What are you listening 2 now?

[Brian]

I keep trying John Pickard's music, because I like his basic musical language, work titles, interest in scientific/space themes, and friendly personality (in his booklet notes, which are always good reads). But so far the actual music itself hasn't made much impression on me. I keep wishing it was more. Let's see if this disc changes my mind.

Symphony No. 5 may remind us superficially of Nielsen's Fourth: it's about the same length, the four movements play continuously, and it calls for three (!) sets of timpani, stationed on the left, center, and right. The music is basically traditionally tonal but built on motifs rather than melodies, and it's all about conflicting/interlocking orchestral sections and contrasts between faster and slower music. Pickard says he wants you to sometimes be uncertain whether you're listening to fast or slow music at a given time.

It's somewhat arid music - actually, space is a good comparison, because there isn't a lot of warmth or comfort in space, but there is a lot of beauty and drama. The Symphony is like that. In the early going, there are only flashes of heart, including a very well integrated quote from Sibelius' Symphony No. 6 to end the first movement. That leads directly into a sort of quiet woodwind toccata scherzo. Hurricane-like winds and swells affect the first few moments of the finale. There are plenty more storms and climaxes, and the orchestra makes some almighty impressive noises, although the three sets of timpani are used with restraint for color, and do not duel outright with each other like Nielsen's two sets. Especially around 7' in the finale, there's a climax that simultaneously recalls Shostakovich's Fifth and a really scary disaster movie. Like so many of these extremely frenetic, fast, exciting, virtuosic contemporary pieces - Dieter Ammann's Gran Toccata is another example - the piece ends quietly because the composer has already written so many big climaxes that he doesn't know how to top them anymore.

The orchestration is deliciously good and worth the listen alone. I just don't know whether it's supposed to have any meaning. It's a very very impressive Bunch of Stuff Happening, but the pleasure for me is aural only, not emotional or mental. I wouldn't dissuade anyone who likes complex, contemporary tonal scores from giving it a try to see if they feel differently. Everyone's got a different set of emotions.

Sixteen Sunrises is a tone picture imagining the view out from the International Space Station, which does indeed see the sun rise 16 times a day. Here Pickard's gift for color and in-the-moment aural spectacle is really used to its best. Don't expect the typical musical sunrise; there's a pretty extensive tuba solo, even. Truth be told, there are times when Pickard's particular color palette and range makes this sound like an extension of the symphony.

Concertante Variations is a very casual piece for wind quintet soloists and small orchestra; it almost feels like Pickard has taken off all his formal clothes and slipped into a pair of comfy pajamas. The music is more melodic, too, to suit the wind solo players. A charming piece and, at 13 minutes, almost a miniature.

The album ends with a true miniature, a glittering arrangement for full orchestra of a Monteverdi toccata from Orfeo.

[Traverso]

Stravinsky



 

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Now playing Bartók Piano Concerto No. 3, SZ 119

[Brian]

Dobrinka Tabakova's 5-minute piece Organum Light, a premiere recording, is inspired by Einstein's theory of quantum light. Musically, however, it sounds almost like a string orchestra transcription of medieval chant or sung polyphony, and the small ensemble (string quintet with second viola) adds to this feeling. Golijov's Last Round is maybe his most famous piece, written in reaction to the news of Astor Piazzolla's career-ending stroke. Of course, it therefore has many elements of tango nuevo and bandoneón effects. It would be fun to see live because the string sections frequently go "at"/against each other with lots of stabbing motions with the bows and imitative or dueling musical effects.

I previously wrote my thoughts on the two Olli Mustonen pieces in this post. They hold up well. But the centerpiece of the album, between all the contemporary works, is an arrangement of Apollon musagète for string sextet: violin 1, violin 2, viola, cello 1, cello 2, double bass. This was made for a live performance with limited space and the performers hope it will enable the music to be played more widely by smaller ensembles. It's worth saying that the recording smartly puts the violins at the far ends, the two cellos next inside, and the bass and viola at the center, for greater clarity. The bass is not always ideally audible compared to the violins.

My favorite recordings of Apollon tend to be the most romantic, lush, gorgeous string sections there are (e.g. Concertgebouw/Chailly, St Martin/Marriner, and the underrated Dorati coupling with Appalachian Spring). This...well, it ain't that. I don't think it would have been right to play the piece faster to compensate for the lack of heft, since it's all about delicacy and beauty. (This takes 29:22, vs. 29:44 for Chailly and 30:10 for Marriner). But ...this version is chamber music. It has to be listened to differently, appreciated differently, analyzed differently. I might have to take some time to adjust to it...or I might stick to the original. Anyone seeing a live performance of the sextet, in a community that lacks a full-time orchestra, would enjoy the experience, especially if the performance also included dancers.

