Poet and Peasant - Overture
Fantasia Symphonica
The Sailor's Homecoming - Act 1: Prelude
The Sailor's Homecoming - Act I Scene 1: Ballet (Dance of the Cabin Boys)
Exhibition at the Carltheater - Overture
Morning, Noon and Night in Vienna - Overture

It's reassuring to witness, after what seems like many, many years of neglect, a resurgence of interest in the music of Franz von Suppé (1819-1895). Just over a year ago in September of 2022, Naxos released a world premiere recording of his delightful Around the World in 80 Days, music for a stage play based on Jules Verne's adventure novel. And now, a world premiere recording of Fantasia Symphonica for large orchestra. A symphony if not by name that very much sounds like a cross between Mendelssohn, Rossini and Beethoven. And conductor Ola Rudner applies to it all of the dramatic and theatrical flair that this entails.

Franz von Suppé's music has always been pigeonholed as light fair, associated with operettas, stage plays and Viennese waltzes. This symphonic work certainly demonstrates that he had many more skills within his musical arsenal. Structured over four movements, including a beautiful slow movement and an upbeat Scherzo movement, it contains all the tools of the trade of a symphonist. Even its orchestration, utilizing specific solo instruments to highlight key thematic passages is of high standards. Here and there the typical Suppé trademarks shine through, which actually helps bolster the music's appeal.

Ever since childhood (a long, long time ago) I've enjoyed listening to the Poet and Peasant Overture, one of this composer's most endearing and enduring showstoppers. It contains all of the tricks of the musical trade that pin your interest from start to finish. Lyrical string segments, a light waltz interlude and a brilliant finale, all come together to form a cohesive and entertaining whole. Some of you may remember some of the Looney Tunes cartoons that were made all the more effective (and comical) by their use of some of Rossini's music. Had they used parts of this overture, it would have had the same effect, if not better. And in this performance, from its deeply lyrical and mellifluous opening to its brilliantly over-the-top coda, Ola Rudner and the musicians of the Tonkünstler-Orchester pull out all the stops.