In terms of style, with his works linked to basic tonalities Weigl drew on the sound realm of late Romanticism, from whose aesthetics he never departed in favour of more progressive contemporary trends. Whereas Weigl’s Symphony No. 1, written in 1908, associatively evokes the mood of a composer thinking of new territory and inquiring into the future, the dissimilar pair of his Symphonies Nos. 4 and 6 shows the musician’s intellect at historically distinctive periods, allowing an assessment to be made as to whether what could be expected, intended and hoped for at the time of his early works was achieved or whether it developed in an entirely different manner. The background to Symphony No. 4 in 1936 was the emergence of dictatorialRead more Austro-Fascism. Symphony No. 6 of 1947 is in a certain sense a continuation and a conclusion following the end of the Nazi terror and a war that did not remain without profound changes and far-reaching effects for almost all the countries in the world.
Symphony No.4 was never played in Weigl’s lifetime—this recording is its first performance anywhere. The opening suggests that it occupies a post-Webern world but it quickly settles into a more conservative style. There are traces of Strauss in the approach to orchestration and the working out of themes. Across the three movements there are suggestions of the jolly and carefree, but jagged interventions suggest the influence of the dark times of 1936. The three movements tell of technical accomplishment and a fine ear for the capacities of the modern symphony orchestra. The question for the listener is how distinctive the composer’s voice is in cutting through the range of influences. There are passages in the first movement reminiscent of the use of woodwinds in the finale of Bruckner’s 5th Symphony, elsewhere hints of Mahler and Zemlinsky. The scherzo of the second movement, with its twittering woodwind, is perhaps more distinctive: orchestration is masterfully handled. The final adagio has distinctive features, including some ‘big tunes’, moments of relative serenity, others quite joyful. The conclusion is striking indeed as the orchestra build to a conclusion. Some sections are Mahlerian in the changes from full orchestra to a few exposed instruments, and emotions range from the slightly melancholic, through patches of serenity, to a gentle and dignified conclusion. Well worth hearing.
Symphony No.6 is a post-war piece, not autobiographical in intent, in late Romantic language. Hints of both Strauss and Bruckner are present. The opening Andante mosso has moments of eloquent yearning but also hints of gloom. In parts it seemed to me to meander, but it has distinct merits as themes become more emphatic. The second movement is marked Allegro, and is distinctly Straussian, by turns quite playful, a little melancholy, lyrical and finally hectic. Essentially a Scherzo, it is attractive and continually interesting. The Adagio—here placed third of four—has the character of a song without words. The drama is restrained, the effects quite subtle; the overall effect is very lyrical, but not perhaps distinctive, for all its lovely moments. The finale is fairly conventional, beginning with a trumpet signal, before extended conflicted passages. Pace gradually picks up leading to a more optimistic if still ambiguous conclusion.
Symphony No. 4 in F Minorby Karl Weigl Conductor:
Rheinland-Pfalz State Philharmonic Orchestra
Period: 20th Century Written: 1936; Austria
Symphony no 6 in A minorby Karl Weigl Conductor:
Rheinland-Pfalz State Philharmonic Orchestra
Period: 20th Century Written: 1947; United States
Average Customer Review: ( 1 Customer Review )
Music Rooted In TragedyAugust 27, 2020By Henry S. (Springfield, VA)See All My Reviews"The CD notes accompanying this Capriccio CD tell us that Austrian composer Karl Weigl struggled to come to grips with Austria's emerging disaster in the 1920's and 1930's- specifically, the growth of right wing extremism and the ultimate incorporation of Austria into Hitler's Reich. Weigl eventually left Austria and settled in the United States. Symphony #4 ( world premiere recording here) and #6 seem to reflect Weigl's intellectual distress in a noticeable way. Both symphonies are serious and very sober in their musical messages. However, I do not think these symphonies should be interpreted as Weigl's surrender to the dark fate engulfing his native land. I prefer to think both works, especially #4, attempt to offer some sort of cathartic reflection by Weigl on events that changed him, changed his career, and certainly changed his country. Wonderfully performed by the excellent Deutsche Staatsphilharmonie Rheinland-Pfalz, Weigl's two symphonies require concentrated and repeated hearings in order to grasp their fundamental aesthetic impact. As noted, the listener will find lots of pathos and introspection, but also periods of calm serenity and even brief periods of high energy optimism. The music is somewhat disjunctive and loosely structured, but the overall effect is quite striking. I liked this recording on first hearing, probably because I was in the right frame of mind for some tragically serious music. I believe you will find it worthwhile as well."Report Abuse