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Raff: Symphony No 2, Four Shakespeare Preludes / Jarvi, Suisse Romande
Joachim Raffâs symphonies have a reputation as being diffuse, bloated, and just not terribly interesting. On the basis of some of his programmatic works in the form, perhaps this is true, at least some of the time, but his Second is a lively, compact, formally shapely and melodically rich work that does not deserve its neglect. Maybe the first movement, which is based on a triadic theme not terribly susceptible to development, lacks drama, but it certainly moves well, as does the entire symphony for that matter. The finale in particular maintains its momentum from start to finish, unlike so many other romantic symphonies. At only 33 minutes (in this performance), you canât say that the piece outstays its welcome. JĂ€rvi typically does not see profundity where none exists, but leads the orchestra in a joyful romp through the piece that proves consistently entertaining.
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
Joachim Raffâs symphonies have a reputation as being diffuse, bloated, and just not terribly interesting. On the basis of some of his programmatic works in the form, perhaps this is true, at least some of the time, but his Second is a lively, compact, formally shapely and melodically rich work that does not deserve its neglect. Maybe the first movement, which is based on a triadic theme not terribly susceptible to development, lacks drama, but it certainly moves well, as does the entire symphony for that matter. The finale in particular maintains its momentum from start to finish, unlike so many other romantic symphonies. At only 33 minutes (in this performance), you canât say that the piece outstays its welcome. JĂ€rvi typically does not see profundity where none exists, but leads the orchestra in a joyful romp through the piece that proves consistently entertaining.
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
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Joachim Raffâs symphonies have a reputation as being diffuse, bloated, and just not terribly interesting. On the basis of some of his programmatic works in the form, perhaps this is true, at least some of the time, but his Second is a lively, compact, formally shapely and melodically rich work that does not deserve its neglect. Maybe the first movement, which is based on a triadic theme not terribly susceptible to development, lacks drama, but it certainly moves well, as does the entire symphony for that matter. The finale in particular maintains its momentum from start to finish, unlike so many other romantic symphonies. At only 33 minutes (in this performance), you canât say that the piece outstays its welcome. JĂ€rvi typically does not see profundity where none exists, but leads the orchestra in a joyful romp through the piece that proves consistently entertaining.
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
The four Shakespeare preludes also prove to be lots of fun. All are relatively short but well-orchestrated and atmospheric. Perhaps Romeo and Juliet is the tamestâitâs only nine minutes long and itâs not Tchaikovsky, but Othello is punchy and tense (and even shorter); The Tempest opens with an effective storm and features music that challenges you to figure out who the characters are that Raff illustrates; and Macbeth, possibly the best of all, spends a lot of time focused on the witches and, seemingly, the final battle. Itâs great to have this music recorded, and terrifying to realize that the symphony is Raffâs Op. 140 and the preludes his WoO 49-52. My but that man could churn it out, couldnât he? Fine playing and excellent sonics round out a release that deserves your attention.
-- David Hurwitz, ClassicsToday.com
