SCHOENBERG: PELLEAS UND MELISANDE OP. 5 WAGNER: SIEGFRIED-IDYLL Orchester der Deutschen Oper Berlin Christian Thielemann Deutsche Grammophon 469 008-2 £££ TPT 65’17”

The symphonic poem Pelleas und Melisande, written in 1902 on the advice of Richard Strauss, is a dark and sombre work that, at its best, equals – if not transcends – Mahler’s pantonal, post-Romantic utterances in a tightly-packed and emotionally-exhausting display. At its worst, it hints at things to come, namely a series of new compositional techniques that were to become synonymous a decade later with the Second Viennese School. Its release by DG marks its third appearance in their catalogue, the others provided by Sinopoli in 1991 (now available on their budget-price Eloquence label, 439 942-2GH) and von Karajan in 1974 (457 721-2GOR). A score of other recordings are also available,notably that by Pierre Boulez on a four-CD set from Erato (4509-98496-2). Whilst Karajan’s performance perhaps remains the most masterly, in terms of brooding anticipation of destroyed love, Thielemann’s is perhaps the more rewarding. Boulez, on the other hand, thinks differently: at a mere forty minutes, his is the shortest and his icy, clean-cut interpretation reflects a more simplistic and direct approach that has more in common with the later Schoenberg, where affekt became subordinate to texture. Thielemann’s is by far the longest; his interpretation of the text is evident in a deeply-felt and empathetic rendition that over-exaggerates tempi and dynamic contrasts. Nevertheless, although in many places his approach works well, there remain others where he has a tendency to become slightly too ponderous, resulting in a lack of drive. The final section, a tragic portrayal of Golaud’s despair, is a case in point: here Thielemann’s interpretation is too cumbersome. Added to this is a problem of orchestral ensemble. From the outset, one is aware that the Orchester der Deutschen Oper Berlin provides an excellent impression of this work; they are well-rehearsed, balanced and uniquely pliable in their response to Schoenberg’s sometimes excessive and exhausting requirements. String tone is warm, wind and brass homogenously blended; but although the effect is quite magical, there are times when, without a harsher, more wiry edge, the subtlety of Schoenberg’s writing becomes too easily lost. Such is the case here: detail, already weighted down with an over-thick texture and excessive dynamic requirements, becomes sadly lacking.

Complementary to Pelleas is Wagner’s Siegfried-Idyll, which receives a similarly passionate and convincing performance. Its pairing with the Schoenberg is wholly appropriate; Schoenberg appears to have been cast from Wagner’s mould, and, like many composers of his generation, his early works are an assimilation and extension of Wagner’s style. In this instance, Thielemann’s tendency to over-exaggerate works well; Wagner’s textures are not as thick as Schoenberg’s and detailed playing is easier to achieve.

Both well mastered and packaged, the recording helps to reassert the early Schoenberg in his true colours. Thielemann has returned us to the grass roots Romantic and not imposed a sense of the aesthetically-dull serialist; given the underlying trends in some of the writing, this is a difficult task to achieve. Overall, it is a tight, well-presented and worthy recording.

Paul Richardson