. Pollack’s interpretation here emphasizes the buoyancy of the brass, allowing the military flair to shine through without overwhelming the more lyrical components in the strings.
The On the High Seas Waltz, Op. 66, is rendered with a lushness that belies its origin in the ballroom. The orchestration is particularly rich, with the strings soaring over a gentle but persuasive accompaniment, evoking the romance of the sea. Pollack’s choices here—maintaining a steady tempo while allowing the dynamics to ebb and flow—enhance the waltz’s inherent charm, making it a highlight of the collection.
In contrast, the Cavalry French Polka, Op. 454, presents a more vigorous and spirited atmosphere. The lively tempo and infectious rhythms are executed with precision, although one might argue that the performance occasionally leans too heavily into a mechanical precision at the expense of spontaneity. This is particularly evident in A Glance at Her! (Op. 55), where the combination of bass drum and cymbals produces a rather crude effect, lacking the finesse one expects from a mature Viennese orchestra.
Ziehrer’s capacity for creating evocative melodies is perhaps best illustrated in the Mountain Children Waltz, Op. 444, and I Laugh, Op. 554. In the former, the thematic material is treated with a tenderness that resonates with nostalgia, while Pollack’s deft handling of tempo variations adds a layer of emotional depth. The latter, originating from Ziehrer’s operetta Das dumme Herz, showcases a joyous exuberance that is executed with charm, though one might note a slight overemphasis on rhythmic precision that borders on repetitiveness.
The recording quality itself warrants mention. The acoustics of the Slovak Radio Concert Hall suit the ensemble well, with a clarity that allows the strings to be forward-focused while the brass remains nicely softened, creating the illusion of a lively ballroom setting. This engineering choice is commendable, as it allows the listener to fully immerse themselves in the Viennese ambiance that Ziehrer so vividly captures in his music.
In conclusion, Dances and Marches Vol 3 is a well-curated collection that showcases Ziehrer’s unique voice within the tapestry of Viennese dance music. Pollack and the Razumovsky Sinfonia offer a spirited interpretation that balances precision with warmth, although certain pieces could benefit from a more nuanced approach to dynamics and rhythmic flexibility. The historical significance of these works, alongside their melodic inventiveness, renders this recording a valuable addition to the catalog of 19th-century Austrian music. For admirers of the Strauss legacy, this album provides an opportunity to explore the delightful and often overlooked repertoire of Carl Michael Ziehrer, whose contributions to the genre deserve renewed attention and appreciation.
