Document

  1991
    January 1991
        Orchestral
                Grieg Symphonic Dances, Op. 64. Sigurd Jorsalfar, Op. 56. Lyric Suite, Op. 54.

Grieg Symphonic [Dance] Dances, Op. 64. Sigurd Jorsalfar—Suite, Op. 56. Lyric Suite, Op. 54. Royal Philharmonic Orchestra / Yondani Butt.

ASV (Full price) (Cassette) ZCDCA722; (CD) CDDCA722 (62 minutes: DDD).

This is a convenient collection, gathering together Grieg's three main orchestral suites, yet omitting the Holberg (which, being for strings, conveniently pairs with other string works) and Peer Gynt. The Symphonic Dances are particularly successful. They are not easy to bring off, with their hints of melodrama, but both Beecham and Barbirolli knew how to manage them and so does Butt. The rumbustious energy of the first is well caught and so is the beguilling charm of the second with its delectable oboe solo, while the giocoso element of the third is nicely applied. Orchestral playing of much finesse helps, and in the dramatic contrasts of the last number Butt avoids over-characterization.

Alas, the Sigurd Jorsalfar excerpts are less successful. The opening "Prelude" seems just a mite too slow and becomes ponderous, and Butt also overdoes the homage element in the "March", which almost becomes bogged down in its own sombre stateliness. The Lyric Suite is fresh enough: "Shepherd Boy" is charmingly slight, its gentle, rhapsodic pastoral mood quite well caught and the "Nocturne" is lovely, but I thought the "Norwegian March" needed more lift. The Trolls in the finale have the right hint of malignancy. Excellent sound: the woodwind are brightly coloured, the strings have a nice sheen and the trombones and horns plenty of expansive weight. One hardly suspects what turns out to be a church acoustic, and the resonance is pleasing.

IM



		This is a convenient collection, gathering together Grieg's three main orchestral suites, yet omitting the Holberg (which, being for strings, conveniently pairs with other string works) and Peer Gynt. The Symphonic Dances are particularly successful. They are not easy to bring off, with their hints of melodrama, but both Beecham and Barbirolli knew how to manage them and so does Butt. The rumbustious energy of the first is well caught and so is the beguilling charm of the second with its delectable oboe solo, while the giocoso element of the third is nicely applied. Orchestral playing of much finesse helps, and in the dramatic contrasts of the last number Butt avoids over-characterization.



		Alas, the Sigurd Jorsalfar excerpts are less successful. The opening "Prelude" seems just a mite too slow and becomes ponderous, and Butt also overdoes the homage element in the "March", which almost becomes bogged down in its own sombre stateliness. The Lyric Suite is fresh enough: "Shepherd Boy" is charmingly slight, its gentle, rhapsodic pastoral mood quite well caught and the "Nocturne" is lovely, but I thought the "Norwegian March" needed more lift. The Trolls in the finale have the right hint of malignancy. Excellent sound: the woodwind are brightly coloured, the strings have a nice sheen and the trombones and horns plenty of expansive weight. One hardly suspects what turns out to be a church acoustic, and the resonance is pleasing.