Pieces that have blown you away recently

[Irons]

Yesterday I revisited Martinu Double Concerto for Two String Orchestra, Timpani and Piano. I remember liking it when I first heard it years ago in the StokowskI BBC Legends disc but rehearing it yesterday with Mackerras on Alto made me truly realize what an absolutely amazing piece of music it was. Good googly goo!

A digression if it's permissable: Any other pieces one recommends for similar combos such as the Bartok, Panufnik Concertino for Timpani, Percussion and Strings, Martin Concerto for seven wind instruments, timpani, percussion, and string orchestra (not heard it though), etc.?

For shaking the rafters look no further then Grazina Bacewicz and Music for Strings, Trumpets and Percussion.

[foxandpeng]

For shaking the rafters look no further then Grazina Bacewicz and Music for Strings, Trumpets and Percussion.

Only beginning to dip my toes into Bacewicz, but this isn't bad at all!

[Cato]

Väinö Raitio and his tone-poem Moonlight on Jupiter: one hears the Impressionists and Scriabin now and then, but, as we say here, the composer's individual voice is very apparent.

and Antigone is also a "blow you away" experience!

[Florestan]

A splendid serenata a due voci, full of rustic charm and musical felicities, exuding melodiousness and euphony. Excellent performance and sound. Highly recommended.

[relm1]

Väinö Raitio and his tone-poem Moonlight on Jupiter: one hears the Impressionists and Scriabin now and then, but, as we say here, the composer's individual voice is very apparent.

and Antigone is also a "blow you away" experience!

I enjoyed listening to these yesterday.  Very interesting harmonies and colors with a mix of French and Russian.

[DaveF]

I claimed a little while back in the "Glaring Omissions" thread that I had no recordings of Liszt piano music (apart from the Beethoven symphony transcriptions).  In fact, I discovered one disc by György Cziffra (probably a charity-shop purchase) and gave the 2nd Ballade a spin - hell, what a piece!  I'm not sure he plays quite all the notes, but even so - quite literally shattering.

[Christo]

Ruth Gipps, Ambarvalia Op. 70 (for orchestra, 7:54 minutes long; first recording) showing Gipps' gift for bittersweet melancholy that she shares with her (formal) teacher, Vaughan Williams.

Philip R Buttall at MusicWeb: > This simply outstanding CD ends with a short piece by Gipps – Ambarvalia – for an orchestra of classical dimensions without timpani, and a late work dating from 1988. The title apparently refers to the annual Roman rite, held on May 29, in honour of Ceres, a slow procession blessing the fields and farmlands for the fruits of the earth to come later in the autumn harvest festival. It's a charming pastoral miniature where the only percussion contribution comes by way of a few parallel chords on the celeste. The lilting compound rhythm is maintained throughout, and the work is further enhanced by some delightful woodwind playing, particularly from the flute. The idiomatic performance from the Royal Liverpool Philharmonic Orchestra (RLPO), under the highly sensitive and perceptive baton of Charles Peebles, makes Ambarvalia so appealing every time you listen to it, and yet another gem. <

John Quinn, also at MusicWeb: > To round off the disc Charles Peebles and the RLPO present the third recorded premiere on this programme in the shape of the short orchestral work, Ambarvalia. This is a late work, dating from 1988, which was written in memory of Adrian Croft, the Chairman of the Composers Guild of Great Britain who had died the previous year. I understand that the title refers to an ancient Roman festival during which a slow procession is held to bless the fields so that the fruits of the earth will grow and be harvested in the Autumn. The piece is scored for small orchestra, innocent of percussion save for a celeste, which makes a few telling little interjections. It's a little work of Ravelian refinement which includes some lovely pastoral woodwind solos. The RLPO plays it sensitively.
                           

[Symphonic Addict]

C.P.E. Bach: Symphonies Wq 183, Nos. 1-4 (Richter, Munich Bach Orchestra)

Few times baroque or classical works bowl me over, partly due to I seldom explore those musical periods. On this occasion these absolutely astounding symphonies delighted me quite a lot. These must be some of the most energetic, propulsive, meaty classical symphonies I've ever heard. These works exude vitality aplenty and many inventive and unpredictable gestures. There are other symphonies on this set, but given that they're performed on period instruments, I skipped them as I'm not fond of that style. I do intend to explore his other symphonies, but hopefully played on modern instruments.

[DaveF]

Birtwistle: Theseus Game; Ensemble Modern conducted by Martyn Brabbins & Pierre-André Valade.  It's a sort of Secret Theatre meets Earth Dances - the delight in instrumental sonority and long melodic threads of the former, the crushing physical weight of the latter.  I can't quite decide whether this makes it a triumphant summary of Harry's career, or just a repackaging of old ideas.  At the moment, it feels like the former.

[Mapman]

Jimmy López: Symphony #5 "Fantastica"

https://livefromorchestrahall.vhx.tv/2024-25-4k-uhd/season:11/videos/jimmy-lopez-symphony-no-5-fantastica-detroit-symphony-orchestra-co-commission

I watched the livestream where the DSO first performed this new symphony (it was premiered in Cincinnati in January), and they finally posted the video of the performance. I was impressed by the symphony when I first heard it, and I've listened a few more times over the past few days. It's a very compelling symphony in my opinion. I'm curious whether other GMG members have heard it, and what they think.

[relm1]

Jimmy López: Symphony #5 "Fantastica"

https://livefromorchestrahall.vhx.tv/2024-25-4k-uhd/season:11/videos/jimmy-lopez-symphony-no-5-fantastica-detroit-symphony-orchestra-co-commission

I watched the livestream where the DSO first performed this new symphony (it was premiered in Cincinnati in January), and they finally posted the video of the performance. I was impressed by the symphony when I first heard it, and I've listened a few more times over the past few days. It's a very compelling symphony in my opinion. I'm curious whether other GMG members have heard it, and what they think.

I quite like him but didn't know about this.  Will give it a spin later today. 

[foxandpeng]

Schuman symphonies. Naxos. Quality.

[Der lächelnde Schatten]

Blown away all over again by Sibelius' Origin of Fire, Op. 32 in the original version. But there's not a time that goes by where I'm not blown away by Sibelius' music. He has long been amongst my 'Top 5' favorite composers. There are parts of this work that remind me of the grim and brooding orchestral songs of Shostakovich.

[Symphonic Addict]

Schuman symphonies. Naxos. Quality.

These symphonies caused me a similar impression when I first heard them years ago. And there's no dud in the cycle. What we need now is a complete recording of his string quartets in consistent quality.

[foxandpeng]

These symphonies caused me a similar impression when I first heard them years ago. And there's no dud in the cycle. What we need now is a complete recording of his string quartets in consistent quality.

I hear you!

[AnotherSpin]

Blown away all over again by Sibelius' Origin of Fire, Op. 32 in the original version. But there's not a time that goes by where I'm not blown away by Sibelius' music. He has long been amongst my 'Top 5' favorite composers. There are parts of this work that remind me of the grim and brooding orchestral songs of Shostakovich.

A strange comparison. For me, one of the most distinctive and admirable qualities of Sibelius—whom I deeply love and hold in the highest regard—is his remarkable ability to distance himself completely from the cultural and aesthetic pull of Russia, an influence forcefully imposed on the empire's subjects. Unlike some of his contemporaries who remained caught in that gravitational field, Sibelius forged an entirely independent artistic voice—one rooted in his own landscape, myths, and sensibilities—profoundly different in spirit and tone from anything Russian.

[Der lächelnde Schatten]

A strange comparison. For me, one of the most distinctive and admirable qualities of Sibelius—whom I deeply love and hold in the highest regard—is his remarkable ability to distance himself completely from the cultural and aesthetic pull of Russia, an influence forcefully imposed on the empire's subjects. Unlike some of his contemporaries who remained caught in that gravitational field, Sibelius forged an entirely independent artistic voice—one rooted in his own landscape, myths, and sensibilities—profoundly different in spirit and tone from anything Russian.

What an odd response. I didn't say the entire piece Origin of Fire sounded like Shostakovich --- only certain parts brought this composer's orchestral songs to mind.

[AnotherSpin]

What an odd response. I didn't say the entire piece Origin of Fire sounded like Shostakovich --- only certain parts brought this composer's orchestral songs to mind.

I see nothing odd in it whatsoever. You take pleasure in discovering a Russian connection, while I, with equal enthusiasm, delight in observing its splendid absence.

[Symphonic Addict]

Many first listens recently, and this regarding Maurice Ohana's three string quartets stands out. It's one of those cases where each work sounds more cogent than the previous one. Music loaded with unpredictable gestures, alluring dissonances, a riveting sense of suspense and absorbing complexity. Quite original. A thoroughly fascinating journey from the first quartet to the third one.

[relm1]

Yesterday, I listened to Elgar's The Apostles (Elder/Halle) and very much enjoyed it.  Not the masterpiece that Gerontius is but it definitely had its moments and very fine writing.  The recording is excellent, vivid, and restrained or epic when needed...it's measured.