Pieces that have blown you away recently

[Symphonic Addict]

One complete CD and other two works this time:

Exploring Martinu's works with orchestra has paid succulent dividends, and this riveting Supraphon CD featuring early works has been the highlight in my traversal at the moment. The only work I had heard previously was Czech Rhapsody for baritone, chorus, organ and orchestra, and once again, I got the most favourable impression of it. This is Martinu at his most decidedly patriotic and epic, 36 minutes of extraordinary music imbued with solemn and exultant choral passages and a stirring sense of drama pervading a big portion of the piece, which culminates in sheer grandeur. I loved every bit of it. The other two works, Nipponari and Magic Nights are song cycles to Japanese and Chinese texts respectively and they are the opposite of the aforementioned choral work: much more subtle, intimate, delicate, luxuriously orchestrated, above all the latter which is ridiculously ravishing, truly magical indeed. All in all, one of the most satisfying CDs I've heard lately.




Yesterday I got acquainted with some of Alun Hoddinott's symphonies that have been commercially recorded, namely 2, 3 and 5, which featured attractive dissonances, baleful atmospheres and practically zero traces of light or hope. His Symphony No. 6, on the other hand, incorporates ideas that have a more lyrical quality. Its opening has to be counted as one of the most haunting, eloquent and vividly atmospheric in the whole British/Welsh symphonic literature, it's just remarkable and has to be heard to be believed. What follows continues in that strident vein as in previous symphonies, but here the lyricism is more evident and that's what makes this symphony more special. Around the 15' part of the magic of the opening appears and ends up flowing into a climax that has goosebump-inducing nature (at least it did that for me). What a great moment. The work ends in a quiet, beautiful and poetic manner, something that I found quite spot on. A marvelous symphony, one that should be better known and it receives a wholly sympathetic performance.




Last, but not least, Alfano's Concerto for piano trio. Along with his two late-Romantic symphonies recorded on CPO, this exquisite chamber work is the most impressive composition I've heard by him. The music exudes a sort of poignant lyricism (mostly in the 1st movement) and memorable ideas regarding melody, rhythm and harmony. Each of its three movements is written in church modes, sometimes reminding me of the English pastoral vibe alla Moeran (which is not a bad thing I hasten to add). The music flows effortlessly and I think it feels inspired from first note to last. I saw that there's a new recording of this work on Brilliant Classics, so making a comparison would be interesting.

[arpeggio]

Alfano, who completed Turandot, composed a nice opera on Cyrano de Bergerac.  Sadly, it is out of print.  One can get a secondhand copy on Ebay.

[Florestan]

Last, but not least, Alfano's Concerto for piano trio. Along with his two late-Romantic symphonies recorded on CPO, this exquisite chamber work is the most impressive composition I've heard by him. The music exudes a sort of poignant lyricism (mostly in the 1st movement) and memorable ideas regarding melody, rhythm and harmony. Each of its three movements is written in church modes, sometimes reminding me of the English pastoral vibe alla Moeran (which is not a bad thing I hasten to add). The music flows effortlessly and I think it feels inspired from first note to last. I saw that there's a new recording of this work on Brilliant Classics, so making a comparison would be interesting.

There are several other Alfano recordings on Naxos, you should try them too.

[Symphonic Addict]

There are several other Alfano recordings on Naxos, you should try them too.

I know the string quartets and the another CD of his chamber works, but this Concerto for piano trio is in a superior level of inspiration I reckon.

[Florestan]

Émile Waldteufel - Flots de joie (Waves of Joy), Waltz, Op. 145

[Florestan]

Ruperto Chapi - Prelude to El tambor de granaderos

[kyjo]

Yesterday I revisited Martinu Double Concerto for Two String Orchestra, Timpani and Piano. I remember liking it when I first heard it years ago in the StokowskI BBC Legends disc but rehearing it yesterday with Mackerras on Alto made me truly realize what an absolutely amazing piece of music it was. Good googly goo!

Indeed, the anxiety-ridden Double Concerto is one of Martinů's greatest works, and that Mackerras recording is a real scorcher! It's a real pity that Mackerras didn't record any of Martinů's symphonies...

[kyjo]

One complete CD and other two works this time:

Exploring Martinu's works with orchestra has paid succulent dividends, and this riveting Supraphon CD featuring early works has been the highlight in my traversal at the moment. The only work I had heard previously was Czech Rhapsody for baritone, chorus, organ and orchestra, and once again, I got the most favourable impression of it. This is Martinu at his most decidedly patriotic and epic, 36 minutes of extraordinary music imbued with solemn and exultant choral passages and a stirring sense of drama pervading a big portion of the piece, which culminates in sheer grandeur. I loved every bit of it. The other two works, Nipponari and Magic Nights are song cycles to Japanese and Chinese texts respectively and they are the opposite of the aforementioned choral work: much more subtle, intimate, delicate, luxuriously orchestrated, above all the latter which is ridiculously ravishing, truly magical indeed. All in all, one of the most satisfying CDs I've heard lately.




Yesterday I got acquainted with some of Alun Hoddinott's symphonies that have been commercially recorded, namely 2, 3 and 5, which featured attractive dissonances, baleful atmospheres and practically zero traces of light or hope. His Symphony No. 6, on the other hand, incorporates ideas that have a more lyrical quality. Its opening has to be counted as one of the most haunting, eloquent and vividly atmospheric in the whole British/Welsh symphonic literature, it's just remarkable and has to be heard to be believed. What follows continues in that strident vein as in previous symphonies, but here the lyricism is more evident and that's what makes this symphony more special. Around the 15' part of the magic of the opening appears and ends up flowing into a climax that has goosebump-inducing nature (at least it did that for me). What a great moment. The work ends in a quiet, beautiful and poetic manner, something that I found quite spot on. A marvelous symphony, one that should be better known and it receives a wholly sympathetic performance.




Last, but not least, Alfano's Concerto for piano trio. Along with his two late-Romantic symphonies recorded on CPO, this exquisite chamber work is the most impressive composition I've heard by him. The music exudes a sort of poignant lyricism (mostly in the 1st movement) and memorable ideas regarding melody, rhythm and harmony. Each of its three movements is written in church modes, sometimes reminding me of the English pastoral vibe alla Moeran (which is not a bad thing I hasten to add). The music flows effortlessly and I think it feels inspired from first note to last. I saw that there's a new recording of this work on Brilliant Classics, so making a comparison would be interesting.

I thoroughly agree regarding all three works/discs! Martinů's early works, above all the ones contained on that Supraphon CD plus the ballet Vanishing Midnight recorded by Toccata, are remarkable and should be much better known. In fact, I often prefer them to his mature works because they don't rely heavily on those characteristic melodies/motives that occur so repetitively across his later output (heresy, I know). Magic Nights, in particular, is one of the most intoxicatingly beautiful vocal works I know.

Regarding Hoddinott, the Sixth Symphony is indeed a remarkable work and by far one of his most approachable. I can't help but wish more of his other works were in the same, less "difficult" vein. Resident Hoddinott experts of GMG (of which there must be at least one!), are there are any works of his similar to the Sixth Symphony? Surely there must be, he was very prolific...

I recall a while ago when the artists who recorded that Alfano disc on Naxos came to my university to perform the wonderful Concerto for Piano Trio - what a discovery! The Cello Sonata is another fine work in the same vein. I do think the performance on that Naxos disc could be bettered, though, perhaps the new one on Brilliant is superior? (I wouldn't put money on it, however.) BTW, another Italian piano trio which should be heard is Pizzetti's in A major. It has a most beautiful final movement titled Rapsodia di settembre with a typically Pizzettian radiant coda.

[Symphonic Addict]

I thoroughly agree regarding all three works/discs! Martinů's early works, above all the ones contained on that Supraphon CD plus the ballet Vanishing Midnight recorded by Toccata, are remarkable and should be much better known. In fact, I often prefer them to his mature works because they don't rely heavily on those characteristic melodies/motives that occur so repetitively across his later output (heresy, I know). Magic Nights, in particular, is one of the most intoxicatingly beautiful vocal works I know.

Regarding Hoddinott, the Sixth Symphony is indeed a remarkable work and by far one of his most approachable. I can't help but wish more of his other works were in the same, less "difficult" vein. Resident Hoddinott experts of GMG (of which there must be at least one!), are there are any works of his similar to the Sixth Symphony? Surely there must be, he was very prolific...

I recall a while ago when the artists who recorded that Alfano disc on Naxos came to my university to perform the wonderful Concerto for Piano Trio - what a discovery! The Cello Sonata is another fine work in the same vein. I do think the performance on that Naxos disc could be bettered, though, perhaps the new one on Brilliant is superior? (I wouldn't put money on it, however.) BTW, another Italian piano trio which should be heard is Pizzetti's in A major. It has a most beautiful final movement titled Rapsodia di settembre with a typically Pizzettian radiant coda.

Good to know that you also know those fascinating pieces, Kyle. It's impossible to curious minds stop discovering music. The only thing I'd argue about is the performance of the Alfano which sounded rather good to me.

[arpeggio]

I am an aficionado of the music of Bax.  So when I discover a work of Bax it blows me away.

