Havergal Brian.

[vandermolen]

Over here it's a question of decibels. I can get away with low sound levels, but not so with the harpsichord. Even when just faintly tickling in the background, she always goes "you know I HATE harpsichord !!" . Any organ sound will provoke the comment "Are we at Mass here ?"

Ah la la... 

It's good to know that I'm not alone.
My father once woke up as I was playing Durufle's Requiem in my room next door. He told me that he thought he'd woken up in a crypt.

[calyptorhynchus]

My mother always asked, when I listened to Wagner's Ring: 'Are they sawing that woman in half?'

Bruckner is said to have asked, on watching the first Ring at Bayreuth, "Why are they setting Brünnhilde on fire?"

[J.Z. Herrenberg]

Bruckner is said to have asked, on watching the first Ring at Bayreuth, "Why are they setting Brünnhilde on fire?"

A classic. Whether fact-based is anyone's guess...

[krummholz]

I agree. Maybe, if nothing else, they could squeeze in No.22 which says a lot in a short time.

May I offer a slightly contrarian view? No. 22, and several others of Brian's later, more compressed works, great and fascinating works all, but might be better approached through recordings where one can explore them intensively with repeated listenings as they are so chock-full of ideas that are stated and then swiftly left behind, that they are likely hard for most (and certainly for those unfamiliar with Brian's style) to digest in a live performance.

I've always felt that No. 3 might have the best chance of bringing large numbers of people into the fold. It's bold, original, very approachable to lovers of late 19th century romanticism, and full of memorable and singable melodies that haunt the ear long after the last chord has ended. The first time I heard it I could not fathom why it was not already part of the standard repertoire. Admittedly I have a bias as I think No. 3 is perhaps his single best symphony and deserves to be heard more widely, but I also think it would serve the Brianite cause a lot better than many of his later works - though perhaps Nos. 6 and 7 are equally approachable.

[kyjo]

Just finished listening to Brian's Symphony no. 6 in the LPO/Fredman recording on Lyrita. I really enjoyed it! Brian shows himself to be a masterful orchestrator in this piece, and is able to create some very special atmospheres through unique choices of instrumental color.

[J.Z. Herrenberg]

@Krummholz Your suggestion has its merits. Using the Third Symphony as a sort of late-Romantic bridge to the tougher scores. It would be more expensive to produce, though, compared to the later smaller ones  (two pianos).

@kyjo Good to hear it! I suggest you try No. 8 next, Groves + Liverpool Philharmonic. To many this is the quintessential Brian symphony, all dramatic contrast with no easy resolution. A fascinating piece.

[vandermolen]

Just finished listening to Brian's Symphony no. 6 in the LPO/Fredman recording on Lyrita. I really enjoyed it! Brian shows himself to be a masterful orchestrator in this piece, and is able to create some very special atmospheres through unique choices of instrumental color.

One of the best I think. No.16 has some great moments too.

[vandermolen]

@Krummholz Your suggestion has its merits. Using the Third Symphony as a sort of late-Romantic bridge to the tougher scores. It would be more expensive to produce, though, compared to the later smaller ones  (two pianos).

@kyjo Good to hear it! I suggest you try No. 8 next, Groves + Liverpool Philharmonic. To many this is the quintessential Brian symphony, all dramatic contrast with no easy resolution. A fascinating piece.

The Groves No.8 is my favourite Brian recording. Great that they reproduce the original LP cover in the Groves box set.

[Klaatu]

I love No 3 with its overtly romantic tunes - including that 'Viennese waltz' in the scherzo - but it's a transitional piece and IMHO doesn't show Brian at his most original.

6, 8, 10 have their lyrical 'romantic' moments, are amongst HB's greatest, and are shorter and cheaper when considering a live performance.

16 and 30 are great scores - I would argue that 16 is possibly HB's greatest symphony (though it depends whether or not there's an 'r' in the month!) - but they are knotty, uncompromising and difficult for the average listener to absorb on first hearing - they were certainly difficult for me!

