Pieces that have blown you away recently

[Symphonic Addict]

Few Soviet quartet cycles are so compelling and special like the six SQs by Vadim Salmanov (1912-78). These works represent a major achievement, I am astounded by the musical quality of each of them, no dull or weak examples here. The music is loaded with sorrow, intensity, bitterness, eloquence and profoundness in spades, not devoid of many piquant moments either.

Seriously engrossing and rewarding stuff.

[kyjo]

Rubinstein: Piano Quintet in G minor

https://youtu.be/92W4Z6c4TrU

I generally find Rubinstein to be an interesting composer with attractive ideas that aren't usually utilized to their full potential, and promise more than they deliver. Even his formerly-famous PC no. 4 I don't find to be a terribly remarkable work. But his Piano Quintet is an out-and-out masterpiece IMO - a stormy, passionate, and epic (50 min.) work which is geniunely symphonic in character. It has some instantly memorable themes, such as the secondary themes of the first movement and finale (the former tragic in character, the latter noble and triumphant). To my ears, it seems to directly pave the way for the magnificent Taneyev Piano Quintet (in the same key) which came a few decades later. It's hard to comprehend why this, undoubtedly one of Rubinstein's finest works by a wide margin, lacks a modern commercial recording - the YouTube video above is of a live recording - the sound quality is just okay and the performance can be a bit rough around the edges sometimes, but there's a sense of passion and involvement that is palpable.


Bargiel: Symphony in C major and three overtures



Talk about an unexpected revelation of a disc! This is far from your average run-of-the-mill, watered-down version of Mendelssohn/Schumann/Brahms, mid-19th century Germanic symphonic music. (Bargiel was almost an exact contemporary of Brahms, btw.) The Symphony is a compact, energetic fireball of a work, and despite its major tonality, it doesn't shy away from stormy minor-key episodes in the development sections. Special note must be made of the finale, which is as thrilling and convincing an ending to a symphony as I've heard recently! And the three overtures are very substantial works, more like tone poems actually (Prometheus is 18 min. long). They're dramatic, often harmonically adventurous works which occasionally betray the influence of Liszt (minus the bombast ). And I must offer a very positive word about the performances, too - the last time I encountered the Siberian (formerly Omsk) Philharmonic was in their recordings of the Victor Bendix symphonies on the Danacord label, performances which I found distinctly lacking in most regards. Here, under the seemingly inspirational baton of Dmitry Vasilyev, they sound like a completely different band, digging into Bargiel's music with great fire and abandon.

[foxandpeng]

Few Soviet quartet cycles are so compelling and special like the six SQs by Vadim Salmanov (1912-78). These works represent a major achievement, I am astounded by the musical quality of each of them, no dull or weak examples here. The music is loaded with sorrow, intensity, bitterness, eloquence and profoundness in spades, not devoid of many piquant moments either.

Seriously engrossing and rewarding stuff.

Huh. Interesting. On the list!

Thank you 😊

[vandermolen]

Few Soviet quartet cycles are so compelling and special like the six SQs by Vadim Salmanov (1912-78). These works represent a major achievement, I am astounded by the musical quality of each of them, no dull or weak examples here. The music is loaded with sorrow, intensity, bitterness, eloquence and profoundness in spades, not devoid of many piquant moments either.

Seriously engrossing and rewarding stuff.

Interesting Cesar. I like his symphonies but don't know the SQs.

[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.

The Husa interests me Cesar despite your observation that 'it's not as depressing' as Ivanovs 

[vandermolen]

I'd ignored this CD for years having read some negative reviews. How wrong I was! Following an enthusiastic comment on the forum (can't remember by whom) I bought a second-hand copy which completely revived my interest in the Enigma Variations, which I found more moving than ever before.

[relm1]

I'd ignored this CD for years having read some negative reviews. How wrong I was! Following an enthusiastic comment on the forum (can't remember by whom) I bought a second-hand copy which completely revived my interest in the Enigma Variations, which I found more moving than ever before.

Agreed, this is a very fine and unorthodox performance.  Very moving by the glorious ending but I can see why that romanticism might rub some people the wrong way.  It's a bit of Elgar by way of Mahler.

[vandermolen]

Agreed, this is a very fine and unorthodox performance.  Very moving by the glorious ending but I can see why that romanticism might rub some people the wrong way.  It's a bit of Elgar by way of Mahler.

Yes - a very good point!

[vers la flamme]

I must hear that Bernstein Elgar disc!

I watched a David Hurwitz video where he discussed recordings of the Enigma. Something he said that cracked me up is that Bernstein told the players he had cracked the Enigma, but that he wouldn't tell the BBC Symphony players what it was, which drew their ire for his perceived arrogance. I hope that's true. I know that Lenny and the BBCSO did not exactly get on famously.

[relm1]

I know that Lenny and the BBCSO did not exactly get on famously.

Yes for sure check out the Lenny BBCSO Elgar Enigma.  It's special.  I don't know if I would characterize it as Lenny and the BBCSO didn't get on famously.  A friend who performed in a major London orchestra in the 1970's and under Lenny described him as loud and obnoxious.  He rubbed a lot of people the wrong way. This doesn't mean he wasn't annoying and flashy, he was loud and obnoxious which drives most people crazy, but they also found him brilliant.  He was a bit of a diva and that drives most anyone crazy. 

