Quote from: Florestan on Today at 11:36:31 AMIt's just a vanity project.
Quote from: Pohjolas Daughter on Today at 06:31:34 AMI found out a little bit of information about the work (see link below). Apparently, the composer had initially called it "Uncle Tom". No idea as to why he had renamed it to "Uncle Teddy" when it was published. https://www.rundel.de/en/article/uncle_teddy/MVSR2323
PD
Quote from: prémont on Today at 10:58:04 AMFor some unknown reason Todd used Backhaus' stereo recording for comparison. The earlier mono recording is generally more successful.
Quote from: Atriod on Today at 12:54:56 PMCompletely ignore what Bernstein said if you have some bone to pick with him and just listen to the music attentively/uninterrupted/not doing anything else, like all great art demands. It's pretty obvious what the general feel of the piece is, the fourth movement is about as literal as Mahler gets. The only real ambiguity I hear is whether he has come to peace with things with the quiet ending or if nothing has been resolved (even the harrowing sixth symphony has a concrete resolution). Either interpretation doesn't detract from my interpretation of the symphony as a whole as taking us to the abyss.
Quote from: Irons on Today at 01:12:21 PMThat cover rung a bell - sure enough a LP version resides on my shelves. Thanks are in order as I enjoyed the recording very much. The use of orchestra is particularly striking, a sort of symphonic concerto for orchestra if that makes sense. I don't know if you had access to programme notes but of interest that Jirasek conceived the symphony to include baritone solo to the text of a poem by Vitezslav Nezval, indeed the premiere included the vocal part. Afterwards Jirasek decided to drop the baritone solo, although the symphony is built around Nezval's poem.
Quote from: pjme on Today at 01:55:02 AMSome of these recordings (Léonce Gras , Franz André) must be quite old and -possibly- stem from the radio archives.
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