The Cyclopean Symphony Cycle Cyclopedia

[Brian]

Others (without ranging into the realm of the ludicrously obscure and perpetually out-of-print)?

Ludicrously obscure: Kopylov! An old favorite of mine, but the only currently available recording stinks so I make do with an interrupted radio broadcast capture which only has the first two-and-a-half movements...

[Guido]

Not far short of Piston, Guido Ultimately Piston is the finer composer but Persichetti-like Piston but unlike, say, Harris(let alone Hovhaness) did not try to recycle his material(and his earlier success) endlessly in his symphonies. His idiom does progress and the final symphony, No.9 'Sinfonia Janiculum' is quite a tough work.

Thanks Colin - Might have to check him out then.

[ruramikael]

How about we do some posts describing a couple of potentially interesting cycles? I'm not very good at this, but will give it a shot.

CPO's box of Wilhelm Peterson-Berger was a nice discovery for me last year. The works are roughly from Sibelius's time, although Berger continued composing after Sibelius had retired, and he never had much of an avant-garde quality to his music. His music, however conservative (we can't all be geniuses), is none the less worthy, through its (typical for the time) 'national' quality successfully transcending the abstract sonata formula, and successfully evoking some of the landscapes he strove to picture.

Sometimes 'national' music can sound vigorous/lyrical/militaristic, but leaves you asking "what exactly does this represent about X country without already being aware of the focus?". Peterson-Berger's music escapes this pitfall by having a certain quality which people have come to associate with Nordic music. symphony no.3 in particular cannot help but sound Scandinavian, with an icy unfolding first movement, with winds offering only fleeting glimpses of life, and a piano brilliantly used which at times evokes the sound of distant bells, or droplets of melting water. This symphony also comes closer than most music could to a Sibelian simplicity.

The composer is certainly a full Romantic with literally no modernistic traits, but he works within this formula to create music of a compelling rather than routine nature, including the previously mentioned scoring of a piano in symphony no.3, but also the peculiar structure of no.5, demonstrating a musical personality willing to go beyond the routine within his own choice of style. As a whole his music has many strengths, including fine melodies, strong structure (I found no single movement to be too long - another common problem with Romantics) and very fine writing for every section of the orchestra.

This sensitivity to making full use of the orchestra is a particularly notable feature, with frequent excellent passages of music for solo or small groups of instruments, as is his fine understanding of the textures involved in instrumental combinations. It is this mastery of the nuts and bolts of composition which kept me listening again and again, and what I find sets Peterson-Berger apart from lesser romantics who are fine to listen to, but offer less rewarding long-term qualities. Simply put, there is plenty to engage the listener.

The non-symphonic pieces in the box are just as fine, and more than CD-filler. Yet more Sibelius comparisons might be kindled with his writing of a violin concerto, which is actually very good, perhaps on a similar level to Pfitzner's similarly obscure one. The Doomsday Prophets overture has a superbly brooding atmosphere, and I would love to hear the full opera. Yet further Nordic composer comparisons can be made (this time with Grieg) in Peterson-Berger's complete mastery of the orchestral miniature. The suites included on the discs are actually highlights of the set, full of little melodic gems.

This is a first-rate boxed set, not simply for the symphonies, but also for the fillers, which turn out to be real highlights. I feel that this composer can safely be listened to alongside Hugo Alfvén without negative comparison, despite being lesser-known.

Peterson-Berger has been criticised for his lack of sonata form and even more for his orchestration! To me, he is the best and most original of his generation. Alfven and Stenhammar struggled to find their own voice (there are of course exceptions).

However, P-B's symphonies and operas are still ignored even after these fine recordings (in addition, Sterling has re-issued highlights from Arnljot and the Doomsday prophets).  Only Symphonies 2 and 5, the violin concerto and the Flowers of Frösö have been performed during the last fifteen years, all by Norrköping Symphony Orchestra. Finally, the second act of Arnljot was performed concertante on its 100th anniversary (of the premiere). It was way above my expectations, but reviews were a mixed bag (as expected).