[vers la flamme]

Yes for sure check out the Lenny BBCSO Elgar Enigma.  It's special.  I don't know if I would characterize it as Lenny and the BBCSO didn't get on famously.  A friend who performed in a major London orchestra in the 1970's and under Lenny described him as loud and obnoxious.  He rubbed a lot of people the wrong way. This doesn't mean he wasn't annoying and flashy, he was loud and obnoxious which drives most people crazy, but they also found him brilliant.  He was a bit of a diva and that drives most anyone crazy. 

I was thinking of a video I saw the other day of some members of the BBCSO brass section disagreeing with Bernstein and rolling their eyes at him as he tried to correct them in a certain passage. That, and the fact that I don't think he was ever invited back However, I'm sure you're right that it was not an altogether negative experience for the orchestra, and a very good recording came of it.

[relm1]

I was thinking of a video I saw the other day of some members of the BBCSO brass section disagreeing with Bernstein and rolling their eyes at him as he tried to correct them in a certain passage. That, and the fact that I don't think he was ever invited back However, I'm sure you're right that it was not an altogether negative experience for the orchestra, and a very good recording came of it.

I know exactly what video you are talking about and you can see he is getting under their skin for many, many reasons.  First, he ignored protocol by telling trumpets to phrase like trumpet 3 which can be considered deeply insulting and what I recall was trumpet 2 spoke up that we tie to trumpet 1 not trumpet 3.  One can argue the trumpet was out of line because the conductor is describing what he wants tonally and rather than argue, just agree to phrase it as requested.  Lenny might have done this the wrong way, but there was no scenario where the trumpet will win the argument and frankly, came across as petty.  On top of that, you have a yank telling a Brit how to play Elgar in a very unorthodox way.  AND he was loud about it.  This clearly must have driven them crazy in all sorts of ways.  An interesting fly on the wall moment.  But the results speak for themselves and it's a very unique and special recording.

[lunar22]

Arnold's 6th is a fine work, but have you heard the 5th? To my ears, it's his ultimate masterpiece and an unforgettably powerful work.

Only the 7th to my mind surpasses the excellent 5th. Andrew Penny concurred when asked directly at the Arnold festival I once attended.

[lunar22]

Yes, a wonderful score! Definitely check out his 3rd Symphony if you haven't already - a sunny, generously melodic work with a slow movement that's absolutely to die for. It's by far my favorite of his 5 symphonies, btw.

I have ALvfen himself conducting this hugely enjoyable work. But I have to say his masterpiece has to be the 2nd with the imposing fugal finale. In fact, there's a case for this being the finest of all the Swedish romantic symphonies. As Alfven was a friend of my grandfather, I may be biased but there it is. It's a shame his powers seemed to wane rather as he got older -- the 5th was a struggle and, contrary to the opinion of some, I find the 4th less distinctively Swedish (which is perhaps an advantage internationally) and a bit maudlin compared to the first three

[Atriod]

Dallapiccola's Il Prigioniero. I haven't played this in ages since I only had it on LP which doesn't get used much. I recently discovered this Dorati performance has been reissued on digital. Phenomenal work.

[Lisztianwagner]

Dallapiccola's Il Prigioniero. I haven't played this in ages since I only had it on LP which doesn't get used much. I recently discovered this Dorati performance has been reissued on digital. Phenomenal work.

I absolutely agree, it is an extraordinary composition, which struck and impressed me very much the first time I listened to it some months ago. I don't know Dorati's performance, but I love both Noseda and Rosbaud (in German).

[Symphonic Addict]

I've been exploring Sándor Veress' music lately and these two works have made a big impression on me:

Hommage à Paul Klee, for two pianos and string orchestra
Concerto for string quartet and orchestra



The first work is a kaleidoscopic suite in seven movements inspired by some Klee's paintings and the result is highly compelling and imaginative, with movements of sheer eloquence and haunting beauty (like After Klang and Grün in Grün) and others more agitated and piquant (like Feuerwind and Kleiner Blauteufel). The Concerto for piano, strings and percussion and the 6 Csárdás for piano on the same disc have no waste either.

The next work inhabits a much more abstract and mysterious sound world. I don't know many concertos for string quartet and orchestra (only the ones by Martinu and Schoenberg) and this is a formidable addition to the canon. The way Veress uses the orchestra and particularly the percussion and its timbres and sonorities is nothing short of spellbinding and effective, the sense of suspense and enigma throughout the work catches the imagination. It's a work that demands concentration. I haven't heard the two string quartets on the same disc yet.

To some extent Veress seems the natural heir of Bartók, the influence is evident on these works, so anyone who enjoys Bartók could find Veress' style engrossing.

[Peter Power Pop]

I must hear that Bernstein Elgar disc!

I watched a David Hurwitz video where he discussed recordings of the Enigma. Something he said that cracked me up is that Bernstein told the players he had cracked the Enigma, but that he wouldn't tell the BBC Symphony players what it was, which drew their ire for his perceived arrogance. I hope that's true. I know that Lenny and the BBCSO did not exactly get on famously.

[Mapman]

Kodály: Peacock Variations

Very fun, with lots of orchestral color! I recommend this to anyone who enjoys works based on Hungarian folk music.

[Dry Brett Kavanaugh]

Kodály: Peacock Variations

Very fun, with lots of orchestral color! I recommend this to anyone who enjoys works based on Hungarian folk music.

That's a nice performance. I like the recording of Gyorgy Lehel/Hungarian Radio Orchestra as well.