Saturday Symphony

[DavidRoss]

But, it's not a symphony . . . .

Nor is it a Saturday...not even in Queensland!

[Bogey]

I raise my hot cup of Earl Grey to you.

Whose blend?

Nothing fancy:



One of those deals where it was a cheap tea, but I really liked it.  However, I am not opposed to recommendations.

[Bogey]

Today is Mozart's birthday. How about the Clarinet Quintet to celebrate? Or K595.

But, it's not a symphony . . . .

Nor is it a Saturday...not even in Queensland!

Ah, but the key is that a Mozart piece was used, and that can loophole the intent here anytime.

[Bogey]

Week #4 Installment:



Symphony No. 77,  in B flat major, Hoboken 1/77

As you know there are 104 of these written by Papa, but this is my favored of the ones I have heard.  (I have not made it through all of them yet, but that will be a goal over the next couple years).  This one I discovered when I used to buy the BBC Music magazine and it was glued to the cover as a free cd.  The one that BBC offered was paired with No. 77, but was not under Fischer, but rather Hogwood and the AAM.  If I had to keep just one, it would be the Hogwood.  The Fischer is nice, but it ain't Hogwood!  Too bad Christopher did not finish up the cycle and that the ones he did are a bit pricey.

As for the movement that grabbed me for a second listen, I thought it was going to be the first, as that is my favorite of the four.  Just "springy" and full of life.  However, I insted returned to the Finale: Allegro spiritoso.  It just seemed very Mozart-ish to me.  It had just a tinge of deepness added that seemed to make it stand out.

I found this snippet on the wiki thread (which I do believe is a leak ):

In 1782, almost a decade before Haydn composed the first of his famous London symphonies, he composed a trio of symphonies – 76, 77 and 78 – for a trip to London which fell through.  Haydn wrote the following to his Paris music publisher Boyer on July 15, 1783:
Last year I composed 3 beautiful, magnificent and by no means over-lengthy Symphonies, scored for 2 violins, viola, basso, 2 horns, 2 oboes, 1 flute and 1 bassoon – but they are all very easy, and without too much concertante – for the English gentlemen, and I intended to bring them over myself and produce them there: but a certain circumstance hindered that plan, and so I am willing to hand over these 3 Symphonies.

Boyer wanted exclusive rights, but Haydn refused.

It is not known how much Haydn knew of the tastes of English audiences, but the three symphonies do possess a polish and style typical of London composers such as Johann Christian Bach and Carl Friedrich Abel. As noted in the letter, the winds have very few measures where they do not support the strings, they are used primarily to add color.

[Gurn Blanston]

Bill,
An excellent choice!  Those 3 and the next 3 (79 - 81) are among the most overlooked of Haydn's great symphonic output. I guess people look at the early ones for enlightenment on where he was coming from, and the Storm & Stress for the emotion, and then they jump to Paris & London for maturity, totally overlooking that there were some damned fine ones written in between time. And that correspondence with the publisher explains why: when he renegotiated his contract with Esterhazy, he was able to get dropped the stipulation that the Prince owned all the music, so now he could legally sell it to publishers. Money brought out the best in him.    Have a good afternoon with those, if I wasn't overwhelmed with work, I would join you.



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Now playing:
Combattimento Consort Amsterdam \ de Vriend     Paul van Zelm (Horn) - K 386b 412 514 Concerto #1 in D for Horn 1st mvmt - Allegro

[Bogey]

I may just have to dive into this run this week, Gurn.  If you would not mind, could you break down the Symphony periods of Haydn for me on the Haydn thread later this week.  You can just call this period the "overlooked" or did it have a name?

[Bogey]

I also have this 77 on the shelf....I may have to give it a spin today:

[Gurn Blanston]

I also have this 77 on the shelf....I may have to give it a spin today:

I don't have that particular disk, but I do have 3 Orpheus Haydn disks, and enjoy them a lot. I like their style. Go for it and let us know what YOU think.

Yes, I will be interested in doing a series like you suggest. Have to get some research done, since I haven't seen anything specifically on that. Look for the first installment coming soon to an Haus near you.




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Now playing:
Paul Badura-Skoda - Hob 17 6 Andante con variazioni in f for Keyboard

[Bogey]

I don't have that particular disk, but I do have 3 Orpheus Haydn disks, and enjoy them a lot. I like their style. Go for it and let us know what YOU think.

Yes, I will be interested in doing a series like you suggest. Have to get some research done, since I haven't seen anything specifically on that. Look for the first installment coming soon to an Haus near you.




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Now playing:
Paul Badura-Skoda - Hob 17 6 Andante con variazioni in f for Keyboard

Some of them may not have a named period, but maybe what Haydn was doing at the time could give them some identity.  I look forward to seeing what you come up with.

[karlhenning]

Bill, you're sticking to the symphonies where I was unable to (or, have been unable, as yet). I salute you!

