Propelling Music: George Antheil (1900-1959)

[foxandpeng]

I did think there must be another Antheil thread other than this one, as it appears to have something of a layer of dust across it... 

Awake since incredibly early today has left me with a taste for Antheil's accessible, enjoyable and uplifting symphonies, so I've been traversing the Chandos Storgårds cycle with much pleasure. I do think he is of a high calibre and amongst my top drawer of American composers. Inventive and tuneful, varied and engaging. I'm also yet to meet a Storgårds that I didn't like, so that helps.

Symphonies 1, 4 and 5 thus far. Looking forward to the rest, as the day progresses!

[foxandpeng]

Cross-Post

Antheil
Decatur at Algiers (1943)
Symphony № 5 « Joyous » (1947-48)
Frankfurt Radio Symphony
Wolff

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This is only the second time I've listened to these, and no good reason for the long interval.

The brief tone-poem is first-rate 'musical tourism.'  I'll say that it is every bit as good as his score for In a Lonely Place is, and (better than some peers) it is genuine concert music, and not just a superior scoring cue which sounds well played by the Boston Pops.

Antheil is better than a mere pasticheur;  he has his own specific gravity as a composer.  He does appear as something of a chameleon in the Fifth Symphony, and with clear musical intent.  The opening Allegro will, in various elements, remind the Prokofievophile of a certain other Fifth Symphony, and at times rather strongly.  Having said that, though, this strikes me as the work of a separate composer making fond allusion, as something rather bardic, and not as a weak composer resorting to putting on the overcoat of a master.  The Adagio molto is an essay in tender Americana which sits at the table between Ives and Copland; three composers, three voices, speaking much the same language, each with his own cadence and inflections.  To seal the musical jest of the Fifth Symphony (which is in fact more ebullient than jokey, as its title suggests) the Allegretto third movement opens with a clearly upbeat adaptation of the large snapping intervals which open the Shostakovich Op.47.  It's been said that Romeo & Juliet and A Midsummer Night's Dream take exactly the same premise, but make of it a comedy in one case, and a tragedy in the other;  Antheil here seems to take that broodingly tragic figure from the Shostakovich, and show us, "This is how one of Les Six might have written this symphonic movement."

I'll offer the opinion that Antheil here deserves for us to listen past the apparent (and indeed open) allusions, and that the Fifth Symphony is good work, and work which does in fact belong to him.

Karl, I do appreciate your cogent writing. Helpful.

Strangely,I have warmed strongly toward this recording of 4 and 5, hearing them almost back to back against the Storgårds. Seems to have an urgency and pace that really suits the music. Fine recording, even though the orchestra must be pretty tired after all that pounding energy.

In other news, I have said elsewhere that Antheil 3 has skin in the game for being alongside the great American 3's. Love it.The Storgårds recording also steals a March on 6, I think.

Anyway. Great day with Brother Antheil.

[Karl Henning]

Karl, I do appreciate your cogent writing. Helpful.

Strangely,I have warmed strongly toward this recording of 4 and 5, hearing them almost back to back against the Storgårds. Seems to have an urgency and pace that really suits the music. Fine recording, even though the orchestra must be pretty tired after all that pounding energy.

In other news, I have said elsewhere that Antheil 3 has skin in the game for being alongside the great American 3's. Love it.The Storgårds recording also steals a March on 6, I think.

Anyway. Great day with Brother Antheil.

Thanks, Danny, for your kind words, for reminding me of this post, and for your further remarks on the symphonies. I should revisit 3 & 6!