In the opening funeral movement, the rich and rock solid sound of the orchestra is quite ear-catching. To borrow some critic’s word, it is ’beefy’, a quality that is hard to find in Asian orchestras. Based on this and previous CD releases that feature Chung/SPO, it is clear that under maestro Chung’s leadership the Seoul Philharmonic Orchestra has grown into a world class ensemble with the unique sonority and high discipleship.
Chung’s reading is, as expected, temporally flexible, texturally rich and precise, his concept of the music grand in scale but minute in details. This is a big, hugely romantic view of Resurrection Symphony where memories of dead man’s life are cherished with much sympathy and respect： the opening Allegro motif in the low strings, which is usually sprung with great attack, has never sounded warmer but also clearer thanks to Chung’s slow than normal tempo that allows the series of dotted notes sound exactly as written in the score. In the development, there is a certain tranquility shimmering and hanging like a ghost. Listen how the horns, trumpets register in the extraordinarily controlled pianissimo. Yet, when the score calls for utmost strength in tutti passages, e.g., the main climax that leads up to the recapitulation, the orchestra explodes with all hands breaking loose. It is to Chung’s credit that the final descending chords are undone in a moderate tempo (as per the score) finishing off this 24 min. long epic with poise and exemplary restraint.
The rest of the performance goes equally well. The two middle movements are not too far from the norm in tempo and dynamic contrast, providing a nice respite from the burden of the mundane life depicted in the previous movement. In the Urlicht mezzo soprano Petra Lang sings with a voice that is aptly weighty and spiritual.
The Finale is rendered very broadly clocking nearly 38 min. But Chung fills up the void in this long movement with many fine details. Again, his former experience in the French repertoire must have helped achieve the level of concentration and refinement that are so well on display in this recording. Under his baton, the Seoul Philharmonic Orchestra literally burnishes, glows, and rocks in the apocalyptic conclusion.
One final Note. If the symphony’s ending right after the chorus cuts out sounds somewhat anticlimactic, Chung’s slight down-scaling of the dynamics herein is a stroke of genius! As in Otto Klemperer’s celebrated EMI recording and Claudio Abbado’s razor sharp Chicago version on DG, his emphasis seems to be on the main climax, i.e., the chorus ＆ orchestra combined that precedes the pure orchestra passage. Here, aided by the outstanding singing from the chorus and soloists all of whom sing like Angles, and the finely tuned orchestra, he achieves a state of true exaltation and elevation. Chung’s arguments is then, what follows after such an apotheosis should be a ’wrap-up’ rather than another ’ramp-up’. He has done just that quite nicely.
The recording sound tops the previous effort in Mahler First with a wide dynamic range and open sound stage that adds to the scale and scope of this mammoth symphony. It was recorded at the acoustically dry and taxing Art House Hall, but led by Michael Fine, the recording producer of the Seoul Philharmonic, the DG engineers have done themselves proud. Alas, as in most recordings the organ rather weak although the low ＆ high tam tam, bell are well audible.
I can’t wait for the next installment in the Chung/SPO/DG series!
