wimpel69's COULD-BE-FILM-MUSIC "CLASSICAL CORNER" (work in progress) [Archive] - Page 4

wimpel69

07-08-2013, 08:36 AM

Please do! :)

Re-Ups:

George W. Chadwick, Cleopatra, Sinfonietta, etc (No.300) - symphonic poems by the leading composer of the ate 19th century "New England Group"
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/20.html#post2268804

Erkki Melartin, Violin Concerto, Sleeping Beauty Suite (No.305) - charming, sweeping Finnish late romanticism
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/20.html#post2284741

Ch�vez, Ponce, Revueltas - Shorter Orchestral Works (No.306) - another round of colorful Mexican works
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2286497

William Russo, Street Music (No.308) - jazz-infused American music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2287519

Alexander Moyzes, Gemer Dances, Down the River Vah (No.309) - leading Slovak composer of the 20th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2289389

Alfredo Casella, Italia (No.311) - extended symphonic poem by Casela + charming ballet suite by Respighi
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2289389

---------- Post added at 09:36 AM ---------- Previous post was at 08:52 AM ----------

No.383

Mark Adamo (*1962) first attracted national attention with the libretto and score to his
uniquely successful d�but opera, Little Women, after the novel by Louisa May Alcott.
Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women
has since enjoyed over sixty national and international engagements in cities ranging from
New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Mexico City, Tokyo,
and the recent European premiere in Brugges, Belgium (2009) and the Canadian premiere
in 2010 in Calgary and Banff. It is one of the most frequently performed North American operas
of the last decade. Telecast by PBS/WNET on Great Performances in 2001 and released on CD
by Ondine that same year, in autumn 2010 Naxos releases the DVD of Little Women�s
2001 broadcast. Comparable acclaim greeted the premiere of Lysistrata, or the
Nude Goddess, adapted from Aristophanes� comedy but including elements from Sophocles�
Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary
and premiered in March 2005 with additional performances at New York City Opera in 2006.
Adamo�s first concerto, Four Angels: Concerto for Harp and Orchestra, was commissioned
by the National Symphony Orchestra and introduced in June 2007. Adamo is currently at work
on his next opera, commissioned by San Francisco Opera for premiere in 2013.

Music Composed by Mark Adamo
Played by the Eclipse Chamber Orchestra
With Emily Pulley (soprano), Andrew Sullivan (narrator)
And Dotian Levalier (harp)
Conducted by Sylvia Alimena

"Composer Mark Adamo is best known for his work as an opera composer,
and by the release date of Naxos' Mark Adamo: Late Victorians, he has composed
two of them: Little Women (1998) and Lysistrata, or the Nude Goddess (2005).
Operas take a long time to compose and are expensive to record well, and when you
devote a lot of time to a single, focused work it can be hard to accumulate the little
things you need in order to produce a single CD that affords listeners a sample of
what you can do. The title work, Late Victorians (1994, but heard in a revised version),
is one of those comparatively little things, a symphonic cantata with a text cobbled
together from an essay included in Richard Rodriguez's Pulitzer Prize-nominated book
Days of Obligation -- a book where Rodriguez controversially came out as gay --
and select poems of Emily Dickinson. The Rodriguez text concerns late Victorian
houses in San Francisco, lately rehabbed, but then left vacant as their owners struggled
and died with the AIDS virus. Unable to set the long, fully narrative Rodriguez text,
Adamo decided to assign some passages from it to a narrator; here read by actor/
author Andrew Sullivan, and to alternate them with Dickinson's poems as sung by
a soprano, that part taken here by Emily Pulley. Although it deals with AIDS, Late
Victorians is neither anguished nor angry; it is quite low key and requires some
amount of patience owing to the lengthy cadenzas awarded to solo instruments
in the orchestra. Late Victorians is certainly not a typical cantata as the presence
of words is not continuous and the dialogue-like exchange between the speaker
and singer is highly unconventional. When the soprano first comes in, you almost
want to laugh, but ultimately it sounds natural and you grow used to it. The total
output of the music and words, however, is very effective: this piece captures the
feeling of empty ambiguity analogous to a scenario such as "I had a friend, and
he died. I didn't find out about it until 18 months later...." This is a condition not
imposed by the disease, but arises as an external circumstance of it. This has
affected countless survivors of AIDS victims whether gay or straight, and Adamo
has found the right voice for the situation in Late Victorians.

Apart from Regina Coeli, a single movement from Adamo's Concerto for harp
and orchestra featuring soloist Dotian Levalier (2006), the rest of the music consists
of "bleeding chunks" from Adamo's operas; the Overture to Lysistrata and a concert
suite drawn in 2007 from Little Women entitled Alcott Music. It is in the latter that one
can most readily understand what is so immediate and likable about Adamo's operatic
work; it captures the nineteenth-century milieu of Louisa May Alcott without the built-in
sentimentality associated with the era and is stated in a completely contemporary neo-
Romantic idiom. Regina Coeli -- and presumably the concerto to which it is related --
seems like a nice addition to the all too slim repertoire of concertos for the harp; however,
it isn't as strong as the other instrumental music here, being a little reminiscent of Ned
Rorem's concerted works, though it is admittedly more studiously wrought and tasteful
than Rorem typically is outside of his song literature and piano music.

Sylvia Alimena and the Eclipse Chamber Orchestra plays Adamo's music with considerable
warmth and the right interpretive idiom; they sound much more confident and assured
on Late Victorians than they do on their recording of overtures of Florian Leopold Gassmann,
issued by Naxos in the same calendar month. Since serious awareness of gay classical
composers began to be recognized in the 1990s, a sort of potted and slightly condescending
patina of preconceived notions has grown up around what a gay composer does and is.
Such notions include a tendency toward unfashionably tonal and neo-Romantic harmonic
language, a preference toward vocal music or music written for the stage and a seeming
over-concern for issues impacting the gay community, including AIDS; though on the other
hand, one wonders how you would be expected to ignore it? Adamo's Late Victorians isn't
likely to dispel such preconceived notions, but for music that can be placed roughly within
those parameters this is certainly top drawer and deserves a wider hearing well beyond
the confines of the gay community."
All Music

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 133 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!wAIUGATI!QiVyJzS0bb3zhaqTkdwFKU7Duu4hnEJAtJ8qp4M uEm0

Enjoy! Don't share! Buy the original! :)

wimpel69

07-10-2013, 08:44 AM

Re-Ups:

Bedrich Smetana, Ma Vlast (My Fatherland) (No.198) - beautifully idiomatic recording of Smetana's masterpiece
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2225714

Modest Mussorgsky, Pictures at an Exhibition (No.199) - three versions: a wonderful reading of Ravel's famous orchestration, one for brass band, and one for cellos & double basses alone!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2225762

Gustav Holst, The Planets (No.200) - superb recording of the Holst classic, plus a hilarious Petrouchka pastiche by Percy Grainger
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2226398

Gustav Holst, The Planets for Two Pianos (No.200) - Holst's original version!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2226398

Richard Arnell, Punch and the Child, etc (No.201) - two colorful ballets and a violin concerto by neglected English composer Arnell
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2226589

William Wallace, Creation Symphony (No.202) - ripe late-romanticism from Britain
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2226589

Igor Markevitch, R�bus, etc (No.321) - Markevitch's masterful ballet
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2305960

Pierre-Octave Ferroud, Chirurgie Suite, Symphony (No.322) - a forgotten French composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2308845

John Fernstr�m Symphony 6, The Capricious Troubadour (No.323) - a Swedish master of the mid 20-th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/22.html#post2309617

HPLFreak

07-10-2013, 09:05 AM

Thanks for the Adamo.

wimpel69

07-12-2013, 08:28 AM

No.384

Emerging on the international music scene in the late '40s, Alberto Ginastera (1916-1983)
established himself as one of the mid-twentieth century's most distinctive compositional figures.
Although he eventually borrowed sonorities and procedures from the serialist and experimentalist
movements of the ensuing decades, he did so selectively and undogmatically, synthesizing with
ever-increasing sophistication and discretion the echoes of his native Argentina with the expanding
compositional palette of the avant-garde.

Ginastera worked actively as a composer and champion of new music despite considerable
external obstacles; his political views twice put him at odds with the Per�n government, which
forced his resignation from positions at the National Military Academy and the National University
of La Plata (he regained the latter position after Per�n's defeat). Personal problems, including
marital strife, stifled his productivity in the late '60s, but his divorce and subsequent marriage
to cellist Aurora Natola, and his retirement to Switzerland after decades of teaching in Argentina's
most prominent musical institutions, gave Ginastera his second wind; his last years were among
his most fruitful.

This collection, recorded in Denmark(!) under Venezuelan conductor Jan Wagner, brings together
some of Ginastera's most approachable and colorful works from the early and middle periods in
his career.

Music Composed by Alberto Ginastera
Played by the Odense Symphony Orchestra
Conducted by Jan Wagner

"Following up on their superb Villa-Lobos CD, Venezuelan conductor Jan Wagner
and his fine Odense orchestra turn their attention to Ginastera, producing at a stroke
the single most recommendable introduction to that composer�s orchestral music.
Most of the best-known and popular of the composer�s tonal, Nationalist works have
been gathered here in one convenient package (only the early ballet Panambi lacks
representation). As with the Villa-Lobos disc, there�s no questioning the conviction
and idiomatic flair with which these performers attack these colorful and intoxicating
pieces.

Wagner tends to prefer moderate tempos but never stints on giving the music the
necessary rhythmic kick. This means that the Overture to the Creole Faust has
more gravitas than usual, the Danza del trigo in Estancia greater poetry, and the
outer movements of Pampeana No. 3 additional lyrical sweep and intensity. In the
faster movements, such as Los guerreros on Ollantay or the irresistible final
Malambo from Estancia, Wagner catches appealing details of instrumental color
that other performances miss (the xylophone glissandos in the latter, for example).
Toss in excellent sound, brilliant and alive but with plenty of depth, and you won�t
find a better planned, played, or recorded Ginastera collection anywhere."
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/p10s10_zps455b1f8d.gif

Source: Bridge CD (my rip!)
Format: mp3, 320k (CBR), DDD Stereo
File Size: 131 MB

Download Link - https://mega.co.nz/#!9RgxXYKS!T_gLcTpHRWm-tS9Wn9uS2Xqw_Us0_Cpmh_n78qqRHzY

Enjoy! Don't share! Buy the original! :)

wimpel69

07-14-2013, 09:13 AM

Re-Ups:

Florent Schmitt, La Trag�die de Salom� (Suite), Le Palais Hant� (No.84) - Schmitt's masterpieces
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2199456

Albert Roussel, Bacchus et Ariane (No.85) - Roussel's wonderful ballet, complete
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2199650

Alan Rawsthorne, Practical Cats, etc (No.87) - charming ballet by the English composer, plus other works
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200121

Jes�s Guridi, Sinfonia Pirenaica (No.88) - large-scale folkloristic Basque program symphony
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200121

Sergei Prokofiev, The Steel Dance, On the Dnieper (No.88) - two rather different ballets, one "machine music", the other more folksy
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200196

Isaac Schwartz, Yellow Stars (No.90) - a moving tribute to the Jewish suffering under the Nazis
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200215

Douglas Lilburn, A Song of Islands, Aotearoa Overture, etc (No.91) - beautiful overtures and tone poems by New Zealand's pre-eminent 20th century composer - very Sibelian
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200473

Alb�ric Magnard, Hymne � la Justice, etc (No.95) - shorter orchestral works by French Wagnerian Alb�ric Magnard
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2200801

Toivo Kuula, Orchestral & Vocal Works (No.96) - superb pieces by an unjustly neglected Finnish composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2201213

Ruud Langgaard, Symphony No.1 (Clippenpastoraler) (No.97) - majestic program symphony by the Danish eccentric
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2205601

Arnold Rosner, A Sephardic Rhapsody, The Tragedy of Jane (No.99) - works by a "regional" American-Jewish composer, not unlike the music of Ernest Bloch
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2205687

---------- Post added at 10:13 AM ---------- Previous post was at 09:37 AM ----------

No.385

In 1942 poet Allen Curnow and composer Douglas Lilburn were living in Christchurch.
They were part of a lively circle of artists, musicians, writers, poets and academics who were to
have a major influence on the cultural development of New Zealand. Together Curnow and Lilburn
producecd a New Zealand classic Landfall in Unknown Seas, the poem by Curnow narrated
with incidental music by Lilburn. In this recording, the narrator is Sir Edmund Hillary, the first man
to have conquered Mt. Everest. This is an excerpt from the the poem:

"Simply by sailing in a new direction
You could enlarge the world.
You picked your captain,
Keen on discoveries, tough enough to make them,
Whatever vessels could be spared from other
More urgent service for a year's adventure;
Took stock of the more probable conjectures
About the Unknown to be traversed, all
Guesses at golden coasts and tales of monsters
To be digested into plain instructions
For likely and unlikely situations.

