I'd say this is pretty unusual fare here. Though the record is not in the best of shape, the music is so rarely heard, or recorded, that I felt it would be a good transfer and service to the community. Here then is Willem van Otterloo and the Hague PO (Residentie Orchestra) and Netherlands Chamber Choir in Cesar Franck's complete symphonic poem, Psyche.
I think it is a pity that Franck gets short changed in regards to what we listen to of his output. Everyone knows the Symphony in d but who has heard this equally fine piece, or for that matter the marvelously serene, yet admittedly flawed, oratorio Les Beatitudes? Not many. The fine conductor Willem van Otterloo not only demonstrates a great sympathy for Psyche but makes a strong case for this, at times Brucknerian sounding, symphonic poem. After listening, I wondered what Otterloo would sound like in Bruckner. There is a recording that he made in Vienna of the seventh and I wish that I had it! Without a doubt, Otterloo has command of "line" and I'm sure his Bruckner would be fascinating.
Willem van Otterloo was an important conductor in the Netherlands during his lifetime. His principal activity was captured at The Hague however there were occasional trips to Amsterdam, Berlin and Vienna. His last years were centered in Australia, strangely enough. Otterloo did have the misfortune of being in the shadow of Mengelberg and van Beinum and strangely enough he was bypassed by the Concertgebouw when Beinum died and Jochum and Haitink pretty much took over artistic responsibilities. I'll bet this was a blow to Otterloo possibly influencing his decision to go down under after a career that was so focused in his homeland. Nevertheless, Otterloo carved out a decent discography and was especially valued as a concerto partner by many of the leading soloists of the day. He was, to all accounts, a sane, collegial and hardworking musician who treated others with the appropriate respect and professionalism.
There is an honesty and professionalism that combine with great musicianship which make this recording of Psyche so persuasive and special. I cannot think of a better introduction to Otterloo's art then this rare performance of a shamefully neglected work. I would too, encourage listeners to have a go at Otterloo's fine take on the Symphony in d with his beloved Hague orchestra available here.
I am not sure of the exact date of this mono record, perhaps between 1955 and 58.
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