Franck: Symphony in D Minor; Symphonic Variations; Le Chasseur Maudit

Franck: Symphony in D Minor; Symphonic Variations; Le Chasseur Maudit

About the Composer: One of the most prominent organ composers of the 19th century, Belgium-born Cèsar Franck (1822-1890) resided in France for most of his life and created a variety of liturgical and chamber music works. Many of his more popular orchestral compositions, such as his Symphony in D Minor, were created in his final years.

About the Music: This recently released entry in the RCA Red Seal Classic Library series provides a vivid survey of Franck’s non-organ repertoire. Esteemed conductor Charles Munch and the Boston Symphony Orchestra furnish appealing performances of Franck’s symphony and his tone poem Le Chasseur Maudit (The Accursed Huntsman), while conductor Arthur Fiedler, pianist Leonard Pennario, and the Boston Pops Orchestra offer an eloquent recording of Symphonic Variations for Piano and Orchestra.

Symphony in D Minor – Comprised of three movements, Franck’s only symphony eschews the traditional four movement model. Its lengthy first movement begins and ends in a rather forceful manner, but it is also punctuated with numerous moments of frail optimism and placidity. The second movement is much more reserved and features extensive use of harp and woodwinds. Aside from the main theme of this movement, there is a compelling pair of passages waiting to be found at 4m55s-6m10s and 7m48s-8m40s. When the opening fanfare and invigorating theme of the third movement spills into the air, you quickly realize that Franck is moving the symphony in a more cheerful direction, even though the main theme in the preceding movement returns several times with varying levels of intensity. Some more interesting notes can be heard from the harp minutes before the work ends on a triumphant note.

Symphonic Variations – In contrast to the thundering passages present in the bookends of Franck’s symphony, this work possesses a far lighter tone. Although there are some harsh moments, they are nicely counterbalanced by a series of serene piano melodies. The mood becomes increasingly upbeat as the end nears.

Le Chasseur Maudit – Based on the poem Der wilde Jäger by Gottfried August Bürger, Le Chasseur Maudit illustrates Franck’s ability to convincingly narrate through the use of the orchestra. The work tells the story of a man who decides not to observe the Sabbath in favour of a hunting excursion and is condemned to be forever chased by a train of infernal creatures. In the first segment, blaring horns represent the hunter as he moves through the town with his horse and ignores the pleas of the clergy, which are represented with pealing bells. It is likely one of the most regal passages that I have ever heard in a romantic composition. Once the refuge of the town is far in the distance as the hunter proceeds into the wilderness, things wax incredibly sinister and full of desperation as the hunter becomes bewildered and encounters his otherworldly tormentors. The orchestra flares up as the eternal chase begins, and the bells return as if to signify divine wrath. After hearing this piece a few times, it won’t easily escape your memory.

All of the performances on this disc are from 1957 to 1963, but unlike some of the other recordings that I own, there are a few instances of noticeable background noise, especially in the recording of the symphony. It is not a real problem, however, and should not dissuade you from considering Munch’s and Fiedler’s interpretations of these distinctive pieces. Riccardo Muti has also produced recordings of Franck’s symphony and Le Chasseur Maudit which I have not heard, but if the quality of his recording of Berlioz’s Symphonie Fantastique is any indication, they are probably quite exceptional.