Weber: Jubel-Ouvertüre, J245 (Op. 59) (Jubilee Overture)

The Decca Ansermet Legacy on Eloquence continues to garner the highest plaudits from publications all around the world and the latest batch presents the maestro’s recordings of four key Austro-German Romantics: Schubert, Weber, Mendelssohn and Schumann. This CD brings together all of Ansermet’s Weber recordings for Decca.

Weber’s overtures possess an irresistible panache, being a perfect blend of popular and more highbrow styles. If his operas have proved largely unstageable, their overtures have maintained enduring popularity in the romantic orchestral repertoire. In fact, few were better equipped to distil the emotional and atmospheric essence of romantic lyric drama in terms of the orchestral overture than Weber. As Edward Dent once intimated, Weber never quite overcame a tendency to trump his vocal aces with an orchestral court card. But in the overtures he is the complete master. In them he spun poetic and intensely imaginative summaries of their ensuing dramas.

The British LP issue of the overtures omitted the Jubel (Jubilee) Overture, here restored to circulation on its CD reissue. The coupling, the composer’s Bassoon Concerto, features Henri Helaerts (1907-2001), the principal bassoonist of this orchestra for nearly fifty years. Helaerts was a very popular figure in Geneva, where he founded and conducted Les Cadets de Genève, a musical group comprised of generations of wind instrumentalists. He was one of the principal representatives of the French bassoon with its very characteristic sonority, sadly disappearing today.

"Ansermet is always successful with Weber's allegros by reason of his orchestra's lively playing and his own sense of buoyant rhythm… sheer pleasure, especially the sense of enjoyment in the playing of Preciosa and the remarkably deft performance of Abu Hassan, a piece notoriously difficult to play really cleanly. " Gramophone

This forty-ninth volume in Leslie Howard's all-encompassing Liszt series focuses mainly on Liszt's activities as an editor. This work was quite separate from his work as a transcriber (where he would recreate the music of others on his own terms). In his editions of Beethoven, Weber and Schubert we find a respect for the original text quite exceptional for the time. This did not, however, prevent Liszt from offering textual alternatives (always clearly differentiated from the original composition in the scores) either to modernize the piano writing (for example, in the finale of the 'Wanderer' Fantasy) or to make the work performable as a concert solo (the Konzertstück). These works offer a fascinating insight into Liszt's approach to the performance of the music of others and were until now a totally neglected area of his output. The disc is completed by two 'regular' transcriptions: the recently identified third version of Die Rose, and Weber's 'Jubel' Overture.

This year, we celebrate the thirty-year conducting career of Neeme Järvi with Chandos Records, as well as the conductor’s own seventy-fifth birthday.

We mark the occasion with this two-disc set of highlights, featuring a varied selection of concert hall rarities and core classics, along with some popular showpieces and examples of Järvi’s championing of Estonian and American music.

In the course of his conducting career, Järvi has amassed a distinguished discography of more than 440 recordings, well over 150 of them for Chandos.

Järvi has a rare ability to galvanise an orchestra into giving an interpretation of exceptional vigour and drive. Gramophone said of his recently concluded Halvorsen series (from which La Mélancolie and Bojarernes Indtogsmarsch are taken): ‘Järvi finds in the music a drama and pathos that might come as a revelation even to the composer.’

Also on this disc is the ‘Jester’s Dance’ from Tchaikovsky’s The Snow Maiden, a personal favourite of the conductor’s, and one that Järvi often performs as an encore at his many concerts around the world.

Although celebrated as the father of German Romantic opera, Carl Maria von Weber is today generally known for one opera alone: Der Freischütz. However the overtures of his other operas and music for stage plays have survived the test of time and are popular concert additions.

The present disc includes ten of these gems, from the overture to Weber’s first surviving opera Peter Schmoll und seine Nachbarn – composed at the age of fifteen – to that of Oberon, written in London for Covent Garden less than two months before his death from tuberculosis, aged 39.

The team of Jean-Jacques Kantorow and the Tapiola Sinfonietta have recorded numerous discs for BIS, by composers as diverse as Saint-Saëns, Mozart, Shostakovich and Rautavaara as well as Weber.

Carl Maria von Weber composed a number of pioneering works for the operatic stage as well as incidental music whose highly attractive scores combine Classical principles of clarity with a unique lyricism and orchestral mastery that would inspire later Romantic composers.

This disc presents overtures from his ever-popular Der Freischütz, Euryanthe and Oberon, as well as from other undeservedly lesser-known operatic works, alongside concert pieces such as the Jubel-Ouvertüre and Der Beherrscher der Geister, and the incidental music for the plays Preciosa and Turandot, all of which amply display his vivid and refined dramatic imagination.

In a recent concert the Dominion Post praised the “superb playing” of the NZSO.