[Der lächelnde Schatten]

Before lunch --- Schmitt Rêves, Op. 65



I might be far off-the-mark in posting this but I think Schmitt is like a cross between Debussy and Scriabin. Anyone that knows Schmitt's music, would you say this is a fair description?

[Symphonic Addict]

Another recent release that intrigued me. The Symphony No. 2 seems a good work, a typical late-Romantic piece with nice ideas, save for the excessive use of cymbals. I mean, it sounds almost like a symphony for cymbals and orchestra. Even the slow movement is not spared from passages with cymbal crashes. Practically each passage in mezzo forte, forte o fortissimo carries cymbals. It gets ludicrous at times. Who gave him orchestration lessons? Paganini? Things get a tad better with Poème nocturne, but it doesn't possess a properly nocturnal quality to it, it's more like a carnival piece. Definitely it is better than the Symphony. I sometimes wonder why this label devotes so many recordings to this composer. Was he that good? I don't think so.

[Linz]

Anton Bruckner Symphony No. 3 in D Minor, 1890 Thorough revision Bruckner with Joseph and Franz Schalk Ed. Theodor Raettig
Wiener Philharmoniker, Carl Schuricht

[Iota]

Grieg Lyric Pieces, Books 2 & 6 (excerpts)
Leif Ove Andsnes (piano)

Performed on Grieg's own piano, in the house where he lived for the last part of his life, the recording has a sort of (presumably conscious) direct/'homemade' feel to it, lending it a certain unshowy, intimate quality. Very glad the recording was made, but I was interested rather than excited by the short selection I heard.

[Der lächelnde Schatten]

Now playing Bax Violin Concerto



Another reason to rejoice in the miracle that is Lydia Mordkovitch --- her championing of not well known British concerto/chamber repertoire.

[ChamberNut]

Another recent release that intrigued me. The Symphony No. 2 seems a good work, a typical late-Romantic piece with nice ideas, save for the excessive use of cymbals. I mean, it sounds almost like a symphony for cymbals and orchestra. Even the slow movement is not spared from passages with cymbal crashes. Practically each passage in mezzo forte, forte o fortissimo carries cymbals. It gets ludicrous at times. Who gave him orchestration lessons? Paganini? Things get a tad better with Poème nocturne, but it doesn't possess a properly nocturnal quality to it, it's more like a carnival piece. Definitely it is better than the Symphony. I sometimes wonder why this label devotes so many recordings to this composer. Was he that good? I don't think so.

You'll have to handle the Wrath of Harry

[Christo]

Before lunch --- Schmitt Rêves, Op. 65



I might be far off-the-mark in posting this but I think Schmitt is like a cross between Debussy and Scriabin. Anyone that knows Schmitt's music, would you say this is a fair description?

If you ask me, I would rather say Schmitt is a cross between Debussy and Scriabin. But of course, I am not asked anything. 

[Der lächelnde Schatten]

If you ask me, I would rather say Schmitt is a cross between Debussy and Scriabin. But of course, I am not asked anything. 

Well, I'm glad I wasn't off-the-mark as I usually am.

[Der lächelnde Schatten]

Now playing Strauss Eine Alpensinfonie, Op. 64



Absolutely thrilling, no holds barred performance.

[Symphonic Addict]

Given that I am zero familiar with recordings of the pianism of Robert Casadesus to claim if they're good or not, I can judge his musical quality for some of his compositions. Well, the pieces on the disc below are quite appealing. These four succinct quartets are entirely delightful, witty (mostly in the 2nd movements) and very French-sounding. Oddly enough, some gestures and devices reminded me of Villa-Lobos, which is not a bad thing, but rather they manage to season with delectable piquancy. Highly entertaining music that sounded very well played and recorded.

[Linz]

Richard Rodney Bennett Calendar
Gordon Crosse Concerto Da Camera for Solo Violin, Wind & Percussion
Sir Harrison Birtwistle Tragoedia
Peter Maxwell Davies Leopardi Fragments, Cantata, Op. 18: "Stridore notturno"
Rosemary Phillips, Melos Ensemble

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Now streaming via Presto Music --- Korngold Violin Concerto in D major, Op. 35

[Brian]

Now streaming via Presto Music --- Korngold Violin Concerto in D major, Op. 35

The cover portrait is very grumpy. "Well if you won't play the Korngold with me, I'm taking my violin and going home!"

[Brian]

I wonder if Sabine Weyer has ever performed with Sabine Meyer...

[Der lächelnde Schatten]

The cover portrait is very grumpy. "Well if you won't play the Korngold with me, I'm taking my violin and going home!"

 

[Der lächelnde Schatten]

Now streaming via Presto Music --- Debussy Suite bergamasque