Karol Rathaus’ Symphony No. 2, premiered in 1924 on the same program as Berg’s Three Fragments from Wozzeck, was considered highly experimental and modernistic in its time, eliciting sharply divided critical responses ranging from frothing praise to outright condemnation. Certainly, it’s not an easy piece to get to know, or even just listen to. A thick, grey overcast blankets the music as the composer employs not only a stringent atonal language, but also a stultifying, undifferentiated motivic and rhythmic style that imparts a dispiriting sameness. It’s like watching the same B-movie desert scene ad infinitum. The only real contrast comes in the Adagio, whose middle section becomes briefly animated before settling back into the initial malaise. Doubtless there are those who enjoy this type of thing, but for me it’s a reminder of a couple of decades ago when modernism still held sway, and encountering any new music on a concert program was likely to be a real drag.
After my Symphony No. 2 experience, I thought it best to clear my listening area of any sharp objects before taking on Symphony No. 3. However, I need not have worried as I discovered Rathaus to be capable of incorporating a bit of fresh air and sunshine into his writing. The Third’s brighter countenance is indicated by the faint hints of consonant tonality in the introduction, from which full-fledged melodies emerge as the first movement progresses. To be sure, this is not retro-19th-century stuff; instead Rathaus’ individual harmonic style tantalizingly blends sweet and sour, with the resulting harmonic stresses propelling the music along while constantly engaging the ear. This last is thanks to the composer’s masterful orchestration–particularly his use of winds and brass–that powerfully communicates his ideas. The scherzo is a delightful interlude, followed by an andantino that manages to be mysterious and touching, while the finale’s prominent rhythms bring the symphony to a vibrant end. Israel Yinon and Frankfurt’s Brandenburg State Orchestra perform with equal commitment and professionalism in both works, but you can detect somewhat greater enthusiasm from the orchestra in Symphony No. 3. Overall the sound is good, if not exceptional.