[Roasted Swan]

I am an aficionado of the music of Bax.  So when I discover a work of Bax it blows me away.





Hurrah!!

[DavidW]

@arpeggio I also recommend these works, especially the nonet:

[arpeggio]

^^^
Wonderful recording.

[arpeggio]

I am an aficionado of the music of Bax.  So when I discover a work of Bax it blows me away.





The more I listen to these, the more blown away I get.  I particularly like the first two quartets.

[kyjo]

C.P.E. Bach: Symphonies Wq 183, Nos. 1-4 (Richter, Munich Bach Orchestra)

Few times baroque or classical works bowl me over, partly due to I seldom explore those musical periods. On this occasion these absolutely astounding symphonies delighted me quite a lot. These must be some of the most energetic, propulsive, meaty classical symphonies I've ever heard. These works exude vitality aplenty and many inventive and unpredictable gestures. There are other symphonies on this set, but given that they're performed on period instruments, I skipped them as I'm not fond of that style. I do intend to explore his other symphonies, but hopefully played on modern instruments.

I don't believe I know CPE's symphonies Wq. 183, but I do know his 6 Symphonies Wq. 182 aka the "Hamburg" Symphonies, which are mightily impressive, compact, and characterful works. I discovered them through these fine performances on modern instruments, in which a clavichord (CPE's own instrument) is used as the continuo - which I didn't find intrusive at all:



Those unexpected gestures and harmonic explorations you mention are what make CPE's music so instantly identifiable and compelling. Dare I say that I very much prefer these symphonies to most of Haydn's Nos. 1-80 and Mozart's Nos. 1-30? A lot of those seem positively "vanilla" to me compared to CPE's wonderfully imaginative works (ducks for cover from Andrei).

[Symphonic Addict]

I don't believe I know CPE's symphonies Wq. 183, but I do know his 6 Symphonies Wq. 182 aka the "Hamburg" Symphonies, which are mightily impressive, compact, and characterful works. I discovered them through these fine performances on modern instruments, in which a clavichord (CPE's own instrument) is used as the continuo - which I didn't find intrusive at all:



Those unexpected gestures and harmonic explorations you mention are what make CPE's music so instantly identifiable and compelling. Dare I say that I very much prefer these symphonies to most of Haydn's Nos. 1-80 and Mozart's Nos. 1-30? A lot of those seem positively "vanilla" to me compared to CPE's wonderfully imaginative works (ducks for cover from Andrei).

Thanks for the suggestion, Kyle. Performances on modern instruments will always displace those on period ones when available for me. I concur with you about Mozart's first symphonies, but regarding Haydn I think there are more imaginative ideas and substance in most of those first 80 symphonies that keep the music flowing interestingly.

[arpeggio]

This was a gift from my son. 

Contents
Brouwer, L: Concerto No. 4 for Guitar and Orchestra - Dedicated to John Williams "Concerto de Toronto"

John Williams (guitar), Gareth Walters (co-director), Clio Gould (director)
London Sinfonietta
Steven Mercurio

Brouwer, L: Elogio de la danza: I. Lento - Allegro moderato - II. Obstinato - Vivace

Brouwer, L: El decamerón negro

Brouwer, L: Hika

The concerto blew me away 

[Florestan]

(ducks for cover from Andrei).

No need to, Kyle. I like CPE's music as well. The only difference is that I don't make any comparisons with Haydn and Mozart ——- my favorite of the three is the one I happen to be currently listening to. 

[kyjo]

Thanks for the suggestion, Kyle. Performances on modern instruments will always displace those on period ones when available for me. I concur with you about Mozart's first symphonies, but regarding Haydn I think there are more imaginative ideas and substance in most of those first 80 symphonies that keep the music flowing interestingly.

Agreed about performances on modern instruments. My favorite performances of Baroque/Classical Era music are those that combine "modern" beauty and fullness of sound with a rather HIP-influenced approach to crisp articulations and lively tempi.

What are some of your favorite "pre-Paris" Haydn symphonies, Cesar? I've watched some of Hurwitz's "Haydn Symphony Crusade" videos where he waxes lyrical about each symphony for over half an hour, but whenever he plays the sound samples I'm kind of underwhelmed - I can't really hear the remarkable musical features that he (and others) enthuse about. Overall, I've found that my favorite Haydn often lies outside the symphonies. Above all, it goes without saying that his string quartets are a tremendous series, even some of the earlier ones (especially the Op. 20), and his piano trios and choral works also contain great riches to discover.

[Skogwald]

Bernstein & Vienna Phil - Mahler 6
Perfect combination of conductor, orchestra and work. And I'm finally really getting into Mahler!