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Steinberg, Maximilian - Symphony 2, op.8. Variations op.2 Gotenburg SO, Jarvi (rebuild)

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Steinberg, Maximilian (1883-1946) - Symphonie 2 & Variations
    Neeme Jarvi.(Gothenburg.SO).Dg].(APE)
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     Steinberg Sym2,Vars (Jarvi) DG.doc -
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Maximilian STEINBERG (1883-1946) 
Symphony No. 2, op.8 (1909)
Variations for Orchestra, op.2 (1905)
Göteborgs SO/Neeme Järvi
rec Göteborg Concert Hall, Aug/Oct 1998
DG 471 198-2 [49.53]

Symphony No.2 in Bb minor, Op.8

01 Moderato - Allegro moderato - Tranquillo - Allegro molto - Allegro moderato - Tempo I - Moderato
02 Allegro non troppo - Lento - Tempo I - Allegro non troppo
03 Lento - Allegro moderato - Andante molto sostenuto - Sostenuto molto - Largamente con passione - Allegro moderato -Tempo I- Andante molto sostenuto - Più lento

Variations pour grand orchestre Op.2
04 Tema. Adagio
05 Variation I. Più lento (Adagio molto)
06 Variation II. Allegro
07 Variation III. Andante
08 Variation IV. Allegro Vivace
09 Variation V. Andante
10 Variation VI. Andante moderato
11 Variation VII. Allegretto
12 Variation VIII. Lento
13 Variation IX. Allegro
14 Finale (Variation X). Adagio - Allegro - Tempo I

The Symphony No. 2 rises from deep Slavonic gloom into a toiling cauldron of Rimsky and Rachmaninov - principally the former. The music has some resonances with Rimsky's Antar, Rachmaninov's Isle of the Dead and early Miaskovsky. This is a torrid Russian symphony with lashings of atmosphere and, in the middle movement, some rasping and snarling brass. The woodwind writing may be equated with the brilliant scherzos of Glazunov; similarly in the finale of the 1905 Variations. There is plenty of imaginative oriental treatment and some great violin solos. In the finale the horn writing has about it a touch of Franck's Chasseur Maudit. This movement has more than its meed of gaunt moments including, at the very end, the sense of the swinging to and fro of a colossal boulder-swung pendulum. Eisenstein would have loved it.

The Variations, of which there are nine, begin with the Theme that is all grace and smiling favour. The variations benevolently run the gamut through sunny Brahms, effervescent Dvo?ák, sturdily singing Schmidt (Husarenlied Variations) and brilliant Glazunov (the vivacious Var IV and the finale). As with the Symphony there are no half-measures. Järvi directs a performance with the sort of brimming conviction you would expect to find in a performance of a Tchaikovsky or Borodin symphony.

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