Schreker: The Birthday of the Infanta, Suite (CD review)

Also, Prelude to a Drama; the Romantic Suite. JoAnn Falletta, Berlin Radio Symphony Orchestra. Naxos 8.573821.

Here's another of those composers whose music was once very popular but then fell into disfavor, whose name is hardly recognized anymore. Franz Schreker (1878-1934) was an Austrian composer and conductor who at one time in the first part of the twentieth century was among the most-famous living opera composers in the world, second only at the time to Richard Strauss. But he had the misfortune to live at a time of rising anti-Semitism in Austria and Germany, and by the 1930s because he was Jewish his music was banned by the Nazis, and he lost his position in the music world.

Fortunately, we have people like JoAnn Falletta championing his work. On the present album she leaves her familiar Buffalo Symphony for the Berlin Radio Symphony, which is perhaps a tad closer to the source, and presents three of Schreker's purely orchestral pieces.

The program begins with Prelude to a Drama, completed in 1915 as a concert overture to Schreker's opera Die Gezeichneten ("The Branded" or "The Stigmatized"), which the booklet note describes as "a lurid drama involving murder and madness." Although Schreker worked during the onset of the modern era, his roots were still firmly planted in the Romanticism of the eighteenth century with Wagner and the early Richard Strauss, tempered by the emerging impressionism and expressionism movements. The Prelude is filled with unabashed emotionalism and melodrama, yet Ms. Falletta maintains a dignified approach, making it all seem perhaps more substantial than it really is. What's more, the Berlin orchestra plays with such a sophisticated charm, we can almost forgive the music of some of its excesses.

Next comes the album's title piece, Der Geburtstag der Infantin ("The Birthday of the Infanta"), a theatrical pantomime Schreker wrote in 1923. Its subject matter is even more bizarre than Prelude to a Drama, the composer basing his story on Oscar Wilde's "tragic tale of an ugly dwarf who dies of a broken heart."

JoAnn Falletta
In ten sections, The Birthday is the longest piece on the program, and it, too, gets pretty emotional. Ms. Falletta makes the most of it, however, with a flexible rubato and a moderate use of contrast to keep things moving at a steady but not excessive pace. Like the Prelude, it's fun stuff, if overlong. Moreover, there are smoother, richer segments, as in the opening "Reigen" (roundelay or round dance) that are quite lovely. Conversely, there are also long stretches of bombast. Still, it's quite colorful, with surprisingly playful interludes mixed in with the seriousness, and Ms. Falletta presents it persuasively.

The third and final piece on the agenda is the four-part Romantische Suite ("Romantic Suite") from 1903. It is a more lyrical, subjective, abstract work than most of the program music that precedes it on the album. Of the three pieces Ms. Falletta offers here, I found the "Romantic Suite" the most attractive. At about twenty-five minutes it does not overstay its welcome, yet it seems to pretty much encapsulate everything Schreker was capable of doing. Falletta maintains a grand, sweeping Romantic mood throughout, concluding with a rousing dance.

In all, while Schreker probably didn't mine much new territory here nor create much that listeners will take with them for long, he did provide an entertaining assortment of styles, much of which is hard to dislike. More important, Ms. Falletta gives us a refreshingly clear-eyed glimpse into a long-forgotten composer who deserves a second look.

Producer Wolfram Nehls and engineer Ekkehard Stoffregen recorded the music at the Grosser Sendesaal des RBB, Berlin, Germany in June 2017. The sound is natural, as opposed to overly close, bright, edgy, or distant. Speaking of distance, though, there is a good sense of depth to the orchestra and a fairly wide stereo spread. The frequency response does not favor any part of the spectrum too much, unless you count a sometimes prominent peak in the lower treble range. Detailing is good, with instruments standing out well yet still being reasonably warm and resonant. Dynamics appear a little too constricted for absolute realism, and bass could be deeper, so it's really not what I'd call audiophile sound; just pleasantly listenable, if a tad soft, sound.


To listen to a brief excerpt from this album, click below:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa