Karl Amadeus Hartmann - Symphonies Nos. 5, 6 and 8

Karl Amadeus HARTMANN (1905-1965)

Symphony No.5 (Symphonie Concertante) (1950)*

  Symphony No.6 (1951/53) *

Symphony No.8 (1960-62)

Berliner Sinfonie Orchester*

Gunther Herbig*

Rundfunk-Sinfonie-Orchester Leipzig

Herbert Kegel

Released 1995

***Symphony No 5 Symphonie Concertante (1950)

The orchestra used here is a departure from the standard: double woodwind, pairs of trumpets and trombones, tuba, and strings (cellos and double basses only). Four movements lasting in this performance 17:25 by comparison with the Wergo set at c. 16 minutes. There are many Stravinskian touches including Dumbarton Oaks and Symphonies of Wind Instruments. The Rite of Spring's bassoon theme is played with repeatedly at the start of the second movement. The final movement closes in a stuttered gesture from the brass but not before much bleak humour, Weill and Eisler style.

Symphony No 6 (1952-3)

The trio of symphonies 6-8 are each in two movements. No 6 based on a withdrawn 1938 work was inspired by Zola's novel L'Oeuvre. Hartmann's darting aspirant melodiousness is prominent with an emphasis on the most legato of instrumental singers: the string section. The cataracts of song are in fullest spate goaded on by brass and percussion. The second movements (toccata - with fugal interventions rather like Reger on 'speed') buzzes with an insectiform tumult indebted to Bartók. Gamelan-like percussion and orchestral piano rockslide the symphony to a headlong conclusion in which shards of jazz and a Bernsteinian mêlée mix in one unsoothing hectic fever of disorder. Utterly compelling.

Symphony No 8 (1960-62)

This symphony is by far the toughest nut to crack amongst the sequence of eight. Hartmann's atonally singing heart, revealed in the rolling tune of the Cantilène, is touchingly orated by viola. Furiously tense strings drive the movement onwards relieved only by the benediction of the marimba and the dark encouragement of the brass. The second movement (Dithyrambe) is memorable for a quiet sardonic march with a triumphal leer and snarl. Its hop-skip heroics cannot however hide its unconvincing ending.

At a personal level can I say how pleased I was to come across a recording by Günther Herbig whose Bruckner interpretations with the Bournemouth SO during the early 1970s at Bristol's Colston Hall were my real introduction that composer's symphonic world.

If you enjoy the symphonies of Shostakovich, Allan Pettersson, Humphrey Searle or Benjamin Frankel you will want to hear this disc. The present CD is the best single disc introduction to the Hartmann symphonies. It is a gem and a more welcoming (though still challenging) option than the four disc Wergo set. The performances are winning and instantly convincing. There is nothing half-hearted about what I take to be radio broadcast tapes. As for the sound you need have no fears. The quality is marvellous. The Sonic Solutions No Noise system has been applied to fine and refined effect. Recommended. (c) Robert Barnett ***