Pieces that have blown you away recently

[Symphonic Addict]

Karel Husa: Symphony No. 1 (1953)

Astounding and gripping music by this Czech composer, redolent of the brooding styles of Kalabis, Ivanovs (not as depressing, though), and perhaps Kabelac. Remarkable stuff that could comfortably be one of my discoveries of this year. My curiosity was piqued to explore further.




Paul Kletzki: Symphony No. 3 (1939)

Very different and more advanced than his Second Symphony, there's something energetic music on here. One instantly feels this work will feature a relentless character, and effectively, it unfolds that way a good deal of the time. It reminded me of K.A. Hartmann's soundworld, the music has seriousness, gravitas and drive, just as contrapuntal density.




Hans Gál: Piano Quartet in A major (left hand) (1926)

A peach of a piano quartet, the ideas struck me like original and engaging in a way not much dissimilar to Paul Juon's melodic gift. A winning work expertly written. I suspect the rest of the disc will be of interest and good quality too.




Joseph Jongen: Deux Sérénades for string quartet (1918)

Two thoroughly eloquent pieces imbued with graceful beauty and sensual gestures. Jongen's idiom seems to relate to that of Ravel, albeit the former has his own ideas, his own voice.

[Brahmsian]

Just heard on the radio yesterday a Bach Stokowski orchestral transcription of an Aria from the St. John Passion. Was conducted by Jose Serebrier. Wow! 

[Symphonic Addict]

Two tremendous works, brilliantly played and recorded:

Weingartner: Violin Concerto in G major
Koechlin: Piano Quintet

[kyjo]

Two tremendous works, brilliantly played and recorded:

Weingartner: Violin Concerto in G major

Weingartner's VC is unknown to me at the moment (I'll check it out soon!), but I might as well mention that a few months ago I was absolutely blown away by this CPO disc of his Sextet (mislabeled Septet on the cover; for piano, 2 violins, viola, cello, and bass) and Octet (for piano, clarinet, horn, bassoon, 2 violins, viola, and cello):



I'll quote from one of multiple excellent Amazon reviews, this one by a certain "Hexameron":

The gloomy Piano Sextet in E minor (1906) is the greatest of its kind I've ever heard, eclipsing the sextets of Lyapunov, Glinka, and even Mendelssohn. Every movement is instilled with strong ideas and memorable content. It opens with an intense "Allegro appassionato" possessing magisterial themes: the first is heroic and striving; the second conveys soaring hope and profundity. Both themes are rich in melodic content. A lighter mood pervades the "Allegretto" with its playful pizzicato melody—so charming and tuneful—and a trio of aching beauty. Things turn sober in the pensive "Adagio," notable for its gravity and profound harmonic progressions outlined by the piano. Weingartner foregoes the usual spirited finale for an intense "Danza funebre," a stylized funeral march full of anguish and emotional pangs.

Nearly twenty years later Weingartner would embark on another rarefied chamber genre with his Octet in G major (1925). Despite its major key, the opening "Allegro" is serious, chromatic, and swells with Brucknerian grandeur. Owing to the confident and active piano part, the texture is befitting of a concerto. Wagner would have been pleased by the melodious primary theme, which another reviewer compared to the Liebestod. After some throat clearing, the melancholy "Andante" becomes a passionate outcry of grief, tempered by meditative respites. At this juncture the piece brightens. The "Tempo di minuetto" is coolly relaxed with a warm theme for the solo horn, while the finale is energetic and features an updated palette of whole tones and modern harmony.

Performances and recorded sound are top-notch, as one can expect from CPO. Oliver Triendl is always outstanding and employs tremendous muscle and vigor.

In short, these are two of the most powerful, inventive, and memorable chamber works I've encountered recently, all the more remarkable considering their unusual instrumentations and the fact that they're all but unknown. Though several of Weingartner's symphonies are quite impressive and enjoyable (particularly nos. 2 and 3), these chamber works eclipse them in terms of individuality and consistent inspiration. Absolutely remarkable stuff!

[Symphonic Addict]

Weingartner's VC is unknown to me at the moment (I'll check it out soon!), but I might as well mention that a few months ago I was absolutely blown away by this CPO disc of his Sextet (mislabeled Septet on the cover; for piano, 2 violins, viola, cello, and bass) and Octet (for piano, clarinet, horn, bassoon, 2 violins, viola, and cello):



I'll quote from one of multiple excellent Amazon reviews, this one by a certain "Hexameron":

The gloomy Piano Sextet in E minor (1906) is the greatest of its kind I've ever heard, eclipsing the sextets of Lyapunov, Glinka, and even Mendelssohn. Every movement is instilled with strong ideas and memorable content. It opens with an intense "Allegro appassionato" possessing magisterial themes: the first is heroic and striving; the second conveys soaring hope and profundity. Both themes are rich in melodic content. A lighter mood pervades the "Allegretto" with its playful pizzicato melody—so charming and tuneful—and a trio of aching beauty. Things turn sober in the pensive "Adagio," notable for its gravity and profound harmonic progressions outlined by the piano. Weingartner foregoes the usual spirited finale for an intense "Danza funebre," a stylized funeral march full of anguish and emotional pangs.