All this resolved and done, you launched the whole
On a fine morning, the best time of year,
Skies widening and the oceanic furies
Subdued by summer illumination; time
To go and be gazed at going
On a fine morning, in the Name of God
Into the nameless waters of the world."

The other works featured on this CD include Lilburn's Divertimento for Strings,
a neo-classical piece, plus two shorter works for strings by fellow New Zealand
composers Anthony Watson and Larry Pruden.

Music by Douglas Lilburn, Anthony Watson & Larry Pruden
Played by the New Zealand Chamber Orchestra
With Sir Edmund Hillary (narrator)
Conducted by Donald Armstrong

"Douglas Gordon Lilburn (born Wanganui, 2 November 1915; died Wellington, 6 June 2001)

Douglas Lilburn was born in Wanganui, New Zealand, in 1915. He attended Waitaki Boys’
High School from 1930 to 1933, before moving to Christchurch to study at Canterbury
University College (1934-6). In 1937 he began studying at the Royal College of Music, London.
He was tutored in composition by Ralph Vaughan Williams and remained at the College until 1939.

He returned to New Zealand in 1940 and was guest conductor in Wellington for three months
with the NBS String Orchestra. He shifted to Christchurch in 1941 and worked as a freelance
composer and teacher until 1947. Between 1946 and 1949 and again in 1951, Lilburn was
Composer-in-Residence at the Cambridge Summer Music Schools.

In 1947 Douglas Lilburn shifted to Wellington to take up a position at Victoria University as
part-time tutor in music. He was appointed full-time Lecturer in 1949 and Senior Lecturer in
1955. In 1963 he was made Associate Professor of Music and was appointed Professor with
a personal chair in Music in 1970. In 1966 Lilburn founded the Electronic Music Studio at
the university and was its Director until 1979, a year before his retirement. Lilburn was
awarded an Honorary Doctorate from the University of Otago in 1969 and in 1978 was
presented with the Composers’ Association of New Zealand (CANZ) Citation for Services to
New Zealand Music. In 1988 he was awarded the Order of New Zealand.

Prizes and Scholarships include: Percy Grainger Competition, 1936, for his tone poem
‘Forest’; Cobbett Prize, Royal College of Music, 1939 for ‘Phantasy for String Quartet’; Foli
Scholarship and Hubert Parry Prize, Royal College of Music, 1939; three out of four of the
prizes in the New Zealand National Centennial Music Celebrations Competitions, 1940; the
Philip Neill Memorial Prize 1944. Douglas Lilburn was founder of Waiteata Press Music
Editions in 1967 and founder of the Lilburn Trust of the Alexander Turnbull Library, Wellington,
1984. His writings include ‘A search for tradition’, a talk given at the first Cambridge Summer
School of Music in January 1946 (Alexander Turnbull Library, Wellington 1984) and ‘A search
for language’, a University of Otago Open Lecture, March 1969 (Alexander Turnbull Library, 1985).

Douglas Lilburn, described as "the elder statesman of New Zealand music" and the "grandfather
of New Zealand music," died peacefully at his home in Wellington on 6 June 2001."

Source: Koch International CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 138 MB

Download Link - https://mega.co.nz/#!AAATwAbB!ajujiFSXcKIf8oiRUKYhJBLJmfZAkGU3L87-OC5jAfg

Enjoy! Don't share! Buy the original! :)

wimpel69

07-15-2013, 07:59 AM

Re-Ups:

Lord Berners, The Triumph of Neptune, Les Sir�nes, Wedding Banquet, etc (No.100) - a trio of CDs with charming ballet music by the English eccentric
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2205761

Lodewijk Mortelmans, A Homeric Symphony, Morning Mood (No.102) - impressive epic symphony by the Belgian composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2205975

Mikolajus Ciurlionis, The Sea, The Forest, Preludes (No.105) - tone poems by a Lithuanian composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2206481

Paul Reade, Far from the Madding Crowd (No.106) - substantial English ballet
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207103

Robert Ward, Violin Concerto, The Scarlet Letter (No.107) - Pulitzer Prize-winning composer from North Carolina
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207162

Malcolm Arnold, Overtures (No.108) - a must for film music fans: diverting, colorful overtures by leading mid 20th-century composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207234

Carl Nielsen, Helios Overture, An Imaginary Journey to the F�r�er Islands (No.109) - shorter orchestral works by the greatest 20th century Danish composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207271

Romeo Cascarino, Orchestral Works (No.111) - amiable neo romantic music by an American part-time composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2207928

bishtyboshty

07-15-2013, 09:55 AM

Re-Ups:

Modest Mussorgsky, Pictures at an Exhibition (No.199) - three versions: a wonderful reading of Ravel's famous orchestration, one for brass band, and one for cellos & double basses alone!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2225762

The first of the 3 links has been "Temporarily unavailable" since it was posted 5 days ago.

wimpel69

07-15-2013, 01:58 PM

Try the new link: https://mega.co.nz/#!qkwlFCwR!RM-plwWSJFWrVnXluAM5-jPlI9ZAMQTvpRDgWrnJhmM

I'm not sure anybody is actually downloading these older releases, but since no one else is coming forward to re-up them ...

beardmoen

07-15-2013, 11:10 PM

I've been downloading some of them when I have the time.

Kempeler

07-16-2013, 01:11 AM

Any Symphony inspired by Mountains or Seas?

wimpel69

07-16-2013, 08:00 AM

There's a fairly high number of works associated with the sea (Tuukuanen's Sea Symphony, D'Indy's Poo�me des Rivages, Cras' Chants de la Mer, Ciurlionis's The Sea, which I just re-upped etc) to be found in this thread, and for mountains there's always Alan Hovhaness.

Tsobanian

07-16-2013, 08:12 AM

I was watching this nice film about composer Gliere the other day
????? "?????????? ?????" || Composer Gli�re - YouTube (http://www.youtube.com/watch?v=NYwx7bj-gfo)

GLIERE The Gliere Orchestral Collection - CHANDOS CHAN106795X [SA]: Classical Music Reviews - November 2011 MusicWeb-International (http://www.musicweb-international.com/classrev/2011/Nov11/Gliere_collection_CHAN10679X.htm)
Reinhold GLIERE The Gliere Orchestral Collection - CHANDOS CHAN106795X [RB]: Classical Music Reviews - October 2011 MusicWeb-International (http://www.musicweb-international.com/classrev/2011/Oct11/Gliere_CHAN106795X.htm)

So Russian torrents for the rescue, because this is a must own box-set
(Classical, symphony) The Gli�re Orchestral Collection - BBC Philharmonic, Sir Edward Downes, �� , Richard Watkins - 5CD- 2011, FLAC (image+.cue) lossless (http://rutracker.org/forum/viewtopic.php?t=3939616)

[rutracker.org].t3939616.torrent (http://www.mediafire.com/?ca8i59t31n9xs41)

================================================== ================================================== =============

Russian Wind Band Classics
Royal Northern College of Music Wind Orchestra
Clark Rundell

Russian Wind Band Classics (http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN%2010166)
DSCH CD Review, Russian Wind Band Classics (http://dschjournal.com/reviews/cd_reviews/rvs21op139.htm)

Download FLAC
Download RWindBC rar (http://filewinds.com/6pk5rdffgf26/RWindBC.rar.html)

Russian Wind Band Classics

Shostakovich : March of the Soviet Militia, opus 139;
Gli�re: Solemn Overture for the Twentieth Anniversary of the October Revolution, opus 72 (ed. Robert Grechesky)[a];
Stravinsky: Circus Polka, composed for a young elephant;
Prokofiev: Marches for Military Band, opus 69[a]; Anthem for Military Band, opus 98 (ed. James Gourlay)[a];
Rimsky-Korsakov: Concerto for Trombone[b];
Khachaturian: The Battle of Stalingrad, Suite from the film by Vladimir Petrov, opus 74a (ed. Robert Peel)[a].

Clark Rundell, Royal Northern College of Music Wind Orchestra, Jacques Mauger (trombone)[b].
Chandos CHAN10166. DDD. TT 69:27.
Recorded Studio 7, New Broadcasting House, Manchester 24 & 25 February 2003.
[a]World premiere recordings.

Despite its popularity amongst wind players and fans of wind music in general, music for wind orchestra has yet to achieve the status of its richer cousin "classical music". Ironically, the wind music scene is a thriving one, with highly developed schools of composition in America and Western Europe. New works appear annually and are greeted enthusiastically by performers and audiences alike; but their composers, such as Alfred Reed and Jan van der Roost, are practically unknown outside wind music circles. It is only when a "serious" orchestral composer enters the concert band repertoire that classical music listeners sit up and pay attention. In this respect, composers like Holst and Vaughan Williams have lent authority to an otherwise overlooked genre.

A recent series by Chandos featuring the excellent Royal Northern College of Music Wind Orchestra wanders cautiously into this niche, surveying the wind music of the English, French and Nordic regions. This instalment takes the English band to Russia and injects a few more big names, including Prokofiev, Rimsky-Korsakov and Khachaturian into the wind music repertoire. It can also be considered a follow-up to a 1996 release entitled Russian Concert Band Music (CHAN 9444) with the Stockholm Concert Band conducted by Gennady Rozhdestvensky, which features a remarkably similar line-up.

That earlier disc presented a varied and interesting programme, representing the best of Russian wind music with its inclusion of Myaskovsky's Symphony No. 19 and two Rimsky-Korsakov concertos. This newcomer, while receiving a much more polished performance, is considerably heavier on the marches. As a wind player I found the selection a disappointment, particularly considering the announcement in the liner notes to Russian Concert Band Music that "band music has such prestige in Russia.... there are so many excellent compositions for band by composers from Russia and the other former Soviet republics."

Where are these excellent compositions? The present CD's notes report the difficulty of obtaining scores from the former Soviet Union; for example, only one of the four Gli�re overtures in the catalogue was traceable. This lone Gli�re discovery, the Solemn Overture for the 20th Anniversary of the October Revolution, opus 72, is perhaps one of the disc's most attractive works, exploiting the contrasting timbres of the different brass and wind sections of the ensemble (which, in contrast to the wind section of a typical symphony orchestra, employs larger choirs of a wider range of instruments such as the cornet, euphonium, saxhorn and the complete range of saxophones) and exploring the many possibilities of wind scoring from rhythmic excitement to lyrical beauty. Gli�re's Overture is built on attractive melodic material that has instant appeal, with contrasting sections of declamation and lyricism, heroism and quiet sustaining interest in this 8-minute Overture.

It is worth noting that this 1937 October tribute has more than a touch of Rimsky-Korsakov in it, especially in the central dance sequence on woodwind. In fact, Gli�re sounds even more like Rimsky-Korsakov than Rimsky-Korsakov himself in the latter's Trombone Concerto. This rather dull outing reads like an exercise piece containing not the slightest trace of the usually colourful and exotic Russian master. The central slow section hints at Tchaikovsky, while the finale is somewhat reminiscent of the finale of Vaughan Williams' English Folk Song Suite. This is a far cry from the more idiomatic Concertst�ck for Clarinet and Military Band and Variations for Oboe and Military Band featured in Russian Concert Band Music. The Trombone Concerto's rarity on disc undoubtedly earned it a place here. It may satisfy the completist, but I would much rather hear the transcription of Scheherazade mentioned in the notes to the earlier release.

Stravinsky adds value to the programme with his rollicking Circus Polka, which bursts with the neoclassic quirkiness of his Dumbarton Oaks concerto. Despite its frivolous title and subtitle, it is a marvellous miniature that shows off what a small band of wind instruments can achieve.

To this impressive roll-call of Russian composers comes Shostakovich with a disappointing one-and-a-half minutes' worth of music. His March of the Soviet Militia, opus 139, is an innocuous miniature written between the Fourteenth and Fifteenth Symphonies. Placed in the middle of the programme, this trifle is easily upstaged by the surrounding works to the extent that without the minimum of attention you'd miss it altogether. It takes the form of a rousing military march dominated by a grandiose, Rossinian fanfare-like melody on the trumpets, with a typically strident second subject on the lower brass in a deliberately elementary A-B-A construction. A fleeting four-bar introduction on trilling woodwind and horns on a two-note utterance opens proceedings, the trumpets carrying the tune throughout in an insistent fashion. Section repeats are generously applied, and the work ends as unceremoniously as it begins. If Tahiti Trot took the composer 40 minutes to dash off, then I would guess this march took him 10!

The CD notes are just as brief on background information to the work. The annotator of Russian Concert Band Music, where it was also programmed (under the title March of the Soviet Police), refers to it as a "witty and ironic" work that according to Galina Vishnevskaya was written upon request of the despised Minister of Soviet Police, Nikolai Shcholokov. Fay's biography Shostakovich: A Life (reviewed in DSCH No. 12) efficiently describes the work as a submission for a competition in 1970 that won first prize. Volkov's Testimony further claims that the work was written with its dedicatee Zoshchenko in mind - the famed writer had once worked on the police force.

