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A Festival of Fucik

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Label: Chandos

Cat No: CHSA5158

Barcode: 0095115515822

Format: Hybrid SACD

Number of Discs: 1

Genre: Orchestral

Release Date: 28th August 2015

Works

Fucik, Julius

Ballettratten, op.226
Der Alte Brummbar, op.210
Die Regimentskinder (March), op.169
Die lustigen Dorfschmiede, op.218
Donausagen Waltz, op.233
Einzug der Gladiatoren (The Entry of the Gladiators), op.68 'Triumph March'
Florentiner March, op.214
Hercegovac March, op.235
Marinella Overture, op.215
Miramare, op.247
Onkel Teddy, op.239
The Mississippi River, op.160
Unter der Admirals Flagge, op.82
Wintersturme, op.184

Artists

David Hubbard (bassoon)
Royal Scottish National Orchestra

Conductor

Neeme Jarvi

Works

Fucik, Julius

Artists

David Hubbard (bassoon)
Royal Scottish National Orchestra

Conductor

Neeme Jarvi

About

Thirty years after having recorded Dvořák’s complete Symphonies on Chandos, the Royal Scottish National Orchestra and its laureate conductor Neeme Järvi tackle another romantic Czech composer: Julius Fučík, famous for his more than 400 polkas, marches and waltzes, some of the best of which are featured here.

Fučík studied violin in his early years, switching later to the bassoon, with a subsidiary in percussion and timpani. Playing in Austrian regiments, he gained invaluable experience of writing for military band and became a very prolific composer of marches. The most famous of these is, of course, Entry of the Gladiators, completed in 1899 and performed throughout the world ever since.

Full of energetic, effervescent Bohemian cross-rhythms, tuneful brass melodies (often now associated with a circus atmosphere), but also more lyrical expressions, this album is a festival in itself.

Sound/Video

Paused

1

Marinarella, op.125
2

Onkel Teddy, op.239
3

Donausagen (Danube Legends), op.233 - 1
4

Donausagen (Danube Legends), op.233 - 2
5

Donausagen (Danube Legends), op.233 - 3
6

Donausagen (Danube Legends), op.233 - 4
7

Donausagen (Danube Legends), op.233 - 5
8

Die Lustigen Dorfschmiede, op.218
9

Der Alte Brummbar, op.210
10

Einzug der Gladiatoren, op.68
11

Miramare, op.247
12

Florentiner, op.214
13

Wintersturme, op.184
14

Hercegovac, op.235
15

Die Regimentskinder, op.169
16

Ballettratten, op.226 - 1
17

Ballettratten, op.226 - 2
18

Ballettratten, op.226 - 3
19

Ballettratten, op.226 - 4
20

Ballettratten, op.226 - 5
21

The Mississippi River, op.160
22

Unter der Admiralsflagge, op.82

Europadisc Review

Now known almost exclusively for his march Entry of the Gladiators – the ultimate circus music – Julius Fučík was much more than a one-trick wonder, as this new album from Neeme Järvi and the Royal Scottish National Orchestra amply demonstrates. Not just marches, either, but polkas, waltzes and overtures, all exhibiting an energy, inventiveness and gift for melody that help to explain Fučík's widespread popularity during his lifetime.

Born in Prague on 18 July 1872, Fučík entered the Prague Conservatory at the age of thirteen, eventually alighting on the bassoon as his main instrument, and was a composition pupil of Dvořák's, alongside such names as Josef Suk and Oskar Nedbal. His subsequent career took in not just military bands but a period playing in the opera pit. In 1913, after spending time in various outposts of the Austrian empire, Fučík relocated to Berlin, where he died three years later at the age of just forty-four. All this and more is outlined in Nigel Simeone's excellent booklet notes.

The music itself is a delight. The marches themselves are not only stirring but witty too: witness the appearance of two anvils in the catchy Die lustigen Dorfschmiede (The Merry Blacksmiths), or the unexpected melodic turns of Onkel Teddy (Uncle Teddy). The busy main tune of the 'grande marche italiana', Florentiner, depicts the chattering of a Florentine girl, punctuated by the dutiful two-note 'Ja-wohl' of her boyfriend. The Mississippi River is Fučík's tribute to the 'American' march genre, while Die Regimentskinder (Children of the Regiment) and Unter der Admiralsflagge are of a more traditional cut. Entry of the Gladiators itself receives a tremendously spirited performance, incidental details like the twinkling glockenspiel brought out to perfection while never inhibiting the main sweep.

Another example of Fučík's skill as a musical humorist is the charming polka comique, Der alte Brummbär (The Old Grumbler). Here the main role is taken by the solo bassoon, played with obvious relish, skilled rubato and soloistic flair by the RSNO's principal bassoon, David Hubbard.

Two engaging concert overtures come in the form of Marinarella (expertly orchestrated with some lovely local Italian colouring) and Miramare (a musical portrait of a castle on the Gulf of Trieste, complete with evocative horn calls).

To complete the selection, there are three waltzes: Winterstürme, Ballettratten and Donausagen (Winter Storms, Little Ballerinas and Danube Legends). All three show Fučík as a worthy inheritor of the Straussian tradition, with Donausagen in particular demonstrating a sophisticated take on the concert waltz, complete with idyllic references to the 'legends' of the title.

Neeme Järvi and the musicians of the RSNO clearly enjoy themselves, and the performances combine élan and a relaxed, easy spirit. This makes a fine companion to the same team's album of Suppé overtures and marches. With an excellent recording from Glasgow's Royal Concert Hall, and fine presentation, this disc is sure to reach far wider audiences than just the martial music fraternity.