Sir Arthur Bliss

Started by tjguitar, April 16, 2007, 09:20:19 AM

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vandermolen

#220
Quote from: Irons on April 28, 2019, 05:41:46 AM
I have that recording on Ace of Diamonds, and yes in stereo.



That's a great cover image!

Here it is on Decca Eclipse:
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

On your cover it is "Sir Adrian Boult" on mine, plain old "Boult". ;D
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on April 28, 2019, 11:31:19 AM
On your cover it is "Sir Adrian Boult" on mine, plain old "Boult". ;D
Hadn't noticed that! Those Ace of Diamonds designs were very nice.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

aukhawk

Quote from: Irons on April 28, 2019, 05:41:46 AM
I have that recording on Ace of Diamonds, and yes in stereo.

As I recall, the 'Ace of Diamonds' moniker specifically denoted stereo - among other things, ie, Ace of Diamonds = Decca reissue, bargain, stereo.  Where Ace of Clubs was mono.

And it was Eclipse, I seem to recall, that had a small hole punched in one corner of the sleeve, on the back side.  This allowed the paper inner to show through and the colour of the inner was used to denote 'mono' or 'stereo'.  At a time when dealers had to stock both, this allowed the same outer sleeve to be used for either.

Biffo

Quote from: aukhawk on April 29, 2019, 12:49:39 AM
As I recall, the 'Ace of Diamonds' moniker specifically denoted stereo - among other things, ie, Ace of Diamonds = Decca reissue, bargain, stereo.  Where Ace of Clubs was mono.

And it was Eclipse, I seem to recall, that had a small hole punched in one corner of the sleeve, on the back side.  This allowed the paper inner to show through and the colour of the inner was used to denote 'mono' or 'stereo'.  At a time when dealers had to stock both, this allowed the same outer sleeve to be used for either.

For a time Decca issued its full prices LPs in both mono and stereo, I am not sure about Ace of Diamonds. The copy of Bohm's recording of Die Frau ohne Schatten I owned was a reissue on AoD and was in mono. I no longer have the LPs  but my catalogue identifies it as mono; all the other AoD issues I own/owned are stereo and all the AoC are mono.

Roasted Swan

Quote from: aukhawk on April 29, 2019, 12:49:39 AM
As I recall, the 'Ace of Diamonds' moniker specifically denoted stereo - among other things, ie, Ace of Diamonds = Decca reissue, bargain, stereo.  Where Ace of Clubs was mono.

And it was Eclipse, I seem to recall, that had a small hole punched in one corner of the sleeve, on the back side.  This allowed the paper inner to show through and the colour of the inner was used to denote 'mono' or 'stereo'.  At a time when dealers had to stock both, this allowed the same outer sleeve to be used for either.

I'd forgotten about that punched hole - but of course you are right.  That RVW Symphony 8 was the only one in the Boult Decca set that was recorded in stereo as I recall..... (but I've no idea if it was ever released in a mono option)

Irons

Quote from: aukhawk on April 29, 2019, 12:49:39 AM
As I recall, the 'Ace of Diamonds' moniker specifically denoted stereo - among other things, ie, Ace of Diamonds = Decca reissue, bargain, stereo.  Where Ace of Clubs was mono.



You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Roasted Swan on April 29, 2019, 02:13:16 AM
I'd forgotten about that punched hole - but of course you are right.  That RVW Symphony 8 was the only one in the Boult Decca set that was recorded in stereo as I recall..... (but I've no idea if it was ever released in a mono option)

I remember the punched hole scenario very clearly. Red and blue I think.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

vandermolen

A fine early Bliss discovery for me and another great Decca Eclipse LP image:
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

relm1

#229
I am confused by the various incarnations of Things to Come.  There are multiple suites with different movements and vastly different instrumentation.  Some are quite modest and others are extensive with large orchestra, chorus, and organ.  I assume we don't have a full recording of the score, only the various suites.  Maybe Martin Yates will record a complete reconstructed score one day? 

My favorite version is probably Christopher Palmer's arrangement conducted by Sir Charles Groves with the finale conducted by Bernard Herrmann.  John Mauceri conducted the Hollywood Bowl in the suite with chorus and a grand choral finale.

Daverz

I tried to order the complete Checkmate ballet on Naxos and instead got the the Handley/Liverpool Checkmate Suite on EMI (always a risk when ordering on Amazon Marketplace that the vendor will be clueless; they refunded my money).  Comparing, I think the later digital Handley with the Ulster Orchestra on Chandos is a sexier recording of the suite.  At least the wrong CD has a beautiful recording of the Meditations on a Theme of John Blow.






vandermolen

#231
Quote from: relm1 on July 27, 2019, 03:43:47 PM
I am confused by the various incarnations of Things to Come.  There are multiple suites with different movements and vastly different instrumentation.  Some are quite modest and others are extensive with large orchestra, chorus, and organ.  I assume we don't have a full recording of the score, only the various suites.  Maybe Martin Yates will record a complete reconstructed score one day? 