How much irony one can actually detect depends on the execution. Rozhdestvensky's trumpets press the point home with emphatic playing, underlining their omnipresence with their constantly high, somewhat strained register. His band also outlines clearly the simplistic nature of Shostakovich's upper melody and the blockish tutti accompaniment on the lower winds. As is apparent in the premiere recording by N. Zolotaryov and the Model Orchestra of the Moscow Kremlin Guard (reproduced on Chandos' DSCH CD-ROM/DVD-ROM; CHAN 50001/55001; reviewed in DSCH No. 15), which extends the work with even more repeats in the second and final sections, to diminishing returns, the wit is at best subtle; this march has the potential to sound annoying and ridiculous if played with overt enthusiasm.

Zolotaryov's recording makes us appreciate the brevity and light touch applied by the Royal Northern College Wind Orchestra, who render this a harmless, upbeat, made-to-order march that is over in a blink of the eye. Despite its brevity it does bear the hallmark of the composer's impeccable craftsmanship: the efficiency of his method, the simplicity of the building blocks.

Prokofiev makes a more substantial contribution with his Marches For Military Band, opus 69, which ups the marching band quotient of the programme, for better or worse. The disc also includes his Anthem, opus 98, submitted for that notorious 1943 competition, which with its great tune and warm subtlety I found far more interesting. The opus 69 marches are more garish in comparison. Chandos here present the world premiere of the complete set of four, with previous cuts reinstated. Each march has a distinct character, and they are peppered with typical Prokofievan insolence. Deliberately or not, his melodies tend to overstay their welcome (the saccharine Cavalry March tune is a perfect example). While they are nowhere near as delightful as his opus 99 March found on Russian Concert Band Music (a work that displays the charm of the March from Love for Three Oranges), the contrasting individuality of each march will certainly be of interest.

The set opens with a rather flippant March for a Spartakiade, whose key melody could fit right into Shostakovich's Moscow, Cheryomushki. It's saved from excessive banality by imaginative instrumentation and an interestingly delicate trio (a military band term for a third, more lyrical section of a typical two-subject march). The second Marching Song is more typically pompous, with a stately melody in triple time that might have accompanied military march-pasts or slow marches and a subtle sour twist or two, courtesy of the incorrigible Prokofiev. The third march, written for a competition and the longest of the four, is all pomp and circumstance, with a main tune that I quickly found becomes an irritation. Its saving grace is the lyrical second theme and its two trios of contrasting character, one featuring a solo trumpet and a second, originally cut, starting on the clarinets and developing through various sections such as tuba and saxophones. The final Cavalry March has more than a tinge of irony in it, with its whimsical child-like tune passing from solo trumpet to tuba to woodwinds against a fluffy carnival backdrop complete with trotting triangle and cymbals, recalling Lieutenant Kije. The orchestra perform these marches with a lightness of touch and wonderful solo playing.

Khachaturian closes the programme with the most substantial offering here, a premiere recording of the 30-minute band arrangement of his film music from The Battle of Stalingrad. You can't get more Socialist Realist than this: the touch of Spartacus in Invasion sounds utterly surreal in this overtly bombastic venture. The music is unmistakably Khachaturian, and there are moments where the fingerprints of Gayane are unmistakable (for example, compare Battle, one of the high points of the suite, with Gayane's Storm). There are redeeming moments from the bombast of it all, for example, in the dark central movement; The enemy is doomed, where against a plodding accompaniment the low woodwind and brass take turns to intone mournful passages reminiscent of the third movement of Shostakovich's Eleventh Symphony.

The band sound truly is stunning in the best moments of the score, even through the more hard-driven sections, and on the whole their performances on this disc are highly recommendable. They possess a more transparent and flexible sound than the Stockholm band under Rozhdestvensky, and their trademark lightness (especially noteworthy in the percussion) and crisp articulation give this programme a wonderful shine. If your tolerance for marches and Socialist Realist music is high enough, this could be an enjoyable excursion after all.

guilloteclub

07-16-2013, 10:13 PM

Glazunov: Le Mer,/Bridge:the sea,/Karlowicz :Tatras,/Bax:garden of Fand,/Nystroem :sinfonia marina,/RVW:The sea,/Hovhaness:St.Helen,Mysterious mountain/Hill:Sacred Mountain,etc

wimpel69

07-17-2013, 08:25 AM

Re-ups:

Darius Milhaud, Le Carnaval de Londres, Le Carnaval d'Aix, etc (No.116) - highly colorful ballets and suites by Milhaud
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2208723

Robert Russell Bennett, Lincoln Symphony, Sights and Sounds (No.117) - two large-scale program works by the most famous Broadway musical arranger (for Gershwin, Rodgers, etc)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2208866

Erwin Schulhoff, Ogelala, Symphony No.2 (No.118) - German expressionism from an "entartete" composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2209244

Dave Roylance & Bob Galvin, The Battle of the Atlantic Suite (No.119) - a WWII-themed concert suite by two British composers
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2209244

Riccardo Castillo, Manuel Mart�nez-Sobral, etc - Orchestral Worsks (No.124) - 2 CDs with music from Guatemala
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2210069

Paul Moravec, The Time Gallery etc (No.203) - Pulitzer Prize-winning work by a contemporary American composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2227166

Alexander Glazunov, The Seasons, Sc�nes de Ballet (No.204) - super-colorful music by the Russia master
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2227233

Karol Szymanowski, Harnasie, Mandragora (No.205) - two evocative ballets by the leading Polish composer of the first half of the 20th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2227270

Jerome Moross, Symphony No.1, The Last Judgement (No.208) - great Americana works by the composer of The Big Country (1958)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/13.html#post2227381

---------- Post added at 09:25 AM ---------- Previous post was at 09:07 AM ----------

No.386

Reinhold Gliere (1875-1956), a Soviet composer of Belgian descent, was born in Kiev
in 1875, the son of a maker of wind instruments. He played the violin and wrote music at
home and studied for three years at the Kiev Conservatory before entering the Moscow
Conservatory in 1894. There he studied the violin with Hfimaly and composition with Taneyev,
taking lessons in harmony from Arensky and his pupil Konyus and in orchestration
from Ippolitov-Ivanov.

As a composer Gliere followed the Russian romantic tradition, something that brought him
official praise in 1948 when the music of Prokofiev and Shostakovich was condemned. In particular
his ballet music proved popular. The Red Poppy, later known, to avoid the connotation of
opium, as The Red Flower, satisfied political choreographic demands and became a well known
part of ballet repertoire from 1926 onwards, while the later ballet The Bronze Horseman,
completed in 1949, also retained its place in Soviet repertoire.

The Red Poppy (Krasnj mak), with 1ibretto and original decor by M. Kurilko and choreography
by Lev Lashchilin and Vasily Tikhomikov, was first staged at the Bolshoy Theatre on 14th June 1927,
when Ekaterina Geltser danced Tao- Hoa and Aleksey Bulgatov the heroic Captain. Set in a Chinese
port, the story of the ballet is simply told. The dancer Tao-Hoa falls in love with the captain of a Soviet
cargo ship, to whom she gives a red poppy. Li-Shan-Fu, her manager, plots to kill the captain by
having her give him poisoned tea, but she refuses. Later, in a coolie uprising, she saves the life of
the captain and is later killed in a coo1ie uprising by a bullet from Li-Shan-Fu. She hands a red
poppy to a little Chinese girl, as she dies, a sign of love and of freedom. Scope is given for
divertissements in the second act, a dream-sequence, set in an opium den. Here Tao-Hoa sees
a Golden Buddha, ancient goddesses, butterflies, birds and flowers.

The Red Poppy was greeted with some acclaim at its first staging. It seemed innovative,
with a clear and acceptable political message, fulfilling the aims of the Soviet cultural establishment.
Musically the libretto presented the composer with a number of problems. While the oriental setting
provided an exotic background, enabling Gliere to make use of characteristic pentatonic melodies,
there were inevitable juxtapositions of other musical material, associated with colonial oppression
or with the gallant Russian sailors and their captain.

Music Composed by Reinhold Gliere
Played by the St. Petersburg State Symphony Orchestra
Conducted by Andr� Anichanov

"From the Russian orchestra comes everything you'd expect: crisp
string playing, shimmering brass and a slight seediness to middle voices,
which is an integral part of the picture. Andre Anichanov keeps rhythms
fresh and gives his players the freedom to enjoy themselves."
Classic CD

Shostakovich used to call Gliere "the fat cat".

Source: Naxos CDs (my rip)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 253 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!RQgT0RaZ!Jwk0eGxhgZVEng6THl3Cd3lcLmsNOqFcazhP7RE vdVk

Enjoy! Don't share! Buy the original! :)

wimpel69

07-18-2013, 08:05 AM

Re-ups:

Joachim Raff: Symphony No.5, "Lenore" (No.211) - Raff's best symphony, in its best recording (under Bernard Herrmann!)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2228686

John Alden Carpenter: Adventures in a Perambulator - Douglas Moore - P.T.Barnum (No.213) - innocent music from innocent times
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2228755

David Stock, A Little Miracle (No.215) - varied works by a contemporary Jewish American composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2229356

Godfrey Ridout: No Mean City, Music for a Young Prince, La Prima Ballerina (No.216) - well-crafted neo-romantic works by a leading Canadian composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2229410

Fr�d�ric Talgorn: Vinum et Sanguinem (or: Hymne � Saint Vincent) (No.217) - striking dramatic oratorio by the French film composer (Robotjox)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2229489

Vitězslav Nov�k: Pan (No.218) - extended late romantic tone poem by the Czech composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230047

Kempeler

07-19-2013, 01:13 AM

wimpel69

07-19-2013, 08:22 AM

Re-Ups:

Marc Blitzstein, The Airborne Symphony (No.219) - epic symphonic tribute to aviation, narrated by Orson Welles
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230047

William Mathias: Dance Overture, Sinfonietta, Laudi, Vistas, Invocation & Dance (No.220) - Welsh neo-classicist
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230098

Maria Teresa Prieto: Complete Orchestral Works (No.221) - twofer with wonderful impressionistic/folkloristic orchestral works by a forgotten Spanish woman composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230799

Reinhold Gliere: Taras Bulba, Yevhen Stankovych: Rasputin (No.222) - two Russian ballets
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230964

Tobias Picker: The Enctantadas (No.223) - work for narrator (Sir John Gielgud) and orchestra after Herman Melville
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2231702

Xavier Montsalvatge: Canciones Negras, Concierto breve (No.224) - one of the greatest Spanish composers
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2231892

---------- Post added at 09:22 AM ---------- Previous post was at 09:09 AM ----------

No.387

George Barati (1913-1996) was a composer, conductor, and cellist who exerted an impact on
American life from the moment he took up residence in New Jersey in 1938 until his death recently
at the age of 83. Born in Gy�r in northwestern Hungary, the 25-year-old Barati arrived in the
United States a full-blown musician, having been well prepared at Budapest�s Franz Liszt Academy,
where his teachers included Zolt�n Kod�ly and Leo Weiner. Yet despite his eventual importance
as conductor and composer, initially Barati made his mark as a cellist, serving in orchestras and
other ensembles including the Budapest Symphony and Opera Orchestra, where he was principal
cellist during his last two years in Hungary. Arriving in Princeton, Barati first took up compositional
studies with Roger Sessions, a composer whose density of thought and texture gradually found
its way into Barati�s music, but primarily he busied himself with performance: he was co-founder
of the Pro Ideale String Quartet in Princeton.

Barati�s Alpine Symphony (Symphony No.1) was produced while the composer and
his family were living in the village of St Cergue, in which is nestled a splendid ski resort, during a p
eriod in which the composer travelled as a conductor throughout Europe and Asia, returning to Hawaii
for his concerts there. Barati later said this Swiss experience was what he imagined a similar stay in
the Rocky Mountains might have been like: breathless vistas, sparkling streams, natural wonders at
once massively imposing and filled with the most minute detail. Barati even appears to have replicated
the delicate whistle of the train that climbed the mountain up from Lake Leman every day.

Barati had composed the Chant of Darkness as an expression of mourning for his daughter,
who died in 1992 at the age of 39; later he decided to balance out the pessimism of the work with this
companion piece. Much of the young Barati can be heard in the Chant of Light, completed in 1995 and
published in 1996 just weeks before his death that June, the love of intervals of seconds and sevenths,
the propensity toward tiny motivic cells, the luscious orchestral colour, and the Andante-character
that recalls the Symphony�s opening movement. Cast in true three-part song-form (A-B-A), the
piece contrasts the initial slow section with a peculiar Scherzo characterized by repeated variants
and a Bart�kian rhythmic quality.