Nearly twenty years later Weingartner would embark on another rarefied chamber genre with his Octet in G major (1925). Despite its major key, the opening "Allegro" is serious, chromatic, and swells with Brucknerian grandeur. Owing to the confident and active piano part, the texture is befitting of a concerto. Wagner would have been pleased by the melodious primary theme, which another reviewer compared to the Liebestod. After some throat clearing, the melancholy "Andante" becomes a passionate outcry of grief, tempered by meditative respites. At this juncture the piece brightens. The "Tempo di minuetto" is coolly relaxed with a warm theme for the solo horn, while the finale is energetic and features an updated palette of whole tones and modern harmony.

Performances and recorded sound are top-notch, as one can expect from CPO. Oliver Triendl is always outstanding and employs tremendous muscle and vigor.

In short, these are two of the most powerful, inventive, and memorable chamber works I've encountered recently, all the more remarkable considering their unusual instrumentations and the fact that they're all but unknown. Though several of Weingartner's symphonies are quite impressive and enjoyable (particularly nos. 2 and 3), these chamber works eclipse them in terms of individuality and consistent inspiration. Absolutely remarkable stuff!

Weingartner was a remarkable composer and many don't give to him the credit for that. Both his orchestral and chamber music contain some truly fine gems. Apart from the ones you mentioned, it includes (IMO) his Symphonies 1-4, his 5 String Quartets, String Quintet, some tone poems and the Violin Concerto. Granted, he wasn't a consistent craftsman all the time, but when he was inspired, one really notices and recognizes his talent.

[kyjo]

Weingartner was a remarkable composer and many don't give to him the credit for that. Both his orchestral and chamber music contain some truly fine gems. Apart from the ones you mentioned, it includes (IMO) his Symphonies 1-4, his 5 String Quartets, String Quintet, some tone poems and the Violin Concerto. Granted, he wasn't a consistent craftsman all the time, but when he was inspired, one really notices and recognizes his talent.

Indeed! As far as conductor-composers go, he was certainly one of the most successful ones IMO.

[kyjo]

Otakar Ostrčil (1879-1935): Sinfonietta (Prague SO/Bělohlávek)



https://youtu.be/PKyXn7Te6Hg

My first encounter with this composer's music, and quite impressive it is! Lasting 38 minutes and quite serious in its emotional content, I have no idea why the composer called it a sinfonietta instead of a symphony, except for perhaps the fact that it's in 5 movements rather than the traditional 4. Composed in 1921, it inhabits a rather darkly chromatic (but never overly dense or lugubrious) sound-world that could perhaps be compared to the later works of Suk, Zemlinsky, Schmidt, or Braunfels but with an added neoclassical rhythmic "edge". The outer movements contain an irrepressible, driving forward momentum that is quite compelling, above all in the thrilling finale. It's given a superb performance here by the Prague SO under Bělohlávek; in particular, the principal wind and brass players sound marvelously characterful with their subtle use of vibrato.

[Roasted Swan]

Otakar Ostrčil (1879-1935): Sinfonietta (Prague SO/Bělohlávek)



https://youtu.be/PKyXn7Te6Hg

My first encounter with this composer's music, and quite impressive it is! Lasting 38 minutes and quite serious in its emotional content, I have no idea why the composer called it a sinfonietta instead of a symphony, except for perhaps the fact that it's in 5 movements rather than the traditional 4. Composed in 1921, it inhabits a rather darkly chromatic (but never overly dense or lugubrious) sound-world that could perhaps be compared to the later works of Suk, Zemlinsky, Schmidt, or Braunfels but with an added neoclassical rhythmic "edge". The outer movements contain an irrepressible, driving forward momentum that is quite compelling, above all in the thrilling finale. It's given a superb performance here by the Prague SO under Bělohlávek; in particular, the principal wind and brass players sound marvelously characterful with their subtle use of vibrato.

