Orpheus Chamber Orchestra—Complete Recordings on Deutsche Grammophon
The Orpheus Chamber Orchestra has been ubiquitous on the New York City orchestral and chamber music scene since its formation in 1972. From the beginning, Orpheus dispensed with a conductor, preferring a more democratic, collaborative approach to music making. And so successful, they’ve been giving a series of concerts in their hometown and touring in the US and worldwide for over 50 years. And recording. Lots of recording. In commemoration of the 50th Anniversary, their primary record label, DG, has released this very smart box of 55 CDs. Release date was August 2021.
I got to know many of Orpheus’ DG recordings over the years and this celebratory box has one very significant similarity to the previously reviewed Mehta/LA Phil/Decca box—there are very few misses both as recordings and performances. The Orpheus’ consistency must be a source of considerable professional pride for both the musicians and their home city. As such, many of the 55 CDs are first choice recordings for the particular repertoire, others, perfectly acceptable choices among the top ranked.
As Dov Scheindlin, Orpheus Artistic Director & violist says:
The recordings in this collection represent the first fruits of the historic collaboration that is Orpheus. Born of our time, we embody the democratizing wave that is still cresting in classical music. These recordings helped to demolish the Maestro myth, that leadership must be assigned to one firm hand, and brought a spirit of participation and equality to the fore. These recording document the success of that vision.
Most of the CDs were recorded in the Recital Hall of the State University of New York at Purchase (photo below). Important, because with the performance consistency, there is a consistency of fine recorded quality, with a few, like the Rossini Overtures disc, demonstration class. Much of this recording success is due to the long term association of a single producer and engineer.
The presentation box is top loading, beautifully packaged with a detailed booklet and the CDs presented in lightweight cardboard with original artwork. The CDs are not in recorded chronological order and because of the 80 minute length of CDs, some original CD programming cross pollinates. No worries, as the booklet is very detailed.
Much like past and future large box sets reviewed in Audiophilia, I’ll pick some highlights, but with this set, all will give much pleasure.
There are a few ‘potboiler’ CDs—Classical ‘hits’ and the like, but they, too, are played like their proverbial pants are on fire. So, Handel’s Water Music and Music for the Royal Fireworks, Pachelbel’s Canon, Eine Kleine and The Four Seasons, and even that soupy mess by Giazotto ‘Albinoni’s Adagio’, are wonderful.
Orpheus does a bang up job accompanying front rank soloists like Mischa Maisky, Gil Shaham, Martha Argerich and Jan Lisiecki. By and large, these collaborations are not quite as successful as with Orpheus by themselves, but any concerto performance will pretty well match note for note your favourite conducted version.
From the very first CD, you’ll know you’re in for a treat. The playing of both Bartók’s Divertimento and Romanian Dances are superb and it contains a top recording of one of my favourite pieces, the wind sextet Mládí (Youth) by Janáček.
Not to be outdone, second in the box, and also one of my favourites, is Beethoven’s full ballet, Die Geschöpfe des Prometheus, Op. 43. Perfectly scaled and immaculately played, the CD gives the listener pause, ‘they don’t have a conductor?!’. Nope, just a perfect blend of musicianship and communication. As Scheindlin says above, they ‘demolish the Maestro myth’.
As you go down the list (see photo above), masterful performances jump out. And before getting into two benchmark cycles included in the set, I’ll cherry pick some other total winners. If your favourite is not mentioned, no worries. You can be sure I’d consider it a silver medallist in this incredible set.
These performances can jump to the top of the heap immediately: CD 3/Britten Simple Symphony, Bizet Symphony in C and the Classical Symphony. CD 5/Works by Copland. CD 6/The 2 Dvořák Serenades, both top picks highlighting the fabulous string section and equally brilliant winds. CD 20/Much like the Copland disc, the Ives disc is considered a benchmark among recorded performances. Big jump here to CD 37/the Rossini Overtures to have when you’re having only one! CD 39/is simply the best Schoenberg Kammersymphonies ever recorded. A magnificent achievement. CD 44/the Stravinsky Pulcinella is wonderful but bettered by a mesmerizing Dumbarton Oaks.
The great string works by Tchaikovsky, Grieg, Elgar and Vaughan-Williams all receive top notch readings with only some of the clipped phrasing in the Tchaikovsky Serenade for Strings’ opening movement and the smallish scale of RVW’s Tallis Fantastia keeping both performances from my favourites list.
As they say, there’s a lot more where they came from. That’s only 11 CDs. So, let’s make up some ground and get into some serious meat and potatoes. Mozart and Haydn.
Haydn, first. The Dorati/Philharmonia Hungarica full symphony list on Decca is a seminal set, more for recorded quality, rustic style and completeness than the Austrian émigrés’ performances, good though they are. The Orpheus’ less than full set has the benefit of a completely unified approach with spectacular playing and recording. This is easily my favourite set of Haydn symphonies. 16 in all, a selection from 22 to 102. Perfection.
The Mozart recordings are not quite at the exalted level of the Haydn but they run them very close and certainly with enough quality to be among the top choices for each particular work. Rather than symphonies—although there is a crackerjack CD of Symphonies 23, 33 and 40—Orpheus and DG are all about the wind concertos and serenades, not forgetting a very good performance with Orpheus’ violin and viola principals of the Sinfonia Concertante in Eb, K 364. Susan Palma, flute and Randall Wolfgang, oboe represent Mozart with lovely phrasing and good technique, even better are the two horn soloists and bassoon, respectively, William Purvis, David Jolley and a very energetic and confident Frank Morelli. As such, these concertos receive superb performances. And while Purvis, Jolley and Morelli can’t match the two giants of this repertoire, Dennis Brain and Gwydion Brooke, they offer very beautiful performances.
The famous Gran Partita for winds is as good as any out there with a perfectly judged ‘Adagio’ (Amadeus). Best of all is the Clarinet Concerto (here played correctly on a basset clarinet) with Charles Neidich. This is easily one of the best of this oft-recorded concerto. Flawless technique, glorious sound and so musical. Total enjoyment. Neidich can give my all time favourite recording with Jack Brymer and Beecham a run for its money.
DG has done a great service to classical music with this 2021 release. It’s still widely available, so grab it while you can. I said the same for the LA/Decca box. They’ll both be out of print soon, then, who knows if or when they’ll return?
As for the CD’s resurgence, so far on box set purchases and reviews I’m 2 for 3 or, maybe 3 for 4 (you’ll have to wait for the 62 CD set of Alban Berg Quartett—The Complete Recordings coming March 25th). I’m not reviewing the 2016 set I snagged off Ebay last month, the ‘Phase 4 Stereo Concert Series’, as it’s pretty dreadful. It is rare and out of print and cost me over CAD $300 for the 41 CD box set, shipping and import duties. That’ll teach me to practise due diligence and not impulse buy. I heard 4 quality CDs no more. And it’s not even the Phase 4 Decca fiddling or the conductors’ rearranging that are the problems, more harsh sound (surprising) and 2nd and 3rd rate performances. No such disappointment with the splendid Orpheus Chamber Orchestra set. Buy with confidence and enjoy.
Deutsche Grammophon (DG)
UPC: 00028948399482