Music Composed by George Barati
Played by the Budapest Symphony & Czech Radio Symphony Orchestras
Conducted by Laszlo Kovacs & Vladimir Valek

"Chant of Darkness was Barati's response to the death of his 34-year-old daughter. This one-movement
work is indeed dark, expressing profound grief, but there's a certain nobility that shines through despite
the despair. Intended as a counter-balance to the gloom of Chant of Darkness, Chant of Light is certainly
lighter in mood, but the atonal language (Barati was impressed by the intellectual rigor it required)
precludes any real sense of joy. The real draw of these works is their fascinatingly brilliant construction
and instrumentation--an aural treatise if ever there were one. Kovaks conducts Chant of Darkness,
while Chant of Light receives a full-press performance by Vladimir Valek and the Czech Radio Symphony,
who concede nothing to their Hungarian counterparts. Naxos' sound for both venues is vivid and
richly detailed, with only a tendency toward brightness keeping it just shy of perfection."
Classics Today (10/9)

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 152 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!tF5XHTaR!A1YLRlRHpjX3eKNO_-ksRC9vBEEGv9adhq4K0-L-PyQ

Enjoy! Don't share! Buy the original! :)

Kempeler

07-20-2013, 12:35 AM

Re-Ups:

Marc Blitzstein, The Airborne Symphony (No.219) - epic symphonic tribute to aviation, narrated by Orson Welles
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230047

William Mathias: Dance Overture, Sinfonietta, Laudi, Vistas, Invocation & Dance (No.220) - Welsh neo-classicist
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230098

Maria Teresa Prieto: Complete Orchestral Works (No.221) - twofer with wonderful impressionistic/folkloristic orchestral works by a forgotten Spanish woman composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230799

Reinhold Gliere: Taras Bulba, Yevhen Stankovych: Rasputin (No.222) - two Russian ballets
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2230964

Tobias Picker: The Enctantadas (No.223) - work for narrator (Sir John Gielgud) and orchestra after Herman Melville
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2231702

Xavier Montsalvatge: Canciones Negras, Concierto breve (No.224) - one of the greatest Spanish composers
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2231892

---------- Post added at 09:22 AM ---------- Previous post was at 09:09 AM ----------

No.387

George Barati (1913-1996) was a composer, conductor, and cellist who exerted an impact on
American life from the moment he took up residence in New Jersey in 1938 until his death recently
at the age of 83. Born in Gy�r in northwestern Hungary, the 25-year-old Barati arrived in the
United States a full-blown musician, having been well prepared at Budapest’s Franz Liszt Academy,
where his teachers included Zolt�n Kod�ly and Leo Weiner. Yet despite his eventual importance
as conductor and composer, initially Barati made his mark as a cellist, serving in orchestras and
other ensembles including the Budapest Symphony and Opera Orchestra, where he was principal
cellist during his last two years in Hungary. Arriving in Princeton, Barati first took up compositional
studies with Roger Sessions, a composer whose density of thought and texture gradually found
its way into Barati’s music, but primarily he busied himself with performance: he was co-founder
of the Pro Ideale String Quartet in Princeton.

Barati’s Alpine Symphony (Symphony No.1) was produced while the composer and
his family were living in the village of St Cergue, in which is nestled a splendid ski resort, during a p
eriod in which the composer travelled as a conductor throughout Europe and Asia, returning to Hawaii
for his concerts there. Barati later said this Swiss experience was what he imagined a similar stay in
the Rocky Mountains might have been like: breathless vistas, sparkling streams, natural wonders at
once massively imposing and filled with the most minute detail. Barati even appears to have replicated
the delicate whistle of the train that climbed the mountain up from Lake Leman every day.

Barati had composed the Chant of Darkness as an expression of mourning for his daughter,
who died in 1992 at the age of 39; later he decided to balance out the pessimism of the work with this
companion piece. Much of the young Barati can be heard in the Chant of Light, completed in 1995 and
published in 1996 just weeks before his death that June, the love of intervals of seconds and sevenths,
the propensity toward tiny motivic cells, the luscious orchestral colour, and the Andante-character
that recalls the Symphony’s opening movement. Cast in true three-part song-form (A-B-A), the
piece contrasts the initial slow section with a peculiar Scherzo characterized by repeated variants
and a Bart�kian rhythmic quality.

]

Music Composed by George Barati
Played by the Budapest Symphony & Czech Radio Symphony Orchestras
Conducted by Laszlo Kovacs & Vladimir Valek

"Chant of Darkness was Barati's response to the death of his 34-year-old daughter. This one-movement
work is indeed dark, expressing profound grief, but there's a certain nobility that shines through despite
the despair. Intended as a counter-balance to the gloom of Chant of Darkness, Chant of Light is certainly
lighter in mood, but the atonal language (Barati was impressed by the intellectual rigor it required)
precludes any real sense of joy. The real draw of these works is their fascinatingly brilliant construction
and instrumentation--an aural treatise if ever there were one. Kovaks conducts Chant of Darkness,
while Chant of Light receives a full-press performance by Vladimir Valek and the Czech Radio Symphony,
who concede nothing to their Hungarian counterparts. Naxos' sound for both venues is vivid and
richly detailed, with only a tendency toward brightness keeping it just shy of perfection."
Classics Today (10/9)

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 152 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!tF5XHTaR!A1YLRlRHpjX3eKNO_-ksRC9vBEEGv9adhq4K0-L-PyQ

Enjoy! Don't share! Buy the original! :)

A lot of thanks !

wimpel69

07-20-2013, 08:32 AM

Re-Ups:

Havergal Brian: Burlesque Variations, English Suite No.5, Legend (No.225) - early and late works by the eccentric English composer (1876-1972)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2232518

K�s�ak Yamada: Nagauta Symphony, Symphony Inno Meiji, Maria Magdalena (No.227) - highly imaginative works that fuse Western and Japanese infuences
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2232550

Alla Pavlova: Sulamith (Ballet Suite), Old New York Nostalgia (No.230) - extended suite from a very filmmusic-ky ballet by the Russian woman composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2236255

Einar Englund: Symphonies, The Great Wall of China Suite (No.232) - striking, powerful works by a Swedish composer - Stravinsky and Shostakovich fans should lap it up
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2236373

Evencio Castellanos: Santa Cruz de Pacairigua, Suite Avilena (No.235) - spirited, tonal music by a Venezuelan composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2243285

Peter Sculthorpe: Earth Cry, Piano Concerto, Memento Mori, Kakadu (No.236) - colorful, accessible modern music from Australia
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2244008

A few more re-ups, and it's looking pretty good from No.200 onwards!

Kempeler

07-21-2013, 01:41 AM

I'd grateful for Sergio Rendine’s Symphonies Nos. 1 and 2 ‘Andorrana’

13mh13

07-21-2013, 07:15 AM

wimpel69: What a superb thread!

Not only are the composers/selections unique and interesting, but your post layout+content+formatting is very engaging. Lots of rich "Wiki-like" textual content with high-quality images of disc art ... and the composer still photos add a real human touch.
Again nicely done!
I haven't gone thru all this thread, but am wondering if Samuel Barber or William Walton are included?

softimage69

07-21-2013, 07:19 AM

You said it 13mh13. I have been checking this thread out and getting some great content here. Big thanks for all the info on each album. I am pretty new to listening to pure classical musical, and this has been a great segue to appreciateing it alot more.

Cheers!

wimpel69

07-21-2013, 09:02 AM

Thanks for the support, boys! :)

Re-Ups:

Lu Qi-Ming, Ode to the Red Flag, etc (No.27) - a collection of patriotic Chinese works composed in Communist China
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/2.html#post2190739

Wang Xi-Lin, Yunnan Scenes, etc (No.28) - colorful Chinese tone poems and a Rachmaninovian concerto
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/2.html#post2190739

Louis Vierne: Les Djinns, �ros, etc - Ernest Chausson: Po�me de l'Amour et de la Mer (No.33) - sumptuous, intoxicating French music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2191571

Charles Koechlin: The Jungle Book (complete) (No.35) - Koechlin's epic masterpiece, full of brilliant and imaginative touches
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192127

Uuno Klami: Karelian Rhapsody, Sea Pictures, Kalevala Suite (No.36) - fok legend-inspired music from Finland
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192186

John Ireland: The Forgotten Rite, The Overlanders, Mai Dun, London, etc. (No.37) - impressive works by a contemporary of Ralph Vaughan Wiliams, incl. his film score The Overlanders
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192232

Jerome Moross: Frankie and Johnny, Willie the Weeper, Those Everlasting Blues (No.237) - another albu with concert works by the American film composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/15.html#post2244077

Philipp Ludwig Scharwenka: Arcadian Suite, Spring Waves, Night of Love (No.242) - typical German romantic music of the late 19th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/16.html#post2244751

Witold Lutoslawski: Concerto for Orchestra, Mi-Parti, Preludes, Fanfares (No.312)- 2 albums by the Polish composer, whose Concerto for Orchestra film composer Jerry Fielding so obviously loved. ;)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2290084

Jeremy Beck: State of the Union, Sinfonietta, Death of a Little Girl (No.313) - engaging neo-tonal American music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2290157

wimpel69

07-22-2013, 08:04 AM

No.388

The Italian composer and musicologist Gian Francesco Malipiero led two very different lives.
On the one hand he dedicated himself to the creation of complete editions of music by the great Italian
composers, Monteverdi and Vivaldi, while at the same time composing a large catalogue of music in a
personal and distinctly 20th century style. Though largely self-taught, he was a composer in every genre,
including a symphonic catalogue that contained eleven symphonies. The present disc reveals both
sides of his personality, with two original and vivid orchestral scores, and two works in the style of
composers from the 17th and 18th centuries that Malipiero dressed in modern orchestral colours.

This collection showcases Malipiero's style at its most obviously neo-classical, not just because
he reworked pieces by Gabrieli, but also through allusions to the Commedia dell'Arte and the
subject matter of his ballet Stradivario, which deals with the theft of a precious violin by said maker.

Music Composed by Gian Francesco Malipiero
Played by the Orchestra della Svizzera Italiana
Conducted by Christian Benda

"The ballet Stradivario tells the bizarre tale of an avaricious instrument collector who steals a rare Stradivarius
violin from an itinerant musician, which causes the other instruments in his collection to rebel and take revenge
on the evil man. The score is a veritable Concerto for Orchestra as nearly every instrument briefly takes center
stage. Following the remarkable succession of solos, and ominous brass episode signals the beginning of the
attack on the collector, who is crushed to death by his own instruments in the course of an agitated dance.
Afterward, the precious Strad is returned to its grateful owner, and calm returns to collector's studio. This time,
the music is inventive and clever?nd the playing displays a confidence and swagger... Perhaps this fine
recording will inspire some American company to produce this remarkable ballet."
American Record Guide

"...this disc is another essential acquisition for all Malipiero aficionados. Incidentally, the notes contain some
amazing biographical data gathered by a Malipiero specialist, the late John Waterhouse, who provided
annotations for previous Malipiero releases on Marco Polo. Bravo!"
Fanfare

Source: Naxos/Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 140 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!5AZHzR6a!UBROkFAZYHxstuu2SmqKPSQ4ZXgeO2QwbEtplRd mUys

Enjoy! Don't share! Buy the original! :)

wimpel69

07-23-2013, 07:58 AM

Re-Ups:

Peter Boyer: Ghosts of Troy, Three Olympians, Titanic (No.39) - appealing neo-tonal works by a student of Jerry Goldsmith's
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192286

Heitor Villa-Lobos: Genesis, Rudepoema, Erosao, Amazonas, Dawn in a Tropical Forest (No.40) - masterpieces by the greatest Brazilian composer, on 2 CDs
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192831

J�n Leifs: "Saga Symphony" (S�guhetjur) (No.41) - epic symphony inspired by an Icelandic folk saga
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192865

Reinhold Gliere: Symphony No.3, "Ilya Murometz" (No.42) - Giere's masterpiece in a powerful reading by Leon Botstein
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192981

Peter Maxwell Davies: Caroline Mathilde, Ojaj Festival Overture (No.43) - typically masterful and accessible works by the most important living British composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2193459

Ernest Fanelli: The Romance of the Mummy (No.44) - a symphonic tableau far ahead of its time, for which the composer suffered
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2193500

Erik Satie: Ballets (Parade, Relache, Les Aventures de Mercure) (No.45) - brilliant, eccentric ballet music by the French composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2193531

John Foulds: Three Mantras, Apotheosis, Lyra Celtica, Mirage (No.46) - superb, unusual orchestral works by this forgotten British composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2193583

"Romantic Ireland" (Victory, Potter, Duff, O'Riada) (No.47) - lighthearted, shorter orchestral works
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2193636

wimpel69

07-24-2013, 08:57 AM

Re-Ups:

Richard Arnell: The Great Detective, The Angels (No.50) - two great ballets by the neglected English composer, The Great Detective being, of course, Sherlock Holmes
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194246

Milhaud: Cr�ation du Monde - Weill: Dreigroschenmusik - Kurka: Good Soldier Schweijk (No.51) - three classics of jazz-infused music for chaber orchestra
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194313

Max von Schillings: Meergru�, Seemorgen, etc (No.53) - opulent German late romanticism
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194988

Frederick Converse: Song of the Sea, Festival of Pan, American Sketches (No.54) - intriguing works by one of the first important American composers
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2195072

Niels Wilhelm Gade: Ossian, Summer's Day, Hamlet (No.59) - beautiful early romantic music by a friend and colleague of Mendelssohn's
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2195823

Robert Raines: The Return of Odysseus (No.60) - stark ballet based on the Homeric saga
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2195863

Arthur Honegger: Pacific 231, Rugby, Pastorale, Mermoz (No.61) - varied and colorful shorter works by the Swiss-French composer, including his classic Pacific 231
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2196464

Arthur Honegger: Jeanne d'Arc au Bucher (No.63) - dramatic canatata by Honegger
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196524

Julian Orb�n: Three Symphonic Versions, Symphonic Dances, Concerto Grosso (No.64) - exquisite music from South America
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196579

Zolt�n Kod�ly: H�ry Jan�s Suite, Dances of Gal�nta, Peacock Variations (No.65) - delightfully folkloristic works by an important Hungarian composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2196604

---------- Post added at 09:57 AM ---------- Previous post was at 09:08 AM ----------

Edward Joseph Collins: The Masque of the Red Death, Irish Rhapsody, A Set of Four (No.70) - Another unjustly neglected American composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197309

Shiro Fukai: Creation, Chants of Java (No.72) - Japanese composer much influenced by French impressionism
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197755

wimpel69

07-25-2013, 08:33 AM

Re-Ups:

Takashi Yoshimatsu: Kamui-Chikap Symphony, Ode to the Birds and Rainbow (No.73) - colorful music by a Japanese composer obsessed with birds and the sea
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197775

Karl Weigl, Symphony No.6 ("The Apocalyptic") (No.74) - epic, opulent symphony in a fin-de-si�cle Viennesse style
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197775

Georges Auric: Ph�dre, Le Peintre et son Mod�le (No.75) - two great ballets by the prolific film composer and member of Les Six
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2197831

Samuel Barber: Medea Suite, Third Essay, Fadograph of a Yestern Scene (No.76) - intense ballet by Barber based on Greek mythology
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2198494

Jean Sibelius, The Lemmink�inen Suite (No.77) - extended cycle of tone poems that includes The Swan of Tuonela
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2198494

---------- Post added at 09:33 AM ---------- Previous post was at 08:57 AM ----------

No.389

English composer Matthew Curtis (*1959) was born in Cumbria and read Classics
at Worcester College, Oxford before embarking on a business career in London. He has
recorded four albums of his highly melodic and colourfully orchestrated music, which
is a testament to the ongoing popularity and vitality of "British light music".

Music Composed by Matthew Curtis
Played by the Royal Ballet Sinfonia
Conducted by Gavin Sutherland

"Fortunately, melody is now coming back into fashion, so this collection of the light-hearted
music of the Cumbrian composer Matthew Curtis (b1959) can expect to receive a warm
welcome. It opens with the scintillating concert overture, Fiesta, which has a most beguiling
secondary theme; Curtis�s style is in the best traditions of Eric Coates, Haydn Wood and other
British composers, about whom Andrew Lamb wrote so enthusiastically in last November�s
�Collection�. Coates is the strongest influence, structurally, in the throbbing allegros, and in
the specially English �tennis� waltz (there is an engaging one in the Amsterdam Suite, which
is not in the least Dutch).

Curtis can also readily create a haunting pastoral atmosphere, as in �Lonely City� from the
Amsterdam Suite with its winding saxophone melody (curiously reminiscent of Bizet), and
there is a perky march (�Trams and Crowds�) to round off. The �Pas de deux� brings a haunting
oboe melody to recall Ronald Binge�s �Windmill� and the �Holiday Mood� of the richly scored
Paths to Urbino suite has the kind of jiggy syncopations that recall Curzon and Farnon. Its fourth
movement, �Music of the Fields�, then brings a meltingly romantic horn solo, and the melody
which follows has much in common with the cherishable central movement of Coates�s
Three Elizabeths Suite, and is by no means inferior to it. Then �Journey�s End� brings a deliciously
jaunty Italianate (but still essentially British) tarantella, and the closing �Outward Bound�
makes a spirited and light-hearted finale.

I have suggested the influences of other composers, but Curtis is his own man: his scoring
is particularly skilful (he writes splendidly for the horns) and his fund of invention
inexhaustible. The performances are first class, the recording bright and sparkling."
Gramophone

Source: Campion Cameo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 194 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!ZIgjzCLa!ZfAF-0pfT7hPP9LU8GnFvnKflkUPf0lyQI4eFrpJctI

Enjoy! Don't share! Buy the original! :)

jarz

07-26-2013, 07:41 AM

Wimpel, thanks so much for this thread!

I downloaded a few to test, and I already know what I want to pick up for myself.

One request though: since you have Naxos' Bret�n collection, I was wondering if you had or knew of any recordings of his oratorio El Apocalipsis. It's one of my favorite works by him and I've never found any recordings of it available anywhere.

wimpel69

07-26-2013, 09:01 AM

Sorry, I don't know that piece. Also couldn't find a recording online, except on youtube.

gpdlt2000

07-26-2013, 11:24 AM

El Apocalipsis, Oratorio in two parts (1882, written as Breton's Prix de Rome assignment). Live performance from Salamanca, 2009, performed by Orquesta Sinfonica de Madrid under Andres Zarzo.

More information in the metatags of the three files.
My Files (http://www.mediafire.com/?5uaar8rp8brnu)

jarz

07-27-2013, 03:37 AM

gpdlt2000: Many thanks!

wimpel: Even if you didn't find anything, thanks for trying to help!

wimpel69

07-27-2013, 08:31 AM

Re-Ups:

Manuel Rosenthal: Les petits metiers, Musique de table, Songs (No.137) - very charming miniatures by the French light composer and Offenbach (the composer, not the city) expert
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2212527

British Light Music (Tomlinson, Hedges, Martelli, Lord, Langley, Parker) (No.138) - two albums of colorful, charming light music from all over Britain
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2212601

Stevan Hristic: The Legend of Ohrid - Josip Slavensky: Balakanophonia (No.140) - two ballets from the Balkan region
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2212682

Anthony Iannaccone: Waiting for Sunrise, Night Rivers, West End Express (No.141) - approachable contemporary American music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2213240

Alfred Bruneau: Messidor, L'Attaque du Molin, Nais Micoulin (No.143) - important French composer who tried to incorporate social realism into opera
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2213344

John Duffy: Heritage Fanfare & Chorale, Symphonic Dances, Suite (No.145) - extended symphonic suite from a TV documentary about the history of Jewish people
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214730

Igor Markevitch, Le Nouvel Age, etc. (No.146) - masterful, inventive ballet score by the famed conductor
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214730

Kara Karayev: Symphony No.3, Leyla and Mejniun, Suite from "Don Quixote" (No.147) - robust Soviet symphonic music, plus a suite from the film score Don Quixote
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214781

Ralph Vaughan Williams: Job, A Masque for Dancing (+ Holst, The Perfect Fool) (No.149) - RVW's enigmatic dance pantomime
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2214824

I case you're wondering why you can't see the covers/pictures at the moment: I have exceeded my bandwidth with the image provider (or, rather, you have exceeded my bandwidth), so I either have to go "plus" or have to wait till the image quota resets itself and the pictures are once again visible.

---------- Post added at 09:31 AM ---------- Previous post was at 08:40 AM ----------

No.390

Kenneth Fuchs (*1956) is one of America�s leading composers and his latest collaboration with
award-winning conductor JoAnn Falletta and the London Symphony Orchestra�the first
volume of which (8.559224) was nominated for two GRAMMY� awards�reveals the breadth
of his achievement. Atlantic Riband evokes the struggle and ultimate victory of
ocean-crossing immigrants to America in an orchestral showpiece of power and splendor.
American Rhapsody is a lyrical romance for violin and orchestra, and Divinum Mysterium
a single-movement viola concerto rich in expressive tapestry. Concerto Grosso shows
Fuchs�s sheer energy, and Discover the Wild is an orchestral overture of lyricism and color.

Music Composed by Kenneth Fuchs
Played by the London Symphony Orchestra
With Michael Ludwig (violin) & Paul Silverthorne (viola)
Conducted by JoAnn Falletta

" �Atlantic Riband exudes optimism and affirmation of the indomitable human
spirit throughout its 13-minute duration, even in its quietest sections. It doesn�t require
too much imagination to hear the waves, the sea birds, and the gentle rocking of
the ship in this work, which would work equally well on the serious concert stage or
in a pops concert context.

American Rhapsody is described as a romance for violin and orchestra�a gentle
exercise with beautiful flowing lines in both the solo instrument and the orchestra. The
sweetly singing tone of violinist Michael Ludwig is all that one could ask for to bring
this work off convincingly.

Divinum Mysterium�is very similar to the preceding work. If you�re not paying attention,
you may not notice that a new piece has begun, other than that the timbre of the solo
instrument has become much darker. There are plenty of opportunities throughout the
piece for the violist to show off his technique and musicianship, including a cadenza or
two. Violist Paul Silverthorne has plenty of each of those qualities to show off, too,
and his playing is most impressive.

Falletta makes a good case interpretively for these works, as do the various soloists.
This is a thoroughly enjoyable CD, which should have wide appeal among the readers
of this magazine. Fuchs has a good ear for color and sonority and the skill to put
together convincing musical fabrics."
Fanfare

Source: Naxos CD (my rip!)
Format: mp3, 320k (CBR), DDD Stereo
File Size: 136 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!UFxiDCSb!YGOvp0pjogofrOSGUV-zuGfDtaMJPYPgBGa2ShdC6VU

Enjoy! Don't share! Buy the original! :)

bishtyboshty

07-27-2013, 12:29 PM

Quotas are the bane of serious enthusiasts.

wimpel, you wondered in another thread if it is possible to get another Mega account once you had used up your 50 Gb limit.

I just did it. You have to use a different email address and account name. As I use proxy email addresses from hidemyass.com there may be no limitation to the number of accounts at Mega.

I used bishtyboshty and kantankerous as my first 2 account names (they might have been cunning enough to spot it if I'd used bishtyboshty2).

There is obviously no IP-related limit.

bishtyboshty

07-27-2013, 02:35 PM

Re-Ups:

John Fernstr�m Symphony 6, The Capricious Troubadour (No.323) - a Swedish master of the mid 20-th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/22.html#post2309617

Hi wimpel, this re-up has been returning "Decryption error" ever since it was posted on 10th July.

metropole

07-29-2013, 08:39 AM

Love the bright and breezy Curtis. Thank you. yet again!

wimpel69

07-29-2013, 08:49 AM

Will attend to the Fernstr�m later.

No.391

There is much early Gustav Holst here, music full of oriental excess - Indra and Sita -
and of Wagnerian rhetoric - A Winter Idyll and Elegy (In Memoriam William Morris). There is
some later Holst here, music full of nervous vigor and robust brilliance - The Lure ballet music
and particularly the dances from The Morning of the Year. And while not all of the music is
top-drawer Holst - "the later the date, the better the music" holds true - most of it is at least interesting
and some of it is flat-out terrific. Indra has its moments of poetic grandeur; A Song of the Night
for violin and orchestra has its own special dark lyricism; the Invocation for cello and orchestra
has its tone of solemn intensity.

Music Composed by Gustav Holst
Played by the London Symphony & London Philharmonic Orchestras
With Lorraine McAslan (violin) & Alexander Baillie (cello)
Conducted by David Atherton

"This 76-minute collection of shorter works by Holst offers up a series of delights whilst
revealing various sides of that composer’s character. A Winter Idyll shows a very approachable
Holst, with open-air textures and tunes (‘tunes’ more than ‘themes’, or even ‘melodies’)
that exude playfulness. David Atherton inspires the LPO to great heights of precision and
they play with heartfelt advocacy.

The Elegy (In Memoriam William Morris) is a work of great integrity. More than this, though,
it is simply gorgeous in its dark, lush colourings. Impassioned, concentrated and confident,
it builds impressively to a powerful climax. The piece is actually the second movement from
the so-called ‘Cotswolds’ Symphony. Astonishingly, the symphony was in effect forgotten
after its 1902 premiere until its revival in 1982.

Indra is Holst’s earliest completed extended work from his ‘Indian period’. Holst was later to
set hymns from the Rig Veda, between 1907 and 1912. The work is full of glowing textures;
a climax (around four minutes in) features blazing brass. The performance under Atherton’s
baton is remarkable convincing, mainly because he is able to keep the overall structure in
mind despite the many passages where there might be a temptation to linger.

