Charles Koechlin(1867-1950)

Started by Dundonnell, November 10, 2008, 04:18:24 PM

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TheGSMoeller

Quote from: Mirror Image on June 07, 2011, 10:14:49 PM
It has been brought to my attention that I just post the same thing over and over again, so all I will say is I'm glad you're enjoying the music. :)

I don't see a problem, keep posting MI!!!!

Mirror Image

Quote from: TheGSMoeller on June 08, 2011, 02:25:26 PM
I don't see a problem, keep posting MI!!!!

I don't see a problem anymore either. Yes, on with the Koechlin!

Mirror Image

Time to resurrect this thread.

I was listening to Le buisson ardent: Parts I & II (w/ Holliger and the Stuttgart Radio Symphony) the other day and I have say that this is just a masterpiece of Impressionism. The second part in particular has some of the most gorgeous sonorities I've heard. I love the way it climaxes at the end and just kind of fades out and the rest of the piece is almost in dead silence. Absolutely beautiful.

TheGSMoeller

Quote from: Mirror Image on July 05, 2011, 06:22:09 PM
Time to resurrect this thread.

I was listening to Le buisson ardent: Parts I & II (w/ Holliger and the Stuttgart Radio Symphony) the other day and I have say that this is just a masterpiece of Impressionism. The second part in particular has some of the most gorgeous sonorities I've heard. I love the way it climaxes at the end and just kind of fades out and the rest of the piece is almost in dead silence. Absolutely beautiful.

Hey MI, recently purchased this...
[asin]B000EQICCI[/asin]

I have yet to hear the piano version, but this orchestral version showcases Koechlin's strength in composing for soft dynamics. You're description of Le buisson fading out in dead silence reminded me of Les Heures persanes.

Mirror Image

Quote from: TheGSMoeller on July 05, 2011, 06:31:25 PM
Hey MI, recently purchased this...
[asin]B000EQICCI[/asin]

I have yet to hear the piano version, but this orchestral version showcases Koechlin's strength in composing for soft dynamics. You're description of Le buisson fading out in dead silence reminded me of Les Heures persanes.

Greg, that's an excellent recording. Much better played than Segerstam's on Marco Polo. Holliger understands this score very well and while I think The Persian Hours isn't a complete success from a compositional standpoint, it does have many luminous moments to keep one interested.

karlhenning

Quote from: Mirror Image on July 05, 2011, 06:42:47 PM
Greg, that's an excellent recording. Much better played than Segerstam's on Marco Polo. Holliger understands this score very well and while I think The Persian Hours isn't a complete success from a compositional standpoint . . . .

What impairs its success, MI? Do you mind elaborating?

Mirror Image

Quote from: k a rl h e nn i ng on July 06, 2011, 03:42:33 AM

What impairs its success, MI? Do you mind elaborating?

Well Karl, The Persian Hours is a very atmospheric work, so it takes a conductor who understands this in order for it to be pulled off successfully. I think the problem with Segerstam's reading is he's digging for some kind of aggression when there's no aggression to be found whereas Holliger walked a taut line and approached all of the orchestral shimmers and colors with a better understanding of the score.

karlhenning

Interesting . . . but of course, Les heures persanes is originally a piano piece, so I don't know that as a composition its success depends on the matters you mention.  Actually, I find myself entirely satisfied with it compositionally (probably better satisfied than with Fabricius, really, like that piece though I do) . . . which is why I wondered what it was you find unsuccessful about it.

Mirror Image

Quote from: k a rl h e nn i ng on July 06, 2011, 07:48:46 AM
Interesting . . . but of course, Les heures persanes is originally a piano piece, so I don't know that as a composition its success depends on the matters you mention.  Actually, I find myself entirely satisfied with it compositionally (probably better satisfied than with Fabricius, really, like that piece though I do) . . . which is why I wondered what it was you find unsuccessful about it.

For me, The Persian Hours doesn't stand up next to works like Le buisson ardent, Vers la Voûte étoilée, or The Jungle Book cycle for the simple fact that I think it doesn't have enough emotional weight or contrasts in it to make it a successful work. Le Docteur Fabricius is similar in style to Persian Hours, but contains many more gorgeous moments that take it from what sounds like, at times, pure note-spinning, to mystical lyricism.

karlhenning

Thanks, I think I appreciate better now why you don't care as much for Les heures persanes as for other pieces.  I agree of course that, overall, the emotional tone of the suite is muted; it is not a piece of dramatic contrasts.  For me, though, that is simply part of this work's character, rather than any point of inferiority.