[The new erato]

I usr ordered the Sterling disc of Doomsday Prophets and wonder what to expect?

[some guy]

Gerhard's symphonies are, of course, to die for. And so different from each other. One's obsessive little motif that just keeps going and going.... The second's bright sonorities--better in the original version, but I wouldn't want to be without the revised version, either. The third's stunning brass work and delicious electronics--OK in the Bamert, much better balanced in the Prausnitz LP. The fourth's quiet confidence and maturity, evident in the Davis but much better put across in the Bamert.

One of the more interesting of the major composers nobody seems to know anything about.

And the Lutosławski four. Wow. This is about as delightful as twentieth century orchestral music gets. Not quite Lachenmann, but still. Powerful and rewarding stuff. As eloquent a case for the validity of symphonic music post 1939 as you're gonna get, I'd say. (Ultimately not convincing, I'd also say, but still. Wow. Especially that third one. What a treat. As soon as this Birtwistle disc finishes, I'll have to put that Lutosławski on. Been too long since I've listened to that.)

Otherwise, the Sessions nine are fabulous--and interesting to listen to in order to hear the evolution of his thought. (This is also true for the Wellesz nine and for the Petrassi eight concerti for orchestra. If you like that kind of information.)

Some that haven't been mentioned are M. Hector Berlioz, who wrote what has to be the single most misunderstood symphony in the repertoire and who also wrote what has to be the most extravagent and extravagently perfect symphony of the nineteenth century as well.

And Avet Terterian, who has five symphonies on disc, but only four that are readily available. Four being the number to be reached. (Three is RIGHT OUT.) These are exceptional works. What Ustvolskaya might have done had she gone for large ensembles (and large forms). Sonority rules.

And speaking of Ustvolkaya....

[Brian]

Some that haven't been mentioned are M. Hector Berlioz, who wrote what has to be the single most misunderstood symphony in the repertoire and who also wrote what has to be the most extravagent and extravagently perfect symphony of the nineteenth century as well.

Mind telling us which, in your opinion, is which?

And now I have to go find Terterian because that sounds very intriguing indeed.

[some guy]

Not at all.

Symphonie fantastique
Romeo et Juliette

[eyeresist]

And Avet Terterian, who has five symphonies on disc, but only four that are readily available. Four being the number to be reached. (Three is RIGHT OUT.) These are exceptional works.

I've been a fan for a while, and often play the 3rd conducted by Helmrath and the 4th conducted by Tjeknavorian. A few days ago I downloaded most of the other symphonies from Terterian.org - a bit tricky (and not entirely legal) but it can be done. I like that, although he mostly uses "advanced" techniques, he is very much doing his own thing.

Symphony 1 employs various musical devices of its time and sounds almost like a parody of trendy modernism; not a work I can imagine listening to often.
Symphony 2 I liked immediately, though we need a new recording with a better singer (or maybe a proper muezzin singer) for the central movement. The outer movements include interesting sounds from the chorus.
Symphony 3 is the closest thing Terterian has had to a "hit", and is memorable for its pounding drums and ethnic horns (duduks and zurnas, apparently) - the site has a performance conducted by Khandjian, which is better than Tjeknavorian but not as good as Helmrath.
Symphony 4 is the performance by Tjeknavorian, depressing but very effective and atmospheric.
Symphony 5 is not on the site. (I have asked my sister to buy the CD for my birthday )
Symphony 6 in a way continues symphony 4, but on a larger scale; with its use of choral monotone it gives the impression of ancient sacred music.
Symphonies 7 and 8 I haven't yet got to grips with - the sole recordings have an extreme dynamic range which make much of the work inaudible.

... and add Terterian to the list of composers struck down by the curse of the 9th! He never finished it, and I've no idea how far he got.

[some guy]

Wow. This is great, eye! I had no idea.

Last I checked, there was a recording of the sixth that no one seemed to have.

I will now go to terterian.org forthwith.

(Is "not entirely" legal something like "sorta" pregnant?)