Two works for solo instrument and orchestra make an appearance. First, A Song of the Night,
composed in 1905 but not performed, Lewis Foreman’s notes tell us, until 1984. Lorraine
McAslan produces an appropriately throaty tone for the work’s opening, then ruminates
long and deeply. This is an involving meditation during which McAslan’s filigree and soaring
phrases confirm her affinity with Holst’s music.

Invocation was intended as a companion piece to A Song of the Night and it, too, is blessed
with a seemingly ideal soloist (here cellist Alexander Baillie). Baillie plays Invocation so
lovingly and yet so plaintively that this account leaves a lasting impression on the listener.

The two solo items sandwich the more intense, punchy Interlude from Act 3 of Sita.
This six-minute interlude is absolutely full of life, Atherton projecting a visceral feeling
of mystic ecstasy.

For the final two items, the LSO is used. The music for the ballet The Lure came about
in response to a commission from Chicago. Holst uses a folk-tune from W. G. Whittaker’s
North Countrie Ballads, Songs and Pipe-Tunes (it appears at 4’13). However, it appears
the ballet was never staged and this recording (edited by Imogen Holst and Colin Matthews)
seems to be its first manifestation, live or on disc. It is a dynamic, exciting work that
deserves inclusion in the orchestral repertoire.

The Morning of the Year was the first score ever commissioned by the BBC Music
Department (the work is a representation of mating in Spring!). Here we have the four
Dances, plus Introduction (in the ballet the dances alternate with choral interludes). The
Dances are recorded in a concert version edited by Imogen Holst and Colin Matthews.
They take in a wide variety of moods, vividly painted and superbly recorded here.

This disc magnificently proves that ‘lesser-known’ does not necessarily equate to ‘lesser’ –
there are some remarkable finds here. There is much more to Holst than, say The Planets
and The Perfect Fool. Here is a good place as any (and better than most) to embark on
the voyage of discovery.
Musicweb

Source: Lyrita CD (my rip!)
Format: mp3, 320k/s (CBR), ADD/DDD Stereo
File Size: 174 MB

Download Link - https://mega.co.nz/#!kJoEzCKR!DyG-MEUiF39GbIRrZhRbBDrpvk5aXkwPKr0TeUu1O4I

Enjoy! Don't share! Buy the original! :)

gpdlt2000

07-29-2013, 11:10 AM

Thanks for this rare Holst!

wimpel69

07-29-2013, 01:14 PM

No.392

Lebanese composers drawing their inspiration from the West have often chosen France as the
country in which to continue their technical training and increase their artistic awareness.
Bechara El-Khoury, born in Beirut in 1957, is one such composer. He began his musical
education in Lebanon with Hagop Arslanian (piano, harmony, counterpoint, fugue and analysis)
before arriving in Paris in 1979 to complete his studies (composition and orchestration) with
Pierre-Petit, the then director of the �cole Normale de Musique founded by Alfred Cortot.

The �Ruines de Beyrouth� Symphony, Op. 37, (Ruins of Beirut) composed in memory of
the 1975 outbreak of civil war in Lebanon, is without doubt his most ambitious work to date.
It belongs to a trilogy of compositions inspired by this tragic event, the others being the
Symphonic Poem No.1, Op. 14 �Le Liban en flammes� (Lebanon in flames) and the
Requiem, Op. 18 �� la m�moire des martyrs libanais de la guerre� (In memory of the Lebanese
war martyrs), both written in 1980. The symphony was composed in 1985 and although it reflects
the genre�s typical four-part scheme, the individual movements make no use of traditional structures
or means of development. Instead, each has the air of a lyric poem, a mosaic of feelings which
constantly contrasts a consideration of the tragic rift, a work of collective folly, with the artist�s
intimate thoughts, man�s expression when confronted with the event in his existential solitude.

Music Composed by Bechara El-Khoury
Played by the National Symphony Orchestra of Ukraine
Conducted by Vladimir Sirenko

"The Symphony was composed (in 1985) in the wake of the civil war in the Lebanon and is a
powerful, tragically arresting work, laid out in four fairly traditional movements. But it is without
any kind of conventional development of ideas; is essence it is a kaleidoscopic set of brief variants.
Even more than the vividly scored symphony, the three shorter works rely a great deal on
orchestral textures, with contrasting sonorities, dynamics, mood and colouring, all skillfully manipulated
to give an illusion of forward movement (rather than development). The brass scoring is emphatic,
with exuberant use of the horns. The restless symphonic meditation, Hill of Strangeness
(�Colline del��trange�) �is a journey through a fog pierced by glimpses of light� and is concerned with
�solitude and the struggle of the light to come through dark clouds�. It is certainly enigmatic.
Harmonies cr�pusculaires was written in memory of the conductor Pierre Dervaux and is essentially
valedictory in feeling, but the finality of death is powerfully conveyed by more shattering brass
interruptions, with an answering tolling bell. The dream-like Wine of the Clouds (�Le Vin des nuages�)
is a confrontation between silence and the violence of nature�, opening impressionistically and ending
with a torrent of sound, including the composer�s characteristic horn glissandi."
Penguin Classical Guide

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 149 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!KgBTgRpQ!EoADsGQQJaLaY9tp8HOvKD5xvS9KivVgj-blZZQ326I

Enjoy! Don't share! Buy the original! :)

ralleo1980

07-29-2013, 04:34 PM

Hello friend Wimpel69:

Many of the pictures of the posts were deleted, it's awful T_T.

Leonardo

wimpel69

07-29-2013, 04:48 PM

They're not deleted. As I said, you've exhausted my monthly free image quote of 10GB bandwidth. The pictures will be visible again in about a week. ;)

bishtyboshty

07-29-2013, 04:49 PM

Hello friend Wimpel69:

Many of the pictures of the posts were deleted, it's awful T_T.

Leonardo

wimpel already stated in post 787...

I case you're wondering why you can't see the covers/pictures at the moment: I have exceeded my bandwidth with the image provider (or, rather, you have exceeded my bandwidth), so I either have to go "plus" or have to wait till the image quota resets itself and the pictures are once again visible.

wimpel69

07-30-2013, 07:53 AM

I uploaded a new version of the Fernstr�m: Please check if it is OK, then I'll replace the older re-up:

https://mega.co.nz/#!YUY3QSYC!ZVTU9Xe0Nj2f4HhSKaRCclpLda1V8I_kkfZjKBd 2rTE

bishtyboshty

07-30-2013, 10:10 AM

I uploaded a new version of the Fernstr�m: Please check if it is OK, then I'll replace the older re-up:

https://mega.co.nz/#!YUY3QSYC!ZVTU9Xe0Nj2f4HhSKaRCclpLda1V8I_kkfZjKBd 2rTE

That works fine. Many thanks.

wimpel69

07-31-2013, 08:45 AM

Re-Ups:

Mozart Camargo Guarnieri: Symphony No.2 ("Uirapuru"), No.3, Festive Overture (No.151) - evocative Brazilian music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2215478

Norman Dello Joio: Diversion of Angels, Seraphic Dialogues, Exaltation of Larks (No.152) - three ballets for the celebrated choreographer Martha Graham
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2215529

Silvestre Revueltas: La Coronela, Itinearios, Colorines (No.153) - colorful and edgy music by the troubled Mexican composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2215579

Jean Francaix: Les malheurs de Sophie, Les bosquets de Cyth�re (No.154) - sprightly French ballets in a neo-classical style
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216324

George Enescu, Vox Maris, Voix de la Nature (No.155) - Vox Maris is a masterpiece of symphonic poems!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216324

Menotti: The Apocalypse - Dello Joio: Meditations on Ecclesiastes - LoPresti: Masques (No.156) - Menotti's most substantial orchestral work, plus Dello Joio's Pulitzer Prize-winning Meditations
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216355

Dmitri Shostakovich: Symphony No.11, "The Year 1905" (No.158) - Shosty's epic symphonic tribute to the failed revolution of 1905
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216418

David Matthews: The Music of Dawn, A Vision and a Journey, Concerto in Azzurro (No.159) - approachable, very well crafted modern music by an oft-commissioned British composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216497

Fiesta Criolla - Latin American Orchestral Works (No.160) - a bouquet of Latin American orchestral works, some lollipops, some more substantial
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2216583

Samuel Coleridge Taylor, George Buttwerworth, Hamish MacCunn: Orchestral Works (No.163) - pastoral English music from the early 20th century
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219369

---------- Post added at 09:45 AM ---------- Previous post was at 09:14 AM ----------

No.393

Malcolm Arnold was born in 1921 in Northampton, where his father was a well-to-do
shoe manufacturer. There was music in the family, both from his father and from his
mother, a descendant of a former Master of the Chapel Royal. Instead of the usual
period at a public school, he was educated privately at home. As a twelve-year-old
he found a new interest in the trumpet and in jazz after hearing Louis Armstrong, and
three years later he was able to study the instrument in London under Ernest Hall,
subsequently winning a scholarship to the Royal College of Music, where his composition
teacher was Gordon Jacob. Two years later he left the College to join the
London Philharmonic Orchestra as second trumpet. Meanwhile he had won a composition
prize for a one-movement string quartet. It was as an orchestral player that he was able
to explore the wider orchestral repertoire, in particular the symphonies of Mahler.

Since 1948 Malcolm Arnold was able to earn his living as a composer. In the 1960s
he settled in Cornwall, where he became closely involved with the musical activities
of the county. In 1972 he moved to Dublin, his home for the next five years, and
then, in 1977, to Norfolk. Over the years his work has been much in demand for
film scores, of which he has written some eighty. He has written concertos for an
amazing variety of instruments, nine numbered symphonies, sinfoniettas, concert
overtures and other orchestral works. His chamber music is equally varied and
there is a set of works for solo wind and other instruments, aptly meeting the
demands of competitive as of solo recital performance.

The two sets of English Dances were a big hit with audiences, so much so that
he was compelled to write sets of Scottish, Cornish, Irish and Welsh dances
(the latter had not been composed when this recording was made) as well. All of
these have been mainstays of the British light music repertoire ever since.

Music Composed by Malcolm Arnold
Played by The Philharmonia Orchestra
Conducted by Bryden Thomson

"Malcolm Arnold's two sets of English Dances were in many ways his compositional
breakthrough, and they are quite delightful miniatures - almost vignette-like, charming,
wonderfully colorful, memorably tuneful and quite expertly scored. They are truly wonderful
contributions to the repertoire of charming, lighter but still substantial music that encompasses
such works as Dvorak's Slavonic Dances and Tchaikovsky's ballet suites. The Scottish Dances
that followed a couple of years later are perhaps even more delightful in their semi-folksy,
spirited and unabashedly romantic idiom; atmospheric works with several wonderful themes -
conservative for their time yet personal in idiom and really sounding like little else. The Cornish
Dances are somewhat more troubled - the melodies do not flow as easily and the mood is more
overcast and bitingly ironic; the music is still quite beautiful but in a less off-handed manner.
The Irish Dances are even more shadowy - the traces of careless joy are rarely allowed to
bubble to the surface, and if they do they are soon quenched by something more serious. They
are still beautiful and attractive miniatures, even though they are not as good-natured as the
English Dances, say.

