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Strauss: Eine Alpensinfonie - Shipway

Strauss: Eine Alpensinfonie - Shipway

BIS  BIS-1950 SACD

Stereo/Multichannel Hybrid

Classical - Orchestral


Richard Strauss: Eine Alpensinfonie Op. 64, Symphonische Fantasie aus "Die Frau ohne Schatten"

São Paulo Symphony Orchestra (OSESP)
Frank Shipway (conductor)


Called a ‘symphony’ by its composer, Richard Strauss’ Alpine Symphony is nevertheless a symphonic poem, and as such it is the last in a series of works that includes such masterpieces as Don Juan, Also sprach Zarathustra and Ein Heldenleben.

In 1900, when Strauss first mentioned any plans for the work, he spoke of a symphonic poem in two parts that would begin with a sunrise in Switzerland. When he returned to the idea some ten years later, the work soon grew so vast that he decided to be content with one single movement, depicting the ‘worship of eternal glorious nature’.

To regard the Alpensinfonie simply as an impression of landscape would be a mistake, however. It does make use of Strauss’ entire repertoire of orchestral pictorialism, but behind it are ideas much less simple: nature is being worshipped in the intoxicated spirit of Nietzsche’s superman, the liberation of the soul is achieved through hard work – the climber’s struggle to gain the mountaintop.

The work is divided into 22 sections that flow in an unbroken sequence, marking the ascent and descent of the mountain, from before sunrise to after sunset. It was scored for the largest orchestra ever used by Strauss for a purely orchestral piece, and he later said that it was in the Alpine Symphony that he had ‘finally learned how to orchestrate’.

The experience must in any case have been useful when he composed his next work, the opera Die Frau ohne Schatten, with an even more opulent orchestration. The opera was premièred in 1919, but it wasn’t until 1946 that Strauss, in his 82nd year, returned to the score in order to make his Symphonic Fantasy, based on high points from the opera.

These huge, and enormously colourful works are performed here by the eminent São Paulo Symphony Orchestra, whose highly praised recordings of the Choros by Villa-Lobos have been described as ‘an orgy of colours and rhythms’ (Diapason) and ‘an assured blend of lush colours, pulsating rhythms and supple phrasing’ (International Record Review). The orchestra is conducted by Frank Shipway, with fine credentials in late-Romantic Austro-German repertoire.

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Review by John Miller - January 13, 2013

An inspired pairing of two Strauss works which may not have previously appeared together. They should be paired, for they are related. The Alpine Symphony was completed in 1915, and Strauss immediately began work on finishing his opera 'Die Frau ohne Schatten' which he had started in 1911. The opera only had a short run, as it required enormous resources, both scenic and musical. No less than five first-class soloists in principal parts were demanded, as well as many first rate secondary roles. Highly complex scenery with many difficult effects and to be provided (including children singing out of a frying pan!) and a huge orchestra filled the pit, including 10 trumpets and 5 Chinese Gongs. Strauss was taken aback by the opera's lack of success, claiming that the music was his best. Several other composers concocted orchestral suites or fantasias from the score. but it was only some 30 years after its completion that a then retired Strauss put together the Symphonische Fantasie aus 'Die Frau ohne Schatten'.

Listening on this disc to the Fantasie immediately after Die Alpensinfonie, one is aware of many similarities in harmony, orchestration and possibly even echoes of Alpensinfonie motifs appearing in the Fantasie music. The two works, conceived and developed in tandem, seem to share a common stream of inspiration. This proves very interesting, as Strauss admirers will soon realise. Together, the two works offer a listening experience which outstrips other Alpensinfonie recordings paired with the usual 'make-weights'.

English conductor Frank Shipway, a pupil of John Barbirolli, has a relatively slim discography for such an active and impressive career, but he is highly regarded by many orchestras and as a teacher. His conducting career began with the Berlin Opera, and he also worked with the Glyndebourne Festival Opera and the National English Opera, developing a wide repertoire. On the evidence of this recording engagement with the São Paulo Symphony Orchestra, with whom he seems to have a fine rapport, he not only has a deep understanding of Strauss but the technical skills to produce some phenomenal results.