OTOH a score such as 21 is relatively short, accessible and good-natured - but fairly conventional by HB's standard.

So for live performances, 6, 8 or 10 are a good blend of the visionary, melodic and original.

If money was not an obstacle, then yes, No 3 would win admirers - but it lacks something of the originality of the later works.

If I win the National Lottery I'll fund televised performances of the whole bloody lot!

[J.Z. Herrenberg]

If I win the National Lottery I'll fund televised performances of the whole bloody lot!

I'll remember you promised.

[calyptorhynchus]

The only way to truly appreciate HB's music is to listen to it whilst sipping tea out of one of these:

[hbswebmaster]

...while listening to 'the 32' in sequence on CD? 

Glad it arrived safely, John.

[vandermolen]

The only way to truly appreciate HB's music is to listen to it whilst sipping tea out of one of these:

Right - I've re-joined the society - Now I MUST have one of these. I'm even more jealous!

[J.Z. Herrenberg]

Right - I've re-joined the society - Now I MUST have one of these. I'm even more jealous!

Welcome back, Jeffrey!

A mug of beauty is a joy forever... I might order one, too.

[vandermolen]

Welcome back, Jeffrey!

A mug of beauty is a joy forever... I might order one, too.

Thank you Johan!

Yes, I think you need one by you too, especially when you are writing.

[calyptorhynchus]

All I need now is an HB Society thermos, to keep the cups coming during the Gothic.

 

[J.Z. Herrenberg]

Yes, I think you need one by you too, especially when you are writing.

I would view it more as a 'victory mug'... Brian has been one of my greatest models of artistic perseverance. Now mine will pay off, too: my highly ambitious and innovative first novel is going to be published by a reputable publishing firm, based in my native Amsterdam. 'The Gothic' has informed the very structure of the work, without my having planned it that way...

[calyptorhynchus]

Congratulations Johan!

[calyptorhynchus]

As well as getting the mug of course I also received the new Naxos disk of Symphonies 8, 21 and 26.

It might be superfluous to review it because of course all brianites will be getting it, but let me just say that these are outstanding performances in outstanding sound. It was a shock to me to hear the modern and closely-recorded sound of No.8, which I had only heard in off the radio and AAD sound in other recordings. This is a stunning performance, and one that holds up against the Groves EMI and the BBC Fredman recording. I'll have to compare them to see which is my favourite, and certainly this recording sounded a little different in places compared to those I am used to, but overall it was a magnificently held-together and compelling performance.

Similarly, it's a revelation to hear this recording of No.21. I felt immediately that this was a better account that either the LSSO or Downes BBC recording. I remember that it wasn't until I heard the Brabbins/McAslan recording of the Violin Concerto that that work clicked for me, and it did so because it made Brian's Violin Concerto sound like other composers' Violin Concertos. Similarly this account makes No.21 sound like other symphonies (almost the only one of Brian's that does so), not one of the 'Cheltenham Symphonies' that MacDonald wrote of, but a very English-sounding work none-the-less. I think Walker gets the finale exactly right.

Finally No.26, wood-block and all. What an odd work, the first movement is a vigorous allegro type movement which in this reading is raucous and almost chaotic in its flow. MacDonald thinks that Brian gave up in the last two movements, eager to get on to the next Symphony and so wrote an inconsequential middle movement and a flippant finale. I get the feeling from this account, as from the poor radio recordings I have heard before, that the last two movements are the flip side of the first movement, a sort of  low-intensity turbulent flow, which at times in the finale returns to same intensity, though not the same mood as the first movement. This is a fascinating symphony and I will re-listen to it with pleasure in this account.

So congratulations Alexander Walker and the New Russia State Symphony Orchestra, and thanks for all the Brian recordings, Naxos.

[J.Z. Herrenberg]

Great review, calyptorhynchus! I am going to look for a download (paid, of course). Cannot wait! Thanks for the congratulations, too.