The performances are quite magnificent, however (although I have not heard the Boult
performances that are often counted as the benchmark). The Philharmonia Orchestra play with
all the color, atmosphere and subtlety the music calls for, from the joyful exuberance of the earlier
sets to the more varied and less unambiguous later pieces. Bryden Thomson clearly loves and
cares for the music, and his sense of rhythm, color and momentum is impressive. The sound
quality is warm and rich and vivid - the recording is, perhaps, a little close, but the overall impact
is marvelous. The disc is filled out with two inconsequential numbers from Arnold's ballet
Solitaire, neither of which I would care to hear again. The main offerings, however, are so
charming and well performed that the disc as a whole is something of an essential listening."
Amazon Reviewer

Bryden Thomson (1928-1991)

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 133 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!ZI4BWSDI!AxJ5K1KgO2G4C3sfHElQ8G9XzMIw1DdQh0vB4X9 jXr8

Enjoy! Don't share! Buy the original! :)

wimpel69

08-02-2013, 08:50 AM

Re-Ups:

Michael Horwood: Symphony No.1, National & Amusement Park Suites (No.164) - colorful, accessible neo-tonal American usic
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219735

Charles Tomlinson Griffes: The Kairn of Koridwen (No.165) - intriguing ballet inspired by Druid lore
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219832

Mikis Theodorakis: Carnaval (Ballet Suite), Raven (No.166) - politically charged works from Greece
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/10.html#post2219864

Roger-Ducasse: Orph�e, Nocturne de printemps, Petite Suite, Le Joli Jeu de Foret (No.169) - a second collection of Roger-Ducasse
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2220597

Joaqu�n Turina: Danas fant�sticas, Sinfonia Sevillana, Ritmos (No.170) - impressive impressionistic works by this important Spanish composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2220682

Leevi Madetoja: Symphony No.3, The Ostrobothnians Suite, Okon Fuoko (No.171) - Jean Sibelius wasn't the only fine Finnish composer!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2220720

Florencio Asenjo: A Thousand and One Nights, Don Quiiote (No.172) - contemporary American ballet music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2220756

Kurt Weill: Bastille-Music, Oil-Music, Suite panam�enne, Women's Dances (No.173) - typically brash and cool works by the composer of the Threepenny Opera
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221195

Music inspired by Don Quixote/Quijote (Rodrigo, Garc�a Rom�n, Fern�ndez Guerra) (No.174) - a collection of orchestral works inspired by Cervantes
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221222

Salve Antverpia (Mortelmans, Alpaerts, van Hoog, Blockx, Sternefeld) (No.175) - lyrical, history-inspired works by composers connected to that Belgian city
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221253

---------- Post added at 09:50 AM ---------- Previous post was at 08:54 AM ----------

No.394

Flautist, conductor, writer and composer, Meredith Willson (led a colourful life that
began when at just 19 he was appointed principal flute of the famous Sousa band. A period
in �serious� music as composer and conductor for the National Broadcasting Corporation,
changed course when he moved into the film industry writing background music. That was
the forerunner of a major career composing Broadway musicals. Where most others have
failed, he successfully composed to light music symphonies of ready attraction, and clothed
in the most attractive orchestral colours.

Willson achieved his greatest triumph with his musical revue The Music Man, for which
he wrote the book, the lyrics and the music. It opened on Broadway on 19 December 1957
and became an instant success. The sparkling score and the hit chorus "76 Trombones" made
Willson a household name. He followed this with another Broadway hit, The Unsinkable Molly
Brown (1960). Both were made into movies. In addition to his two symphonies, Willson
composed a symphonic poem, The Jervis Bay, O.O. McIntyre Suite, based on the writing
of the famed columnist, Symphonic Variations on an American Theme, Song of Steel,
premi�red by John Charles Thomas, Radio City Suite, a choral work, Anthem of the
Atomic Age, and numerous shorter orchestral pieces in a lighter vein. He died in 1984.

His two symphonies, subtitled A Symphony of San Francisco (No.1) and The Missions of
California (No.2) respectivey, are not light hearted works, in fact they are very serious symphonic
arguments in a style then popular in the US.

Music Composed by Meredith Willson
Played by the Moscow Symphony Orchestra
Conducted by William T. Stromberg

"The symphonies are actually very robust and large-scaled endeavors whose elaborate and
sure-footed facture and Romantic rhetoric derive directly from the Chadwick school by way of
the latter's pupil Henry Hadley, with whom the precocious Iowan [Willson] studied... Those of
us who are convinced that a huge and fertile layer of medium-range musical Americana remains
largely and unjustly neglected by the recording industry have to applaud this example of the
industry and dedication of Naxos's 'American Classics' series, especially coming the heels of
its wonderful Roger Russell Bennett tribute."

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 165 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!glll1QJY!TR8XgTLsPw1tjYQXJKaHpA6dW4QrXQr-Qt1qwHZC8Hc

Enjoy! Don't share! Buy the original! :)

Kempeler

08-04-2013, 12:14 AM

Crossley-Holland symphony?

ralleo1980

08-04-2013, 05:01 AM

Hello my friend Wimpel69:

One question, do you have Hindemith - Concertpiece For Trautonium & Strings in your huge collection of music???? Thanks for the answer.

Best regards

Leonardo

Cristobalito2007

08-05-2013, 02:01 PM

wimpel
thank you very much for all your music. i particularly enjoyed - Peter Boyer: Ghosts of Troy, Three Olympians, Titanic
best thread on the forum!

Light63

08-05-2013, 05:09 PM

What a page of delights! Thank you

wimpel69

08-05-2013, 07:59 PM

Thanks guys for the praise! :D - Sorry, the Hindemith I don't have.

No.395

The Atom Hearts Club Suites are a series of works based on the concept of a ‘Seventies
Rock Ensemble’. The peculiar title was distilled from Sergeant Pepper’s Lonely Hearts Club
Band by The Beatles, Atom Heart Mother by Pink Floyd, the originator of progressive rock,
and Mighty Atom (Astro Boy) by Osamu Tezuka. Following my first Atom Hearts Club
Suite of 1997, which exists in four versions (for string quartet, Op. 70, for guitar duo,
Op. 70a, for string orchestra, Op. 70b and for piano trio, Op. 70c), this second suite
was originally written for twelve cellos (Op. 79) but was later arranged for string
orchestra. It is composed of six short movements. 1. ‘Pizzicato Steps’ is a dance, played
pizzicato, that forms a kind of prelude to the suite. 2. ‘Aggressive Rock’ is a racing Allegro con
fuoco with an irregular metre. 3. ‘Brothers Blues’ is a somewhat sticky, slimy blues.
4. ‘Rag Super Light’ is an extremely light dance rag to do on the sly.
5. ‘Mr G. Returns’ presents the opening theme of a fictitious spy movie.
6. ‘Atomic Boogie’ is a racing finale in boogie-woogie style.

The Prelude to the Celebration of Birds was commissioned by the Shinsei
Symphony Orchestra and composed between spring and late autumn 2000 as a ‘prelude to
celebrate the arrival of the Twenty-first Century’. It is a modest commemorative work,
combining a fanfare for the new age with a faint, passing nostalgia for that which now is past.
The Prelude follows Age of the Birds and Ode to Birds and Rainbow, Op. 60 in a series
of works for orchestra on the theme of birds and was completed on 3 November 2000. It
was premiered on 12 January the following year by the Shinsei Symphony Orchestra under
Pascal Verrot.

Categories: symphonic/large orchestra, suite
Style(s): 20th century tonal/avantgarde, crossover

Music Composed by Takashi Yoshimatsu
Played by the BBC Philharmonic Orchestra
Conducted by Sachio Fujioka

"I was somewhat perplexed by what I heard on this disc. I knew very little about the composer, and
had certainly not encountered his music before. In this post-post-modern age, I suppose I should be
prepared for anything, and a substantial (nearly 47 minutes) work entitled ‘Symphony No.5’, part of
a series called ‘New Directions’ certainly whetted my appetite. I was dismayed that what I encountered
did not fulfil the title ‘symphony’. Far from appearing to forge any ‘new directions’ most of the music
here is quite old-fashioned and not terribly memorable.

The basic problem in the symphony, at least to my ears, is that there is simply not enough material of
real melodic, harmonic or rhythmic interest to sustain its length. The brooding introduction, with its
homage to the opening of Beethoven’s 5th, sets up an expectancy that is not fulfilled. When the main
allegro bursts in around 3’15, we get something akin to the ‘Rumble’ from West Side Story, but without
an ounce of Bernstein’s flair or instrumental expertise. The boogie-woogie piano at 9’32 also sounds a
little like passages out of the Age of Anxiety Symphony, but where the piano there played a central
structural role, here it sounds out of place. The Beethoven motif keeps cropping up, but I got no
sense of real direction from the composer. The other movements suffer in much the same way, with
a rather overblown finale that sounds like third-rate film music. All the movements sound like
miniature tone poems, atmospheric in places but with no real link to each other or sense of symphonic
purpose. I am not against tonal music, but the harmonies here are not just unadventurous, they sound
as if they’ve come from doodling around with a few smoochy blues chords on the piano, then making
them the basis for a large composition. A few composition teachers in a few colleges would, I reckon
, have not let it past the sketch stage.

The Atom Heart’s Club Suite shows us the composer in even more extreme ‘crossover’ mode, but
unlike others influenced by popular culture, rock and jazz (Steve Martland and Mark Turnage spring
to mind) this sounds terribly contrived and, I have to admit, faintly embarrassing. Hearing the posh
strings of the BBC Phil trying their level best to boogie just doesn’t do it for me.

I hoped for a more natural compositional voice to emerge in the Prelude to the Celebration of Birds,
maybe even some of Yoshimatsu’s own heritage (Takemitsu?). Again, despite some occasionally exotic
percussion and the token bird-like woodwind effects, all I felt I got was a John Williams-style chunk
of mood music (complete with Walton-esque fanfare); the sort of thing a good third year student
could knock out quite easily.

I gather the composer is quite prolific, and maybe that’s the problem. He should take a leaf out of
Sibelius’s book and be more self critical, with perhaps a ‘less is more’ attitude. He is obviously a
competent orchestrator, but is it possible that having such high profile backing from a conductor,
orchestra and major record label is dulling his critical responses? I can’t help thinking of composers
out there who have far more original voices and are struggling to find any recognition. Recording
quality is well up to house standards, but I doubt I shall be returning to it terribly often."
Musicweb

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 169 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!q1JWFZZY!Q5m6gSX30dPQTiuRLaGnziwGqZo2shZ9_0wawT-WL_A

Enjoy! Don't share! Buy the original! :)

ralleo1980

08-05-2013, 10:41 PM

Thanks guys for the praise! :D - Sorry, the Hindemith I don't have.

Hello Wimpel69, thanks for the answer. I'm impress nobody have this work of Hindemith. I'm exploring the music with inusual instrumets like trautonium, ondes martenot and theremin. Really I want this work of Hindemith; I'm still seeking n_n'.

Leonardo

wimpel69

08-06-2013, 08:02 AM

As you may have noticed, the photos are back! :)

Re-Ups:

Lorenzo Palomo: Dulcinea (Oratorio) (No.176) - lovely oratorio with Don Quixote's object of desire at its centre
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221253

Anton Rubinstein: Don Quixote, Ivan IV (The Terrible) (No.177) - heavy Russian romanticism for the beloved Cervantes character
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221665

Jes�s Guridi: Ten Basque Melodies, An Adventure of Don Quixote (No.178) - colorful music from the most important Basque composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221723

Anton Garcia Abril: The Monsignor Quixote Suite (No.179) - concert-suite based on the award-winning television score
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221829

Richard Strauss: Don Quixote, Don Juan (No.180) - the most famous tone poem based on the Cervantes novel
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2221829

Arthur Bliss: Colour Symphony, Adam Zero, Miracle in the Gorbals (No.181) - literally colorful mix of Stravinsky and Elgar
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2222345

Eric Coates, Anthony Collins: British Light Music (No.182) - two beacons of British light music
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2222396

Alberto Williams: Symphony No.7 "Eternal Repose", Poem of the Iguazu Falls (No.183) - nigh-forgotten Argentinian composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2222498

Elliott Schwartz: Voyager, Time-Piece 1994, Celebrations-Reflections, Jack Lantern (No.184) - contemporary American music in many moods
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2223070

Anontio Jos�: Sinfonia castellana, Evocaciones, El mozo de mulas (No.185) - Spanish impressionism
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2223134

It would be nice if peopled that downloaded and enjoyed an item would click on "Like"! ;)

OscarRomelPR

08-06-2013, 12:40 PM

Wolfgang Amadeus Mozart - Mozart 111 Masterworks (2012) [55CD Box Set] (LOSSLESS)

Quality: FLAC tracks +.cue | Bitrate: Lossless | Total size: 14.51 GB

01. Symphonies 25, 26, 29 PINNOCK
02. Symphonies 28, 31, 33, 34 LEVINE
03. Symphonies 32, 35, 36 KARAJAN
04. Symphonies 38, 39 PINNOCK
05. Symphonies 40, 41 MINKOWSKI
06. Piano Concertos 6, 17, 21 ANDA
07. Piano Concertos 27, 10 GILELS
08. Piano Concertos 19, 23 POLLINI
09. Piano Concertos 20, 24 BILSON
10. Piano Concertos 14, 26 PIRES
11. Violin Concertos 3, 4, 5 PERLMAN
12. Sinfonia Concertante PERLMAN, ZUKERMAN
13. Wind Concertos NEIDICH, JOLLEY
14. Wind Concertos MORELLI, WOLFGANG, PURVIS
15. Flute, Flute & Harp Concertos PALMA, ALLEN
16. Gran Partita ORPHEUS
17. Divertimentos K.375, K.388, K.270 ORPHEUS
18. Divertimento K.334, K.239 Serenata KARAJAN
19. Haffner Serenade BOHM
20. Eine kleine Nachtmusik, Posthorn Serenade LEVINE
21 -23. 6 Haydn Quartets HAGEN
24. String Quintet K.515, Divertimento K.563 AMADEUS
25. String Quintets K.516, K.593 AMADEUS, ARONOWITZ
26. Quartets with winds KOCH, SEIFERT, DE PEYER, AMADEUS
27. Chamber Music LEVINE, ENSEMBLE WIEN-BERLIN
28. Piano Quartets FAURE QUARTET
29. Violin Sonatas DUMAY, PIRES
30. Violin Sonatas PERLMAN, BARENBOIM
31. Piano Sonatas PIRES
32. Piano Sonatas HOROWITZ
33. Piano Sonatas GULDA
34. Piano Duets FRANTZ, ESCHENBACH
35. Great Mass in C minor PINNOCK
36. Great Mass in C minor BERNSTEIN
37. Requiem ABBADO
38. Concert Arias JANOWITZ
39-41. Idomeneo GARDINER
42-43. Die Entfuhrung aus dem Serail BOHM
44-46. Le nozze di Figaro HARNONCOURT
47-49. Don Giovanni ABBADO
50-52. Cosi fan tutte LEVINE
53-54. Die Zauberflote BOHM
55. A Little Light Music ORPHEUS