DO seek out the other Ostricil works.  Your description of where his music "sits" is very apt I think.  Certainly an interesting name to sit alongside Suk or Novak.  The is a distinct post-Mahlerian infuence as well.  Ostricil was a conductor too and he promoted Mahler's work at a time it was little known.  Sadly the recorded catalogue of his music is very small with just a few offerings such as this one on Supraphon.  Do check out the symphony (good but I like the sinfonietta more!) and the Calvary Variations - a sombre work.

If you search on Qobuz:

https://www.qobuz.com/gb-en/search?i=boutique&q=ostricil&qref=dac_1

the good news is they have most of the Supraphon releases as very cheap FLAC downloads........

[vandermolen]

Karel Husa: Symphony No. 1 (1953)

Astounding and gripping music by this Czech composer, redolent of the brooding styles of Kalabis, Ivanovs (not as depressing, though), and perhaps Kabelac. Remarkable stuff that could comfortably be one of my discoveries of this year. My curiosity was piqued to explore further.




Paul Kletzki: Symphony No. 3 (1939)

Very different and more advanced than his Second Symphony, there's something energetic music on here. One instantly feels this work will feature a relentless character, and effectively, it unfolds that way a good deal of the time. It reminded me of K.A. Hartmann's soundworld, the music has seriousness, gravitas and drive, just as contrapuntal density.




Hans Gál: Piano Quartet in A major (left hand) (1926)

A peach of a piano quartet, the ideas struck me like original and engaging in a way not much dissimilar to Paul Juon's melodic gift. A winning work expertly written. I suspect the rest of the disc will be of interest and good quality too.




Joseph Jongen: Deux Sérénades for string quartet (1918)

Two thoroughly eloquent pieces imbued with graceful beauty and sensual gestures. Jongen's idiom seems to relate to that of Ravel, albeit the former has his own ideas, his own voice.

Oh no! More temptation Cesar 

[Symphonic Addict]

Oh no! More temptation Cesar 

There's a Supraphon disc featuring three works by Husa (I posted it on the composer's thread) and I think you could enjoy it very much.

[Franco_Manitobain]

Well now....something that doesn't happen often - I get blown away by something by a British composer.

Alas though, it is the case with my first listen to Bax's First String Quartet in G major.  Immediate impact! 

[Roasted Swan]

Well now....something that doesn't happen often - I get blown away by something by a British composer.

Alas though, it is the case with my first listen to Bax's First String Quartet in G major.  Immediate impact! 

Call me petty - but why did Naxos reverse the original painting - it bugs me they pick a powerful image like this and then get all the players literally playing the wrong way around.........

[Roasted Swan]

Just completed a first listen to this;



Not so much blown away by a piece but an entire disc.  Who is Pierre-Charles Sancan!?!?  Such joy, such energy and genuine musical wit.  Sometimes I think the BBC PO can play well but in an under-engaged manner.  Here they are on tip top form.  Also pianist Jean-Efflam Bavouzet is clearly a disciple of the composer too and flautist Adam Walker plays the delightful Flute Sonatine to perfection.  A genuine discovery from first note to last.  MORE SANCAN PLEASE!!

[Mapman]

Bruckner: String Quintet - Adagio (for string orchestra)
Skrowaczewski: Saarbrücken

Beautiful Bruckner that somewhat reminds me of the 8th symphony. From one listen this goes among my favorite Bruckner slow movements.

[vers la flamme]

Original version of Bruckner's 3rd.

Josquin des Prez's Nymphes des boys.

Johann Sebastian Bach's cantata Nach dir, Herr, verlanget mich.

[Franco_Manitobain]

Bach - Prelude, Fugue and Allegro, BWV 998 for the lute or guitar.

Ever since hearing it at a recent guitar recital, I can't get enough of it.  In particular, the second movement Fugue has got to be one of the most beautiful things I've ever heard! 

[DavidW]

Bach - Prelude, Fugue and Allegro, BWV 998 for the lute or guitar.

Ever since hearing it at a recent guitar recital, I can't get enough of it.  In particular, the second movement Fugue has got to be one of the most beautiful things I've ever heard! 

Alright listening now... David Russell performing.

[Franco_Manitobain]

Alright listening now... David Russell performing.

Hope you enjoyed it David!

[DavidW]

Hope you enjoyed it David!

Yes I did!  Sublime.

[Owen David]

I'm not sure "blown away" is the right phrase but "thoroughly charmed" having listened to the orchestral suite of Le Roi Pinard, an operetta by Déodat de Séverac, a composer I was hitherto unfamiliar with.

https://www.youtube.com/watch?v=cG-CwC_pOv4

I wonder Ravel was influenced by it when he came to write Bolero - listen in particular to the Madrigals section.