[Bogey]

Bill, you're sticking to the symphonies where I was unable to (or, have been unable, as yet). I salute you!

You know, I thought the earth would be quite soft for a weekly choice of these, but it is harder to dig in that I had first thought.  It is one thing to listen to a symphony.  It is another to "have" to listen to a symphony on a particular day, so we are not that far apart here, Karl.

[Bogey]

Installment #5 (better late than never )



Symphony No. 4, K19

Considering this was written by Mozart when he was 9(?), it sure has a beautiful maturity about it, especially the second movement, which got played twice today.  I forgot how much I enjoyed these early symphonies of Wolfie.  The Tate box above does not receive the attention that the Hogwood set usually gets (and probably rightfully so), but I like Tate's approach.  Not fancy, not too sparkling, but rather just clean and enjoyable takes.  However, I would not mind snapping up a Hogwood cycle down the road.  I may just have to work through this set for the next week or so. 

[mahler10th]

For Bogey:

Enjoy, because Tate is too light for my Mozart.

[DavidRoss]

Well, Bill, it's after Saturday and the symphony is not one that I rarely hear, but it's what I wanted to hear right now:

Mahler 1, Kubelik on Audite

[Bogey]

Installment #6



Franck, Symphony in D Minor
Rec. 11 October 1927

The Philadelphia is full of life and energy on this recording.  One can sense the power throughout the first movement and cannot help but wishing they had been there to see this performance in person.

What is kind of cool about this recording is that Stokowski decided to record his voice outlining the themes of the piece.  He is accompanied by Artur Rodzinsky (I believe he had a Cleveland stint, Sarge!) at the piano.

There is a 1935 recording(?) of this that I need to track down.  It would be interesting to follow his career through the early to late recordings.  (Que, can you help me here?)


It is also on this set (a concert from 1970) when Stokowski was 88. 


Here is a portrait of the maestro form 1928:

[DavidRoss]

To start the day:

[asin]B0002NRRFQ[/asin]

[mahler10th]

Stokowski is hit and miss with me.  Sometimes he overplays where its not necessary, he rarely underplays, and when he does, his own thoughts on the matter are conveyed through the music.  I am not always taken by his own thoughts on the matter.  What thoughts have you on the conducting of Franck's Symphony in D?  Mind you, the recording is almost 90 years old, so I guess maybe it's hard to tell unless the remastering is outstanding?

[Sergeant Rock]

He is accompanied by Artur Rodzinsky (I believe he had a Cleveland stint, Sarge!)

He was the Cleveland Orchestra's music director for 11 years (1933-43) and much loved by the board, musicians and patrons. It was a blow to the city when New York stole him.


Thread duty: Havergal Brian's Second Symphony.

Sarge

[Bogey]

Stokowski is hit and miss with me.  Sometimes he overplays where its not necessary, he rarely underplays, and when he does, his own thoughts on the matter are conveyed through the music.  I am not always taken by his own thoughts on the matter.  What thoughts have you on the conducting of Franck's Symphony in D?  Mind you, the recording is almost 90 years old, so I guess maybe it's hard to tell unless the remastering is outstanding?

Interesting take, John.  It has been a while since I visited this one and I only have the Bernstein one on the shelf to compare it with (but I notice that Lenny takes the first movement two minutes slower).  However, back to what interests me is I believe this was not unusual for Leopold to give things his own twist.  I believe his* take on things is part of  the package you get with him....so far I have enjoyed the little I have heard:

*
http://www.myloc.gov/Exhibitions/musicandanimation/fantasia/ExhibitObjects/AdaptationforANightOnBaldMountain.aspx

[Que]

Installment #6



Franck, Symphony in D Minor
Rec. 11 October 1927

The Philadelphia is full of life and energy on this recording.  One can sense the power throughout the first movement and cannot help but wishing they had been there to see this performance in person.

What is kind of cool about this recording is that Stokowski decided to record his voice outlining the themes of the piece.  He is accompanied by Artur Rodzinsky (I believe he had a Cleveland stint, Sarge!) at the piano.

There is a 1935 recording(?) of this that I need to track down.  It would be interesting to follow his career through the early to late recordings.  (Que, can you help me here?)

Bill, as far I know there is only one CD issue but of excellent quality:

[asin]B000009KEQ[/asin]

Biddulph, WHL 11: Leopold Stokowski conducts Music from France (Vol. I)
Franck: Symphony in d, ['35] Andante from Grans Piece Symphonique, ['37] Panis Angelicus ['36]; Satie: Gymnopedies #1 & 2 ['37]; Dukas: Sorcerer's Apprentice ['37]; Thomas: Gavotte from Mignon ['37]; Berlioz: Hungarian March ['27] MONO Phila.   (Transfers by Mark Obert-Thorn.)

More generally, besides the series on Biddulph, this set (Andante) is a nice starter on early Stokowski recordings:

[asin]B00005U588[/asin]

Q