Shipway seems to understand that Strauss had more in mind than merely musically penning a pictorial record of a mountain walk. As the musicologist Malcolm MacDonald reminds us in his excellent booklet notes, Strauss agreed with Nietzsche that Christianity poisoned Western Culture, as expressed in the philosopher's book 'The Antichrist' (1888). He planned to write a work called The Antichrist: An Alpine Symphony', stating "...it embodies moral purification through one's own strength, liberation through work, worship of eternal glorious Nature". The 'liberation through work' idea evidently refers to the act of climbers ascending and descending the mountain, overcoming its dangers in the process.

In the final version of the Alpensinfonie, there are some sections which seem not to be related to the simple description of the climb. Some conductors don't give them their due, passing over them blandly. Shipway, however, recognises 'Apparition', 'Dangerous moments', 'Vision' and 'Elegy' as music of a symbolic aspect in Strauss' narrative. These sections are somewhat strange in their material and orchestration, and often seem out of place in lesser conductor's hands. At the summit, for example, the grand view is quickly erased, to be replaced by a Vision, a mystical transformation of the landscape which reflects the inner workings of the cosmos. Shipway makes sure his players know the intent of these interpolated sections so that they fit properly into Strauss' story, and thus has produced the most coherent Alpine Symphony I have come across. We follow a great narrative arch in the day's epic journey, not just of the climbers themselves, but of their souls too. Each section of the music flows meaningfully into the next, from quiet contemplation of the alpine night, through the radiance of the attaining the Summit and back into to the night again.

Another intriguing of Shipway's interpretation is that the copious amount of dissonance in the score becomes notably revealed, in places bringing Strauss almost to the brink of mimicking Schoenberg - a "modern" composer with whom he had issues.

The extended SPSO play like angels for Shipway, with superb precision and strong control of dynamics worthy of a world-class orchestra. Their burnished horns, sometimes calling distantly from the surround channels, are unfailing, as are the SPSO's brilliant and nimble trumpets. Strings have the required Straussian glow, and can swoop emotively down one and a half octaves in collective glissandos. Overall, the orchestra produce a heady, luxurious or brilliantly sparkling sound, which is captured most convincingly by the BIS recording.

Lasting 23'29, the 'Die Frau' Fantasie also needs a large orchestra, although reduced significantly from the opera's requirements. Not having heard it before, I was soon beguiled by it, and admired Strauss' ability to produce an effective orchestral montage of his favourite music from the opera. It has some gorgeous melodies which ought not to be hidden away in an abandoned work; a fascinating trombone solo which represents one of the principal characters from the opera, and a final climax even riper and more luxurious than any in Alpensinfonie, which ultimately subsides to quietness and charming simplicity. I had the feeling that the SPSO players admired the fantasia too, perhaps because of its novelty. Well worth hearing, and certainly not a come-down after the main event.

The BIS team place us in the best seat of the Sala São Paulo, the better to revel in a recording of these complex orchestral pieces which is frequently breath-taking in its transparent detail, pure timbres and huge climaxes. Apologise to your neighbours in advance and play this disc loud, it will repay you handsomely.

This is an important release which also brings great listener satisfaction. Shipway's performance now goes to the top of the modest pile of Alpine Symphonies which I own, and the 'Die Frau Fantasie' is a 'must-have' for any Strauss collection. Recommended without reservation.

Copyright © 2013 John Miller and HRAudio.net

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Comments (4)
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Comment by Waveform - September 7, 2016 (1 of 4)

I think that everyone should hear this album. Shipway, who died in a car crash few years ago, conducted Strauss' cinematic "An Alpine Symphony" with intensive passion.

Comment by William Hecht - September 7, 2016 (2 of 4)

I couldn't agree more, this is a truly superb recording. Because of the couplings I've collected more Alpensinfonie recordings than I might otherwise have done and none of the others I have on sacd, (Janowski, Thielemann, and Luisi) even come close.

Comment by hiredfox - September 12, 2016 (3 of 4)

This one does, if you haven't heard it try an audition. John

Comment by SACD-MAN (threerandot) - March 2, 2018 (4 of 4)

Just ordered this one and can't wait to get it and hear it. Will report back!