Carl Vine (1954 -)

[bhodges]

Thanks for starting this. Years ago, I heard the above-mentioned Piano Sonata on a car stereo when I was driving somewhere. I was really impressed by it. Since then I haven't heard a note of Vine's music. But that sonata was so good that I still remember it.

The Piano Sonata is a terrific piece.  A pianist friend introduced me to it, part of the recital CD by Sergei Babayan (below), on an excellent program that includes Messiaen, Respighi and Ligeti. 

I also have the single disc (not the boxed set) with MicroSymphony, which I like very much as well.

--Bruce

[Mirror Image]

I also have the single disc (not the boxed set) with MicroSymphony, which I like very much as well.

--Bruce

Bruce,

The MicroSymphony is a fine piece. I would urge you, however, to listen to all of his symphonies as they are all of consistent, high quality.

[bhodges]

Bruce,

The MicroSymphony is a fine piece. I would urge you, however, to listen to all of his symphonies as they are all of consistent, high quality.

Oh yes, I'm sure that will happen.  "Too much music, too little time." 

--Bruce

[Mirror Image]

Listening to Vine's Piano Concerto and what an inspiring work. Full of optimisim and grace. The second movement is especially beautiful with it's note cascades from the piano over a very subtle, lush orchestral backdrop. This is a concerto I would like to see in an American concert program at some point. It would definitely turn many people onto Vine's soundworld I think.

One of the remarkable things about Vine's music is its lyricism, which even when the music is at its most aggressive, that shimmering lyricism finds a way into the surface. He also uses some gorgeous harmonies, which he's a pianist, so I can expect this element to be in his music. The rhythms he employs are also interesting by turns Bartokian or Stravinskian by others almost Latin. This is some hip music for sure.

[Mirror Image]

Here's a good quote from Gramophone Magazine describing Vine's music:

"Carl Vine writes Big Tunes. More, he scores them with Technicolour richness ... his music is rhythmically cogent (I was occasionally reminded of Roy Harris or of Copland) and makes frequent use of ostinato ... some of his most striking effects are in fact quite complex, with richly embroidered polyphony and multiple ostinatos that enable the music to move at two different speeds at once. There is abundant floridly ornamental melody, but beneath the tendrils the melodic substance is often quite simple, even innocent, derived from scale figures or brief cells."

[jowcol]

Pickup up the box set and I've just listened to Symphonies 4 and 5 for the first time.  I'm sure I will want to dig deep, but 5, (The Percussion Symphony) is the first I will want to repeat for sure-- there are many more lyrical, introspective passages than I would expect for a "percussion" symphony, and the more boisterous passages represent some really great use of rhythm in an orchestra.

4 was a bit more problematic-- I didn't see anything that would scare me away, but it was harder to work to.

I'll keep digging, and  thanks for the recommendation!

[Mirror Image]

Pickup up the box set and I've just listened to Symphonies 4 and 5 for the first time.  I'm sure I will want to dig deep, but 5, (The Percussion Symphony) is the first I will want to repeat for sure-- there are many more lyrical, introspective passages than I would expect for a "percussion" symphony, and the more boisterous passages represent some really great use of rhythm in an orchestra.

4 was a bit more problematic-- I didn't see anything that would scare me away, but it was harder to work to.

I'll keep digging, and  thanks for the recommendation!

You're welcome.

Symphony No. 3 has some great moments in it as well. But, as I said, all of his symphonies are good and I have enjoyed them. After you absorb the symphonies, you might want to try his ballet The Tempest. This recording also contains some other works that were enjoyable like Smith's Alchemy, but I think the Oboe Concerto is a great work. The slow movement is especially moving.

[J.Z. Herrenberg]

Interesting thread. And clearly a composer who, along with Brett Dean, I am going to explore.

[lescamil]

Has anyone heard Vine's new Sonata for Piano 4 Hands? I am a pretty big fan of his 3 sonatas for piano, and I am always eager to see what he does with the instrument.

