Started by Mark, October 25, 2007, 12:26:56 PM
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Quote from: Mark on October 25, 2007, 03:00:22 PMAgreed. Which leads me to strongly recommend this:Bax, Bliss & Britten - Oboe QuintetsWorth it for Britten's Phantasy Quartet alone.
Quote from: jurajjak on October 25, 2007, 03:44:18 PMI'd be very interested in a further discussion of Bliss. Since I first heard it about 3 years ago, I've been obsessed with Morning Heroes, probably his greatest work. Does he have any other works that are equally good? I know Rout, the Color Symphony, some of the film scores (i.e., Things to Come), Checkmate, the oboe quintent, and a couple other pieces, and while much of it is excellent, I haven't found another Bliss masterpiece on the level of Morning Heroes. Does anyone know his opera The Olympians? Apparently there is one obscure (live) recording.andrew
Quote from: Mark on October 25, 2007, 03:58:20 PMI like small-scale Bliss best - his Conversations for Flute, Oboe, Violin, Viola and Cello are fascinating works, as is his A Major String Quartet. The Piano Quartet also deserves to be heard more often.
Quote from: marvinbrown on October 25, 2007, 03:02:43 PM Thanks Lethe for the recommendation and Bruce for insisting that the lack of any Britten operas needs to be addressed immediately. I think thats where I will go to next -> Britten's operas as I have been buying opera DVDs at an alarming fast rate (3 per week) .
Quote from: Lethe on October 25, 2007, 01:46:41 PMYeah, but we need to take into account that you dislike several other composers who people rank even higher than RVW - I guess his style just isn't your kind of thing The Tallis Fantasia does use its material with economy, but to most it is highly effective. The symphonies are more in line with traditional expectations (the no.1 symphony is a fully choral one - almost to the point of being an oratorio - and somewhat influenced by Elgar), but I don't think it likely that you will enjoy his symphonies very much either. If you were to try any, perhaps the 9th, as even the 6th, which is commonly recommended as another side for people who are used to RVW's "happy" style, could probably be considered as "simplistic" by you. I would consider the orchestration more "to the point" than simplistic, and bursting with melody.Edit: I guess my point is, don't try too hard to like him, he may be a "blind spot" in your interests, or if you do make an effort to enjoy his music, perhaps make sure that your expectations are ones that he can meet, rather than getting disappointed at him not being something else.
Quote from: Peregrine on October 25, 2007, 01:50:27 PMTry and get hold of the Barbirolli/English String music disc, then you'll know what you've been missing...
Quote from: 71 dB on October 26, 2007, 03:50:18 AM I suppose that dics defines good English music to many.
Quote from: Mark on October 25, 2007, 02:32:43 PMJust heart-breaking. Firstly, you're starting off with a good but not excellent recording of the Tallis Fantasia (or, to give it its full name, Fantasia on a Theme by Thomas Tallis ), and second, to conclude that nothing seems to happen strikes me as incredible, using that word literally. Were you not moved at all by it? That piece is in my very veins since I first heard it ten years ago (on the day Diana, Princess of Wales died, actually). It's so tragically beautiful, and so very, very English. If you love Elgar, then I fail to understand why this piece in particular doesn't speak to you.Like I said, heart-breaking.
QuoteVW sounds shockingly refreshingly different to Elgar.
Quote from: JoshLilly on October 26, 2007, 05:21:31 AMColeridge-Taylor wrote two of my favourite works for violin and orchestra. From the Hyperion 'The Romantic Violin Concerto' series, volume 5 contains his Violin Concerto in G minor, Op. 80, paired up with Violin Concerto of Arthur Somervell. Coleridge-Taylor's Romance in G for Violin and Orchestra is really exquisite. There's at least one recording of his Symphony out there, and I was wondering what that was like.
Quote from: Dundonnell on October 25, 2007, 03:52:55 PMI have a soft spot for his orchestral Meditations on a Theme of John Blow(1955) and the very late Metamorphic Variations for orchestra(1975)-both are sound works lacking that last final touch of inspiration.
Quote from: Lethe on October 26, 2007, 06:27:18 AMDundonnell - I also have problems with the recording priorities of some British record labels. I could go without ANY turn of the century academic stuff, but it could at least be kept to a minimum for a while - there is a lot of hardly recorded repertoire from the middle of the century (and later) which has passion to knock that stuff dead... But it does seem that the better music requires playing that is above routine - and routine playing suits the academics just fine, so they get recorded As OK as composers like Stanford are, I just can't see the point in recording MORE of his chamber music at the expense of an inspired genius such as Finzi, or somebody, who don't even have their whole output recorded
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