Jacques Mercier, Deutsche Radio Philharmonie - Théodore Gouvy: Symphony No. 6, Sinfonietta op. 80 (2009)
Jacques Mercier, Deutsche Radio Philharmonie - Théodore Gouvy: Symphony No. 6, Sinfonietta op. 80 (2009)
EAC | FLAC | Image (Cue & Log) ~ 244 Mb | Total time: 57:38 | Scans included
Classical | Label: CPO | # 777 380-2 | Recorded: 2007
EAC | FLAC | Image (Cue & Log) ~ 244 Mb | Total time: 57:38 | Scans included
Classical | Label: CPO | # 777 380-2 | Recorded: 2007
Previous reviews of Gouvy’s music in Fanfare have commented upon its echoes of Mendelssohn and Schumann, and those certainly are present here. The first subject of the symphony’s finale, with its rapid triplet accompaniment, immediately recalls the opening of the “Italian” Symphony, and the spirit of Schumann hovers over portions of the first movement, and also of the last two movements of the Sinfonietta. The early Brahms of the serenades also makes his presence felt in the second subject of the symphony’s first movement. Occasional phrases recall Bizet (one figure in the symphony’s scherzo is close kin to a smuggler’s chorus in Carmen ), Gounod, and Berlioz. Yet, in listening to both compositions, the music of a different figure came immediately and strikingly to mind—Max Bruch. The first movements of both works, and the slow movement of the symphony, are both redolent of the German’s distinctive cantabile themes and harmonic language. Given that Bruch hailed from Cologne and Gouvy from the Saarland, it seems reasonable to suppose the existence of a distinctive Rhineland musical idiom in which both were nurtured.
If Bruch was the more memorable melodist, Gouvy had by far the stronger grasp of symphonic form and thematic development, and his expertly crafted compositions were admired by figures as diverse as Berlioz and Brahms. Both works are laid out in the traditional four movements, scored for a standard 19th-century orchestra with trombones, with a slow introduction to the opening Allegro, and the Scherzo in second position. The second and fourth movements have the most overtly Gallic elements, with bright scoring for woodwinds punctuated with brass, and rhythmic verve and élan . By contrast, the more weighty first and third movements, with broader string themes and use of classical sonata and variation forms, reflect Gouvy’s Germanic side.
All these comparisons, however, should not mislead anyone into supposing that Gouvy was a dilettante or his compositions to be imitative pastiches of other composers’ music. Rather, they are provided to orient and entice first-time listeners, who cannot fail to be struck by the melodic freshness, technical mastery, and genuine originality of these works. If not quite masterpieces on the level of Brahms or Schumann, they are extremely worthy in their own right, and their neglect heretofore is both a mystery and an injustice. As in their previous disc, Mercier and his orchestra give their considerable all, offering completely idiomatic performances; the playing is both spirited and disciplined, with fine ensemble and balance. The recorded sound and booklet notes are both up to cpo’s usual excellent standards. For anyone who wants to explore worthwhile symphonic music beyond the German- and Slav-dominated 19th-century standard repertoire, this disc is enthusiastically recommended.– James A. Altena
Performer:
Deutsche Radio Philharmonie
Jacques Mercier, conductor
Tracklist:
Louis Théodore Gouvy (1819-1898)
Symphony No. 6, Op. 87 in G minor
01. Poco adagio - Allegro
02. Scherzo. Allegro con brio
03. Andante con moto
04. Finale. Allegro risoluto
Sinfonietta, Op. 80 in D major
05. Adagio - Allegro
06. Scherzo. Allegro
07. Tema con Variazioni. Andante
08. Finale. Allegro
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 22. January 2024, 15:55
Jacques Mercier, Deutsche Radio Philharmonie / Gouvy: Symphony No. 6, Sinfonietta op. 80
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Jacques Mercier, Deutsche Radio Philharmonie - Théodore Gouvy: Symphony No. 6, Sinfonietta op. 80 (2009)
