What are you listening 2 now?

[Traverso]

That's a classic recording!

Born almost 200 years ago,

To begin with, he could not settle in Vienna. Bruckner was a man from the country, not a cosmopolitan. He was not interested in any cultural expression that the big city has to offer, except for music. The latest fashion meant nothing to him: he always wore suits that were much too big, in fact nothing more than hobble bags. He did not go to museums, rarely went to the theatre, did not read novels or philosophical treatises. And so he could not talk about them either, while that was expected of an artist. He was deeply lonely in Vienna, certainly in the beginning. He found a little solace in the café, and he was granted it. There he always drank three litres of beer, no more and no less. And only in the evening after dinner; he never drank during the day.

It sounds like me  ,therefore  I prefer listening to Bruckner over Mahler.He was a great dancer too 

[Maestro267]

Lloyd: Symphony No. 6
BBC PO/Lloyd

The slow movement of this is in the same vein as the Prologue to Elgar's The Apostles (or the Morning Psalm from later on in the opening part of that same oratorio)

[Traverso]

Max Reger



CD 7

[Roasted Swan]

Born almost 200 years ago,

To begin with, he could not settle in Vienna. Bruckner was a man from the country, not a cosmopolitan. He was not interested in any cultural expression that the big city has to offer, except for music. The latest fashion meant nothing to him: he always wore suits that were much too big, in fact nothing more than hobble bags. He did not go to museums, rarely went to the theatre, did not read novels or philosophical treatises. And so he could not talk about them either, while that was expected of an artist. He was deeply lonely in Vienna, certainly in the beginning. He found a little solace in the café, and he was granted it. There he always drank three litres of beer, no more and no less. And only in the evening after dinner; he never drank during the day.

It sounds like me  ,therefore  I prefer listening to Bruckner over Mahler.He was a great dancer too 

Just the daily 6 pints then - a model of moderation........?!?!

[Traverso]

Just the daily 6 pints then - a model of moderation........?!?!

It  is just meant as a friendly piece of advice to Jeffrey. to reach the same level as Bruckner.

[Cato]

Prokofiev: Symphony No.6
Liadov: Baba Yaga
Scriabin: Poem of Ecstasy
Leningrad PO
Mravinsky

What a great concert!

Bruckner Symphony No. 6 in A Major, 1881 Version. Ed. Robert Haas, Royal Concertgebouw Orchestra, Bernard Haitink

That is a wonderful performance: I was just revisiting the Eugen Jochum/Bavarian Radio Symphony performance of the Sixth Symphony! 


Concerning BRUCKNER:

Born almost 200 years ago,

To begin with, he could not settle in Vienna. Bruckner was a man from the country, not a cosmopolitan. He was not interested in any cultural expression that the big city has to offer, except for music. The latest fashion meant nothing to him: he always wore suits that were much too big, in fact nothing more than hobble bags. He did not go to museums, rarely went to the theatre, did not read novels or philosophical treatises. And so he could not talk about them either, while that was expected of an artist. He was deeply lonely in Vienna, certainly in the beginning. He found a little solace in the café, and he was granted it. There he always drank three litres of beer, no more and no less. And only in the evening after dinner; he never drank during the day.

It sounds like me  ,therefore  I prefer listening to Bruckner over Mahler.  He was a great dancer too 

I revisited the mysterious Symphonic Prelude recently: sometimes ascribed to Mahler, it has been verified to be by Bruckner, orchestrated by his student (and friend of Mahler's ) Rudolf Krzyzanowski.

[Florestan]

Born almost 200 years ago,

To begin with, he could not settle in Vienna. Bruckner was a man from the country, not a cosmopolitan. He was not interested in any cultural expression that the big city has to offer, except for music. The latest fashion meant nothing to him: he always wore suits that were much too big, in fact nothing more than hobble bags. He did not go to museums, rarely went to the theatre, did not read novels or philosophical treatises. And so he could not talk about them either, while that was expected of an artist. He was deeply lonely in Vienna, certainly in the beginning. He found a little solace in the café, and he was granted it. There he always drank three litres of beer, no more and no less. And only in the evening after dinner; he never drank during the day.

As the man, such the music: a bore.     

[Que]

Very nice!

[Traverso]

As the man, such the music: a bore.     

You don't seem to be spiritually connected to Bruckner, oh well it's something different than "Im Weissen Rössl"

[VonStupp]

Gioachino Rossini
Maometto Secondo: Overture
Italian in Algiers: Overture
Cinderella: Overture
Grand Overture 'Double Bass obbligato'
Mathilda of Shabran: Overture
Bill of Matrimony: Overture
Tancredi: Overture
Prague Sinfonia - Christian Benda

VS

[hopefullytrusting]

Berlioz: Requiem from what so far seems a good vinyl rip on Got about half way through. It sounds very smooth, controlled and well recorded, a high quality production. I'm enjoying it enough to continue but it would be interesting to know if there are any more dramatic, awe-inspiring performances.

