Siegmund von Hausegger: Natursymphonie [Hybrid SACD]

Siegmund von Hausegger: Natursymphonie [Hybrid SACD]

Siegmund von Hausegger: Natursymphonie [Hybrid SACD]

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CD Details

Composer: Hausegger
Conductor: Rasilainen
Orchestra: WDR Sinfonieorchester Koln
Performer: WDR Rundfunkchor Koeln
Edition: Music CD
Audio: English (Unknown)
Format: Hybrid SACD - DSD
CD Release Date: 2008-04-29
Music Label: Cpo Records
Soundtracks:

Natursymphonie: 1st movement, Gehalten un mit Dehnung - schnell
Natursymphonie: 2nd movement, Langsam und gedehnt
Natursymphonie: 3rd movement, StÃ¼rmisch bewegt
Natursymphonie: 4th movement, Sehr breit, mit grÃ¶Ã?ter Kraft

Music reviews of Siegmund von Hausegger: Natursymphonie [Hybrid SACD]

Music Review: Something New and Wonderful-- And it doesn't sound like Mahler!
Rating: 5 Stars

This is a refreshingly new piece for those who enjoy "late Romantic Period" orchestral music -- but please, let's stop the comparisons to Mahler. Hausegger is a true Romanticist, an extraordinary orchestrator, truly sensitive to delicate and massive forces, and thankfully unintimidated by the breakaway insanity of the serial movement. He's not a precursor to anything. He's simply true to himself as he pursues a tradition that he -- as well as many of us -- believe has not been exhausted.

That said, Hausegger avoids the maddening banalities that plague Mahler's music. We forgive Mahler for them, for the exasperating lack of sophistication, for those common and derivative themes that make one push the fast-forward button. Mahler certainly has some divine moments, sometimes even divine quarter hours, but wading through the ungraceful periods relegates his symphonies to the afficionado bin. So let's stop using Mahler as a standard against which all other late Romanticists must be measured. Such comparisons deprive us objectivity and too often tempt us to deem his contemporaries "derivative" before we give them an open ear.

Hausegger's experience as a conductor -- he conducted some very famous Bruckner performances in particular -- shows in his mastery of balance and diversity of the ensemble. It also allows him to build very complex sonic structures that do not overpower, obscure or overwhelm thematatic ideas and aural perceptions.

The subtle development of the "nature" theme throughout this piece rewards repeat listening, especially to those sensitive to orchestral color and tonal variety. It's a well-constructed motive that provides wide opportunites for subtle variations, and Hausegger exploits them in excellent symphonic style.

Yes, to some extent, the symphony is programatic -- especially in the incredble second movement that depicts the flight of the dead hosts -- but programs aren't always trite. Even without Hausegger's suggestions, we'd be left amazed and overwhelmed by the the devastating crescendo,the spectacular orchestral power, and the sheer emotional power of the sonic experience. After hearing the movement, surely some would ask "What in the world was he thinking when he wrote that?" And Hausegger's explanation is, under the circumstances, as satisfying as it gets.

The choral finale sets a Goethe poem that is ultimately focused on the infinite -- indeed, a walk, step by massive step, through it. The choral writing is sometimes dense, but the singing is remarkable. Only in the finale does one wish for a bit more harmonic adventure -- but perhaps there is an artistic reason underlying the relative simplicity of the final resolution. Perhaps Hausegger, consciously or subconsciously, is telling us that the power of tonality, however stretched, cannot be extinguished. Perhaps his message, a message that seeks integration and development of styles, rather than disintegration and disillusionment, more truly invokes the eternally positive human response to beauty, symetry, and consonance. If so, Hausegger's view of infinity is one we should all aspire to share.

I strongly recommend this recording. And I hope to hear more of Hausegger's music! It deserves greater exposure.

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