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Friday, May 25, 2018

Felix Draeseke - Symphony No. 3; Funeral March (Jörg-Peter Weigle)


Information

Composer: Felix Draeseke
  1. Symphony No. 3 in C major, Op. 40 'Symphonia tragica': I. Andante - Allegro risoluto
  2. Symphony No. 3 in C major, Op. 40 'Symphonia tragica': II. Grave. (Adagio ma non troppo)
  3. Symphony No. 3 in C major, Op. 40 'Symphonia tragica': III. Scherzo. Allegro, molto vivace
  4. Symphony No. 3 in C major, Op. 40 'Symphonia tragica': IV. Finale. Allegro con brio
  5. Funeral March in E minor, Op. 79

NDR Radio Philharmonic Orchestra
Jörg-Peter Weigle, conductor

Date: 2000
Label: cpo


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Review

Early in the twentieth century, Draeseke's Third Symphony was championed by such exalted names as Nikisch, Pfitzner, Reiner and Böhm. The pianist Edwin Fischer found room for Draeseke's Piano Sonata, Op. 6 in his recital programmes. Having slipped into near total obscurity, here is a convenient opportunity for reassessment of at least some of Draeseke's music.

It is easy to spot influences: there are shades of Weber in the Andante introduction, whilst the Scherzo is a sort of Mendelssohn-plus, for example. Wagner joins the rich vein of Romanticism (Draeseke visited Wagner in Switzerland and attended the premières of Tristan and Meistersinger in Munich), as does the Liszt of the symphonic poems. But playing this game can mislead, and overshadow what in this case is an impressive piece in its own right.

The North German Radio Symphony Orchestra, Hanover under Jörg-Peter Weigle certainly seems to believe in Draeseke's worth. This is a very committed performance with a fine, spacious recording to support it. There has only been one previous recording, and that was cut (on Urania URLP7162, re-released in stereo in 1979 on Varèse-Sarabande VC81092), so this account of the complete score is doubly welcome. The orchestra is fully the equal of the demands placed on it (listen to how the strings negotiate the high lines of the Trio, or how they muster such depth in the Grave).

The later Funeral March is dedicated to the memory of German soldiers who fell in Africa during the Colonial Wars. The quiet close of the symphony ushers it in well, and it contains a lyrical and heartfelt contrasting theme that is most touching.

You may well feel that this disc comes as something of a revelation.

-- Colin Clarke, MusicWeb International

More reviews:
https://www.amazon.co.uk/Symphony-3-Tragica-Funeral-March/dp/B00004TTJZ
https://www.amazon.com/Symphony-3-Tragica-Funeral-March/dp/B00004TTJZ

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Felix Draeseke (7 October 1835 – 26 February 1913) was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music. A heavily contrapuntal composer, Draeseke also reveled in writing choral music. During his life and the period shortly following his death, the music of Draeseke was held in high regard. His music was also promoted during the Third Reich, but changes in fashion and political climates allowed his name and music to slip into obscurity.

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Jörg-Peter Weigle (born 1953 in Greifswald, Germany) is a German conductor and music professor. Weigle studied at the Hochschule für Musik "Hanns Eisler" (Berlin), and later participated in a conducting class with Kurt Masur. Weigle was conductor of the Neubrandenburg State Symphony Orchestra (1977-1980), Leipzig Radio Choir (1980-1988), Dresden Philharmonic (1986-1994), and Stuttgart Philharmonic (1995-2002). Since 2001, Weigle has been a professor of choir direction at the Hochschule für Musik Hanns Eisler, Berlin. On 1 April 2008, he became the school's rector.
https://en.wikipedia.org/wiki/J%C3%B6rg-Peter_Weigle

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3 comments:

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  3. I'm in my mid-70s and have listened to music all my life yet, until a few months ago, I'd never heard of Felix Draeseke. My introduction was his quintet for horn, strings and piano which a group of players tried out, with me at the piano, at an informal chamber music gathering in Devon. I thought this was a really interesting work and, since then, I've listened to all four symphonies. Surely these deserve to be part of the orchestral repertoire here in the UK, especially no. 3. I wonder how well known they are in Germany or other European countries. It's an odd twist of fate that composers like him have disappeared from view for so many years.

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