Thanks for indulging my questions!

karlhenning

Quote from: Leon on July 06, 2011, 08:14:13 AM
I consider that quality ("the emotional tone of the suite is muted") of Les heures persanes to be precisely what attracts me to the piece.

Yes, I find that a signal virtue in the work, too.

By me, though, I think I do prefer the piano solo version.  Nonetheless, I am apt to load up both to the player
: )

Lethevich

Ooh, we're doing favourites? I'm sure cilgwyn might want to join in too. The pieces that grab me the most at the moment are La Course de printemps from the Jungle Book, Les Heures persanes in its original piano version, Paysages et Marines in piano garb (the ensemble version loses the stark beauty and gains a lot of hooting), and Le Buisson ardent. At this time I don't view the Jungle Book as an essential integral, given how I prefer some unrelated pieces, although the way it's packaged is an easy way to buy a lot the composer's music in a tidy package.

It's a mystery why his symphonies are so scarcely recorded - usually record labels love the "integral" factor of a symphony. A single piece that will fill half a disc or more without any need of explanation to the prospective buyer.
Peanut butter, flour and sugar do not make cookies. They make FIRE.

karlhenning

Quote from: Lethe Dmitriyevich Shostakovich on July 06, 2011, 08:27:52 AM
. . . gains a lot of hooting . . . .

You say that like it's a bad thing . . . .

karlhenning

And, thanks, Sara, for reiterating your liking Paysages et marines . . . I remember you had spoken well of it, but it fell off the radar.

karlhenning

MI, I have yet to make my way to Vers la Voûte étoilée . . . although I suffer a sort of waking nightmare that, if I check my posts on the WAYLT thread, I'll find that I did indeed once listen to it : )

TheGSMoeller

I'm enjoying the Koechlin thread-love today!
Since I originally brought it up, and I see more praise for the piece, I guess I owe it to myself, and to Mr. Koechlin himself, to check out the piano version, how about this version...
[asin]B00008WQBA[/asin]


Mirror Image

Quote from: k a rl h e nn i ng on July 06, 2011, 08:06:00 AM
Thanks, I think I appreciate better now why you don't care as much for Les heures persanes as for other pieces.  I agree of course that, overall, the emotional tone of the suite is muted; it is not a piece of dramatic contrasts.  For me, though, that is simply part of this work's character, rather than any point of inferiority.

Thanks for indulging my questions!


Yes, I suppose apart of the charm of The Persian Hours is it's atmospheric meanderings. There is one part of this work that I love, but I forgot what the movement is, so I guess its time to revisit it at some point.

Mirror Image

Quote from: k a rl h e nn i ng on July 06, 2011, 08:40:50 AM
MI, I have yet to make my way to Vers la Voûte étoilée . . . although I suffer a sort of waking nightmare that, if I check my posts on the WAYLT thread, I'll find that I did indeed once listen to it : )

Karl, you've got to hear Vers la Voûte étoilée. It's a condensed orchestral work only lasting around 11 or 12 minutes, but there is so much beauty in that passes by that it seems like it's a shorter work than it actually is. The ending climax is remarkable as Koechlin lets the brass section rip right through the orchestral texture. One of my favorite Koechlin works.

karlhenning

Quote from: TheGSMoeller on July 06, 2011, 10:31:25 AM
I'm enjoying the Koechlin thread-love today!
Since I originally brought it up, and I see more praise for the piece, I guess I owe it to myself, and to Mr. Koechlin himself, to check out the piano version, how about this version...

[asin]B00008WQBA[/asin]

That's the one I've got, Greg . . . I've no other version to compare it to, to be sure . . . but I've listened to it some five or six times now, and it never stales for me.

karlhenning

Quote from: Mirror Image on July 06, 2011, 06:10:58 PM
Karl, you've got to hear Vers la Voûte étoilée. It's a condensed orchestral work only lasting around 11 or 12 minutes, but there is so much beauty in that passes by that it seems like it's a shorter work than it actually is. The ending climax is remarkable as Koechlin lets the brass section rip right through the orchestral texture. One of my favorite Koechlin works.

Will get to it soon, MI . . . fact is, the Fabricius I've got is a burn that an old friend sent, and I like it so well I've ordered in a legit copy.