I definitely found the Davis recording booming and impressive.

Today's program is in honor of Edward Mitchell, the first and forgotten champion of Scriabin in the occident (also, will likely be included in a larger, academic, project I am working on, slowly):

"The other novelty at this concert was Edward Mitchell's Fantasy Overture, for which I cannot find a single good word to say, despite the fact that the judges who recommended this work for inclusion in the Carnegie Trust collection described it as-so the programme notice informs us --'a striking and original work of great force and character . . . full of interest'" (M.D.C., 1928, p. 258).

Beethoven Piano Sonata No. 22 (Backhaus)
Lyapunov 12 Transcendental Etudes (Schcherbakov)
Medtner Sonata Triad (Tozer)
Scriabin Fantasy in B Minor (Hamelin)
Ireland Three Pastels (Lenehan)
Scriabin Piano Sonata No. 10 (Wang)

[Todd]

[foxandpeng]

Interesting! What's it like Danny?

I like Jandali because he isn't a composer of filmic music or music that is simply folk melodies that have a veneer of orchestration laid over it, but writes in a way thst is accessible and (to me, at least) thoughtful. His music has a Syrian atmosphere without it being done sort of awkward fusion of style.

He is modern and tonal, tuneful and well-structured. He is closer to Vasks than Tabakov, nearer to Hovhaness than Kabeláč.

I'm pants at quantifying music. I can say that all of these works have memorable moments and I always want to hear more from him 🙂

[foxandpeng]

I've gone full Danish tonight.

Nielsen's magnificent Helios Overture (1903)
Holmboe: Flute Concerto No.1 (1975-76)
Nørgård: Symphony No.6, 'At the End of the Day' (1997-99, rev.2000)

Great programme of music!

[DavidW]

It is amazing what a good recording doors to a piece. That was amazing, in fact, this is a piece I love to see the CSO blast, as it seems right up their alley. Definitely going to add a recording of this to my collection. I still favor the Brahms more, but this is right there, level-pegging. That opening to the Mozart is still with me though - it sounded so strange that I can't it out of my head.

Many thanks. :-)

Glad you loved it. Sir Colin Davis was the champion of Berlioz. You can't go wrong with those classic recordings, and they are very well recorded, too.

The Berlioz Edition is one for the shelves. Davis did so well in the operas, orchestral works, and choral works. Utterly committed.

[Madiel]

Listening to a concert of Holmboe choral works on YouTube. Two of which I'm not sure you can hear any other way.

It's good quality. Link in Holmboe composer thread.

[vandermolen]

I like Jandali because he isn't a composer of filmic music or music that is simply folk melodies that have a veneer of orchestration laid over it, but writes in a way thst is accessible and (to me, at least) thoughtful. His music has a Syrian atmosphere without it being done sort of awkward fusion of style.

He is modern and tonal, tuneful and well-structured. He is closer to Vasks than Tabakov, nearer to Hovhaness than Kabeláč.

I'm pants at quantifying music. I can say that all of these works have memorable moments and I always want to hear more from him 🙂

That's really helpful Danny - thanks.

[vandermolen]

"Scenes and arias" by Maw is also a very early work. Maw wasn't yet 30, if I remember well, but I find it an extremely beautiful work. Lyrical!


"" Back in the early 1960s, followers of new music in Britain soon became aware that the future would not be entirely dictated by the innovative radicalism of Princeton or Darmstadt – or even by such iconoclastic Brits as Peter Maxwell Davies and Harrison Birtwistle. And anyone inclined to dismiss Nicholas Maw's Scenes and Arias, on its first version's Proms première in August 1962, as a nostalgic pseudo-Delian wallow, was put right by Anthony Payne's enthusiastic contextualization of Maw in this journal a couple of years later. In Payne's analysis, Scenes and Arias triumphantly avoided rambling romanticism, demonstrating a 'post-expressionist language' at 'a new pitch of intensity', as well as 'the composer's exceptional feeling for the movement inherent in atonal harmony'. ""

I've heard a few live performances of Maw's music and never really enjoyed it. Maybe I should try again.

[Roasted Swan]

It  is just meant as a friendly piece of advice to Jeffrey. to reach the same level as Bruckner.

In my head I have Jeffrey down as a "fine red" type of chap!

[vandermolen]

In my head I have Jeffrey down as a "fine red" type of chap!