[Superhorn]

   The sympony no 1 of Mily Balakirev (1837-1910 ) is a work whose neglect in the concert hall has long puzzled me . 
It is a colorful and sweeping symphony which mixes exotic oriental elements with  the flavor of Russian folk music .
The symphony is chock full of memorable themes .  There have been a number of recordings, the best known being the EMI
version with Beecham and the Royal Philharmonic , which I fondly remember from LP long ago.  Other notable conductors who have
recorded it are Svetlanov and Neeme Jarvi . 
But why do we never hear live performances of it ?   The centennial of Balakirev's death  two years ago passed by with almost no
notice . What a pity .  He is a very important figure in 19th century Russian music .

[eyeresist]

(Is "not entirely" legal something like "sorta" pregnant?)

Well, they are similar in that in both cases I prefer not to think about the details

[some guy]

eye,

I finally got to the Terterian site. And I finally got to listen to the symphony nr. 6. What a treat!!

Now on to symphonies one and two.

No sound file of five, yet. But I'm hoping....

--some

(In other news, there's a fine performance of "Night Dances" by Persichetti on the Art of the States site (http://artofthestates.org/cgi-bin/piece.pl?pid=332#) and bartje 11 has posted symphony nr. 9 on youtube. This symphony is otherwise pretty hard to find.)

[ibanezmonster]

Just listened to the 1st movement of Terterian's 3rd Symphony, and that is some really intriguing stuff. (just too much dynamic range in the recording)
Definitely sounds unique and makes me want to listen to more. 

[ibanezmonster]

Listened to the entire 5th Symphony of Terterian.

Quite an experience. Kind of like an atmospheric Shostakovich, with the emphasis being on atmospheric. The nice thing is that the emotion you get listening to his music is very different from other music, although with this piece you have to be very, very patient.

[some guy]

Greg, which symphony? The fifth is not on the Terterian site, anyway. And I don't know of any recording of it.

[ibanezmonster]

A live performance.
http://www.youtube.com/watch?v=2v579xOCvZA


Didn't want to post it because eyeresist might be tempted to listen to the music before his birthday, but oh well... 

I listened again today and think the same thing as I did yesterday, but would like to emphasize that it would sound so much better if he just added a little bit of embellishment here and there and didn't draw out his ideas sooooooooo long.

[eyeresist]

I listened again today and think the same thing as I did yesterday, but would like to emphasize that it would sound so much better if he just added a little bit of embellishment here and there and didn't draw out his ideas sooooooooo long.

Well, you should write him an angry letter

I'm glad someone else has finally heard of this guy. I've been thinking for a while that his method for writing a symphony is to start with one sound, and then draw both the sonic and cultural implications out of that. For the 3rd, it's the drum. For the 4th, it's the bell (a recording of a particular church bell in Armenia, though to be honest I think performances would work better with a live chime).

[ibanezmonster]

Well, you should write him an angry letter

I'm glad someone else has finally heard of this guy. I've been thinking for a while that his method for writing a symphony is to start with one sound, and then draw both the sonic and cultural implications out of that. For the 3rd, it's the drum. For the 4th, it's the bell (a recording of a particular church bell in Armenia, though to be honest I think performances would work better with a live chime).

Ha, it wouldn't be very angry. 
It's like he's onto something great in the 5th, but it's not 100% there, flawlessly... some type of revision could make it really good.

24 minutes into his 6th symphony and the drawn-out aspect works a bit better here, so far. Actually, I'm seriously enjoying the 6th right now.

[eyeresist]

24 minutes into his 6th symphony and the drawn-out aspect works a bit better here, so far. Actually, I'm seriously enjoying the 6th right now.

Makes me think of this:

[some guy]

Well, that was a real treat, Greg.

And as for "100% there, flawlessly," that's not even a real category. For one, humans don't do flawless. Fro two, who gets to decide if something is flawless or not?

In any case, if I were to find fault with this, it's that the long drawing out is a bit weakened by too much embellishment. But I don't find fault with it. Sounded like a fine symphony by Avet Terterian to me.