Richard Stohr Orchestral Music, Vol 3 Focuses on 1942

Richard Stohr was one of many composers whose career was derailed by the rise of the Nazis. Through the 1930s his music was regularly performed. 

And as a professor at the Vienna Academy of Music, he had an impressive list of students.  Among them were Herbert von Karajan, Rudolf Serkin, Erich Leinsdorf, and Samuel Barber.

After Anschluss, everything changed. Stohr, a Jew, lost his position and his music was banned from performance. Fortunately, he was able to emigrate to the United States in 1939. 

Though Stohr never returned to his native land, he brought the spirit of Viennese music with him. In 1942 he had a phenomenal burst of creativity, composing 20 works. This release features three of them. 

The centerpiece of the album is Stohr's Symphony No. 2 in D minor, Op. 81. It's Mahlerian in style, if not in scope. Stohr's symphony runs about 38 minutes. Yet his motivic development is similar to Mahler's. 

Stohr's use of form is concise and well-organized. The music is large and expansive, but it always has a sense of direction. Stohr's music was much admired by his students and his colleagues. And it's easy to hear why. 

Also included are two works that share an opus number, composed in 1942. Per Aspera ad Astra, Festival Overture for Concert Band is Op. 79a. Stohr's lineup of instruments doesn't follow that of a traditional American concert band. But each instrument is there for a reason. Stohr's music is celebratory and has an interesting translucent texture. 

Two Roads to Victory (Through Arms-Through Love), Musical Poem Op. 79b is also for a concert band. Stohr varies the instrumentation once again. This time he beefs up the percussion section and adds a solo violin. This work sounds more of its time. The music is militaristic and hopeful, capturing the spirit of 1942 America.    

Ian Hobson directs the Sinfonia Varsovia in some inspired performances. I especially enjoyed their performance of the Symphony No. 2. The ensemble makes it sound expansive and symphonic, yet also thoughtful and introspective. 

Stöhr wrote, "I am not a modern composer. I do not understand the modern direction, and after it has triumphed, the world will not understand me." I think he was wrong. Hobson understands Stohr very well. His recordings are helping us to understand him, too. 

Richard Stohr: Orchestral Works, Vol. 3
Sinfonia Varsovia; Ian Hobson, conductor
Toccata Classics TOCC 0743