My favorite version is probably Christopher Palmer's arrangement conducted by Sir Charles Groves with the finale conducted by Bernard Herrmann.  John Mauceri conducted the Hollywood Bowl in the suite with chorus and a grand choral finale.
I think that this one (Chandos) is pretty complete Karim. I like the Suite from Things to Come but feel strongly that the short but ominous 'Machines' should be included. Bliss included it in his own arrangement of the music but other versions, including the otherwise excellent Christopher Palmer version do not. I can't understand why it is often excluded and that rules out those versions for me. Therefore Bliss's own version remains my favourite despite the age of the recording:

"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

vandermolen

#232
Quote from: Daverz on July 27, 2019, 04:00:02 PM
I tried to order the complete Checkmate ballet on Naxos and instead got the the Handley/Liverpool Checkmate Suite on EMI (always a risk when ordering on Amazon Marketplace that the vendor will be clueless; they refunded my money).  Comparing, I think the later digital Handley with the Ulster Orchestra on Chandos is a sexier recording of the suite.  At least the wrong CD has a beautiful recording of the Meditations on a Theme of John Blow.


I like that EMI disc that you got sent by mistake, especially as I like 'Adam Zero'. In fact that is one of my favourite Bliss CDs. I also like the Meditations on a Theme of John Blow, although my favourite version of it is conducted by Hugo Rignold with the Birmingham SO on Lyrita.

Of course you need the Naxos for the complete 'Checkmate' and the fill-up 'Melee Fantasque' was an excellent recent discovery for me.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

I am fairly certain that Bliss recorded "Checkmate" suite for the World Record Club". Although the WRC, a subscription label, released many recordings under licence from other labels I think this from 1960 is an original recording. An excellent performance.

You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on July 28, 2019, 05:06:14 AM
I am fairly certain that Bliss recorded "Checkmate" suite for the World Record Club". Although the WRC, a subscription label, released many recordings under licence from other labels I think this from 1960 is an original recording. An excellent performance.


It's a fine old performance Lol. Here it is on my first LP encounter with the work:

HMV Concert Classics, like Decca Eclipse, was an inexpensive way of discovering classical music in my youth.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

Quote from: vandermolen on July 28, 2019, 09:39:02 AM
It's a fine old performance Lol. Here it is on my first LP encounter with the work:

HMV Concert Classics, like Decca Eclipse, was an inexpensive way of discovering classical music in my youth.

A more apt coupling Jeffrey which was also from from a WRC recording.

You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on July 29, 2019, 12:02:48 AM
A more apt coupling Jeffrey which was also from from a WRC recording.


Interesting Lol. Never seen that interesting-looking LP before.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

relm1

Quote from: vandermolen on July 27, 2019, 11:46:57 PM
I think that this one (Chandos) is pretty complete Karim. I like the Suite from Things to Come but feel strongly that the short but ominous 'Machines' should be included. Bliss included it in his own arrangement of the music but other versions, including the otherwise excellent Christopher Palmer version do not. I can't understand why it is often excluded and that rules out those versions for me. Therefore Bliss's own version remains my favourite despite the age of the recording:



Thanks, this seems to be a newer performance of Machines from 1961
https://www.youtube.com/watch?v=SST6y6U54v0

and I think John Mauceri added it to his version of the suite along with a Christmas choral and chorus in digital studio sound.
https://www.youtube.com/watch?v=_I16PAcxc84

vandermolen

Quote from: relm1 on July 29, 2019, 05:59:42 AM
Thanks, this seems to be a newer performance of Machines from 1961
https://www.youtube.com/watch?v=SST6y6U54v0

and I think John Mauceri added it to his version of the suite along with a Christmas choral and chorus in digital studio sound.
https://www.youtube.com/watch?v=_I16PAcxc84
Very interesting and thanks for posting. As one of the commentators noted Arnold plays 'Machines' at about half the speed of a Bliss. Very interesting to hear but it rather loses its sense of looming threat. Malcolm Arnold did much the same in his recording of his own 1st Symphony, played incredibly slowly. However, I really like that version which gives the work greater gravity than the other recordings by Handley, Hickox's and Penny for example. I have that 'Journey to the Stars' CD and must fish it out.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

relm1

#239
Quote from: vandermolen on July 29, 2019, 01:30:08 PM
Very interesting and thanks for posting. As one of the commentators noted Arnold plays 'Machines' at about half the speed of a Bliss. Very interesting to hear but it rather loses its sense of looming threat. Malcolm Arnold did much the same in his recording of his own 1st Symphony, played incredibly slowly. However, I really like that version which gives the work greater gravity than the other recordings by Handley, Hickox's and Penny for example. I have that 'Journey to the Stars' CD and must fish it out.

Yes check out the "Journey to the Stars" because it has a very different ending to any suite I've heard or the film itself. Probably the most epic.  Also my favorite version of "pestilence" because the horns rise to the very high B natural which is handed off to the trumpets in other recordings I've heard.  Much prefer the intensity here.