[jowcol]

As an update-- I've been listening to the 6th symphony, and really love it.  I've had several jags where I listen to it repeatedly, sometimes 4-5 times in a row.

[Mirror Image]

As an update-- I've been listening to the 6th symphony, and really love it.  I've had several jags where I listen to it repeatedly, sometimes 4-5 times in a row.

I've had the same reaction to all of his symphonies. The more I listened to them, the more I loved them. Each time I picked up on something I hadn't heard before. I will be returning to this set very soon. Glad to see another Vine fan on here!

[Mirror Image]

Interesting thread. And clearly a composer who, along with Brett Dean, I am going to explore.

Have you heard any of his music yet, Jezetha?

[J.Z. Herrenberg]

Have you heard any of his music yet, Jezetha?

No, but I have acquired the symphonies... Any suggestion for the first one to listen to?

[Mirror Image]

No, but I have acquired the symphonies... Any suggestion for the first one to listen to?

I would start with Symphony No. 3 first, but they're all quite good. Let me know you're impressions of the music after you've absorbed the music.

[J.Z. Herrenberg]

I would start with Symphony No. 3 first, but they're all quite good. Let me know you're impressions of the music after you've absorbed the music.

I always need to make some mental space for a new composer. So, when I have done that, I'll listen to Carl Vine's 3rd (and report back afterwards).

[jowcol]

I always need to make some mental space for a new composer. So, when I have done that, I'll listen to Carl Vine's 3rd (and report back afterwards).

FWIW-- I'd probably try the 1st, 6th, and 5th before the third, in that order, but the fact that it's hard to pick a good starting point is a good thing- it shows what a strong cycle this is.  The first is convenient because it is short, and also very, very good!

[J.Z. Herrenberg]

FWIW-- I'd probably try the 1st, 6th, and 5th before the third, in that order, but the fact that it's hard to pick a good starting point is a good thing- it shows what a strong cycle this is.  The first is convenient because it is short, and also very, very good!

Okay - I'll listen to the Vine 1 and 3 first...

[J.Z. Herrenberg]

I listened to the 1st and the 3rd earlier today.

I like the Vine 'sound'. His orchestral textures are clean and transparant. He can be airy and weighty. He is clearly his own man, but he does remind me of a few other composers: Robert Simpson (the focus on impersonal process over subjective expression), Karl Amadeus Hartmann (the layeredness, the climaxes), John Adams (the extroversion, the use of the orchestra).

The Third is a 'big' piece. It has a very 'evolutionary' feel to it, beginning in the depths as it does, and building and developing from there. The First is short and effective, the Vine style is already fully-formed. The climax of the piece manages to avoid triviality (it sounds like pop music, almost).

I don't know what the music is 'saying'. It is rather abstract. There are melodies here, but they are not 'romantic', more of a factual character (this is what reminds me of Simpson).

These are my first impressions.

[jowcol]

I listened to the 1st and the 3rd earlier today.

I like the Vine 'sound'. His orchestral textures are clean and transparant. He can be airy and weighty. He is clearly his own man, but he does remind me of a few other composers: Robert Simpson (the focus on impersonal process over subjective expression), Karl Amadeus Hartmann (the layeredness, the climaxes), John Adams (the extroversion, the use of the orchestra).

The Third is a 'big' piece. It has a very 'evolutionary' feel to it, beginning in the depths as it does, and building and developing from there. The First is short and effective, the Vine style is already fully-formed. The climax of the piece manages to avoid triviality (it sounds like pop music, almost).

I don't know what the music is 'saying'. It is rather abstract. There are melodies here, but they are not 'romantic', more of a factual character (this is what reminds me of Simpson).

These are my first impressions.

Thanks for the report.   I've never seen much melodic presence in Simpson, but the strong architectural presence I feel as well.

I'd suggest #6 next.   It strikes me as having more emotional content-- but it still has a strong sense of structure.

[lescamil]

Has anyone heard Vine's Seventh Symphony yet? It was premiered last year (I believe) and has had a few more performances since then.