Premiered by Mitropoulos in 1947, Krenek’s Fourth symphony was thought lost until its rediscovery in 2006. It’s a complex work whose movement layout and duration is similar to Beethoven’s Fifth. Of course, the music’s predominantly atonal language is vastly different from Beethoven’s. Even so, Krenek’s use of traditional classical and late-romantic modes of expression gives enough shape and contrast to the music to make it accessible, especially in the furtive opening movement and in the elegiac second. The long finale is full of big ideas expressed in dramatic, quasi-Mahlerian style (the Sixth symphony), with lots of striking orchestral effects (the bass drum gets quite a workout in one gripping sequence). The piece is quite impressive on first hearing, a little less subsequently as the shock of the new wears off, and the atonal language leaves you little to be reacquainted with.
The Concerto grosso is a more inviting work, not only for its less angular harmonic language, but also for its emulation of Bach’s Brandenburg concertos. Accordingly its five movements vary meters and tempos and feature clever melodic invention by Krenek that never sounds like pastiche, even as it takes a very self-conscious look into the past. Overall the effect is stimulating rather than engrossing. Alun Francis and the NDR Radiophilharmonie deliver top-notch performances of both works, especially in the symphony where you can sense the players’ excitement and commitment to the music. CPO’s spacious recording offers plenty of detail and impact. Krenek collectors can rejoice at having the complete symphony cycle, while others should certainly investigate this intriguing composer.