Thread 138637

---------- Post added at 06:40 AM ---------- Previous post was at 06:39 AM ----------

Vivaldi - The Masterworks (2004) [40CD Box Set]

Quality: MP3 | Bitrate: VBR 256-320 kbps | Total size: 4.18 GB

CD 1 Violin Concertos Op. 8 Nos. 1-7
CD 2 Violin Concertos Op. 8 Nos. 8-12
CD 3 L'Estro Armonico Concertos Op. 3 Nos. 1-6
CD 4 L'Estro Armonico Concertos Op. 3 Nos. 7-12
CD 5 Recorder Concertos
CD 6 Concertos & Symphonies for Strings Vol. I
CD 7 Concertos & Symphonies for Strings Vol. II
CD 8 Concertos & Symphonies for Strings Vol. III
CD 9 Organ Concertos
CD 10 Oboe Concertos Vol. I
CD 11 Oboe Concertos Vol. II
CD 12 Oboe Concertos Vol. III
CD 13 La Stravaganza Violin Concertos Op. 4 Nos. 1-6
CD 14 La Stravaganza Violin Concertos Op. 4 Nos. 7-12
CD 15 Bassoon Concertos
CD 16 La Cetra Violin Concertos Op. 9 Nos. 1-6
CD 17 La Cetra Violin Concertos Op. 9 Nos. 7-12
CD 18 Lute Concertos
CD 19 Concerti per Archi
CD 20 Concerti da Camera
CD 21 Viola d'Amore Concertos
CD 22 Concertos for Diverse Instruments
CD 23 Solo Concertos
CD 24 Mandolin Concertos, Cello Sonatas
CD 25 Violin Sonatas Op. 2 Nos. 1-6
CD 26 Violin Sonatas Op. 2 Nos. 7-12
CD 27 Juditha Triumphans Oratorio Part 1
CD 28 Juditha Triumphans Oratorio Part 2
CD 29 L'Olimpiade Opera Part 1
CD 30 L'Olimpiade Opera Part 2
CD 31 Cantatas
CD 32 Cantatas for Soprano & Basso Continuo
CD 33 Cantatas for Soprano & Basso Continuo
CD 34 Choral Works
CD 35 Choral Works
CD 36 Gloria Stabat Mater
CD 37 Dixit Dominus Nisi Dominus
CD 38 Magnificat
CD 39 Cantatas for Soprano & Alto
CD 40 Cantatas for Soprano & Alto

Thread 138635

wimpel69

08-07-2013, 08:00 AM

Re-Ups:

Patrick Hadley: The Trees So High / Philip Sainton: The Island (No.186) - An English pastoral masterpiece, plus a tone poem by the composer of John Huston's Moby Dick
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2223134

Ravel, Debusy, Faur�, Ibert: Works for Small Orchestra (No.188) - delicious collection of light hearted French works for smaller forces
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2223767

Gordon Getty: Ancestor Suite, Homework Suite, The Fiddler, Raise the Colors (No.189) - colorful music by a contemporary American composer, slash billionaire
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2223844

Joly Braga Santos: Alfama, etc. (No.190) - a ballet by Portugal's most important 20th century composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2224352

Maurice Ravel: Daphnis et Chloe, La Valse (No.191) - Masterpieces in Reference Recordings #1: Ravel under Boulez
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2224533

Arnold Schoenberg: Pell�as und Melisande, Verkl�rte Nacht (No.192) - Masterpieces in Reference Recordings #2 - Schoenberg under Sinopoli
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2224583

Richard Strauss: Also Sprach Zarathustra, Don Juan, Till Eulenspiegel (No.193) - Masterpieces in Reference Recordings #3 - Strauss under Lewis
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2225026

Claude Debussy: La Mer, Nocturnes, Printemps (No.194) - Masterpieces in Reference Recordings #4 - Debussy under Boulez
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2225059

B�la Bart�k: Concerto for Orchestra, The Miraculous Mandarin (Complete) (No.195) - Masterpieces in Reference Recordings #5 - Bart�k under Chailly
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2225076

Igor Stravinsky: Le Sacre du Printemps, Petrouchka (No.196) - Masterpieces in Reference Recordings #6 - Stravinsky under Boulez
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2225076

wimpel69

08-07-2013, 11:04 AM

Re-Ups:

Kara Karayev: Seven Beauties, In the Path of Thunder (No.142) - two popular Soviet-era ballets
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/9.html#post2213289

Igor Stravinsky: Jeu de Cartes, Agon, Orpheus (No.226) - three of Stravinsky's lesser known ballets, including the perky Jeu de Cartes
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/14.html#post2232518

Xu Zhen-Min: Erquan Spring Reflecting the Moon, Memories of the Past at Jinling, Plum Garden in the Snow (No.278) - colorful short tone poems from China
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/18.html#post2254693

Bate: Symphony No.3 - Arnell: Robert Flaherty, Black Mountain - Chisholm: Dante (No.303) - substantial works by three neglected English composers
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/20.html#post2283178

Siegfried Wagner: Longing, Scherzo "And if the World Were Full of Devils", Happiness (No.307) - tone poems by Richard Wagner's son
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2286581

Anatoli Liadov: Complete Orchestral Works (No.310) - some jewels by the master of Russian miniature tone poems
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2289389

Vincent d'Indy: Symphonie sur un Chant montagnard francais, M�d�e, Saugefleurie (No.318) - a popular symphony, plus two programmatic works
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2299113

Siegmund von Hausegger: Nature Symphony (No.319) - ripe German late romantic nature poem
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2300263

And, with a Turangalila Symphgony still uploading - and maybe the odd release I may have accidentally skipped - everything should now be up (almost all of it on MEGA, with a few working depositfiles links remaining). I think this deserves a week bit of celebration ...

http://i1267.photobucket.com/albums/jj559/sound67/Moving-independence-day-marching-band_zps3f7835f9.gif

LePanda

08-07-2013, 04:22 PM

W�nderlich! :takethat:

Akashi San

08-07-2013, 04:30 PM

You are a real trooper, wimpel. I wonder when I'm gonna have time to listen through some of the stuff I downloaded here. :love:

bishtyboshty

08-07-2013, 06:57 PM

Phew.

Okay.. I've now downloaded all the numbered items, except:-

Item no. 31 (Page 3) Ahmad Pejan (link from member dj�houty) - marked "Link Down"

Item no. 105 (Page 7) Anthony Ritchie - A Bugle Will Do, Symphony No.3, Revelations, French Overture - marked "Link Down"

Item no. 122 (Page 8) Gabriel Piern� - Cydalise et le Chevre-Pied, Ballet de la Sultane des Indes - Dead Depositfiles Link

Item no. 126 (Page 8) Anton�n Dvor�k - Four Tone Poems after Karel Jaromir Erben - Dead Depositfiles Link

Item no. 135 (Page 8) Dave Roylance and Bob Galvin - Tall Ships Suite (link from member tangotreats) - Dead Depositfiles Link

Item no. 197 (Page 12) Olivier Messiaen - Turangalila Symphony, L'Acension - Dead Depositfiles Link

--------------------------------------

I have PM'd the respective members asking if Items 31 and 135 can be re-uploaded.

Item 31 - Here is a re-upload at 192kbps, supplied by Dj�houty - File size 87.6 MB...

https://mega.co.nz/#!fo40xboC!TB9wOQWw1AFlvFLLEL0Ld1YlG2ImeIncKPLiwhh ZsCw

Item 135 - Here is a re-upload in FLAC, supplied by tangotreats - File size 221.8 MB...

https://mega.co.nz/#!o9IzASqR!DtMHMRRGTiONFvn7uvvrvVF4cdFm2c_Qjw-zEIFkvg4

---------------------------------------

wimpel, if you could kindly do the honours with the original posts. Thanks.

wimpel69

08-08-2013, 08:13 AM

Yep, those are the ones I had on another computer. I think I'll manage to upload the Ritchie and the Dvor�k later today.

Olivier Messiaen: Turangalila Symphony, L'Acension (No.197) - Messiaen's sprawling masterpiece, scored for huge orchestra and ondes martenot
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/12.html#post2225147

Others integrated as well.

Cristobalito2007

08-08-2013, 10:28 AM

thank you very much for Mario Castelnuovo-Tedesco, Ottorino Respighi: Violin Concertos.

wimpel69

08-08-2013, 12:25 PM

Re-Ups:

Anthony Ritchie: A Bugle Will Do, Symphony No.3, Revelations, French Overture (No.105) - appealing, dynamic music by a contemporary composer from New Zealand
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/7.html#post2206523

wimpel69

08-08-2013, 01:34 PM

Gabriel Piern�: Cydalise et le Chevre-Pied, Ballet de la Sultane des Indes (No.122) - charming, delicately wrought ballet music by an underrated French composer
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2209483

Anton�n Dvor�k: Four Tone Poems after Karel Jaromir Erben (No.126) - late tone poems that show Dvor�k at the top of his game - and very close to Jan�cek!
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/8.html#post2210187

wimpel69

08-08-2013, 04:40 PM

No.396

Michael Horvit is a Professor at the University of Houston Moores School of Music, where he has
headed the Theory and Composition Department since 1967. For 25 years he served as Music Director
at Congregation Emanu El, Houston. During his studies at Yale University, Tanglewood, Harvard and Boston
University, his composition teachers were Aaron Copland, Lukas Foss, Walter Piston, Quincy Porter
and Gardner Read. The Cullen Overture was commissioned by the University of Houston for the rededication
of the Cullen Performance Hall in October 1988. The Concerto for Brass and Orchestra was commissioned
by Richard Frazier for the Chicago Chamber Brass. The Invocation and Exultation was commissioned by
the Missouri Unit of the American String Teachers Association in commemoration of the 200th anniversary
of Mozart's death and was premiered in January, 1991. There are several references to Mozart's music
in the piece. Aleinu was commissioned by Congregation Emanu El, Houston, in 1985, in celebration of
the 50th anniversary of the ordination of Rabbi Robert I. Kahn. The prayer itself is one of the most
important and ancient in the Jewish liturgy - a heartfelt expression of belief in God. Daughters of Jerusalem
was also commissioned by Congregation Emanu El. It was dedicated to Fredell Lack who gave it the
premiere on February 25, 1996. It is titled a fantasy because it does not follow the usual plan of a
concerto, but rather draws its inspiration and meaning from several poems taken from The Songs
of Songs. Mr. Horvit's style is in the tradition of the American romantic sound.

Categories: small orchestra, symphony orchestra, suite
Style(s): 20th century tonal, neo-romantic

Music Composed by Michael Horvit
Played by the Moores School of Music Symphony Orchestra
Conducted by Franz Paul Krager

"I'm going to cut to the chase on this one and recommend this disc for its largest work, the
Daughters of Jerusalem Fantasy for Violin and Orchestra (1966). Michael Horvit (b. 1932) writes
in a solidly tonal idiom, often, as in this work, invoking his Jewish heritage. His harmonic and
rhythmic tendencies often reflect a quintessentially American sound- I wasn't surprised to find
Copland and Piston among his teachers. The sound is good and performances are excellent."
Fanfare

Source: Albany Records CD (my rip)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 167 MB (incl. booklet)

Download Link - https://mega.co.nz/#!75AViLIK!OPVOSB5koE-Tp6b2pTzfEyVfERw0DJuf_G5FRJyf5Bw

Enjoy! Don't share! Buy the original! :)

OscarRomelPR

08-09-2013, 01:31 PM

Antonin Dvorak - The Masterworks (40CD Box Set) (2005)

MP3 VBR 192-320 kbps | 3.2 GB

Tracklist:

CD1
Symphony No. 1
SYMPHONY No. 1 in C minor “The Bells of Zlonice”

1. Allegro 11:11
2. Adagio di molto 14:09
3. Allegretto 8:23
4. Finale, allegro animato 12:54

Total: 47:01

Slovak Philharmonic Orchestra, Zdenek Kosler

CD2
Symphony No. 2
SYMPHONY No. 2 in B flat major Op. 4

1. Allegro con moto 11:29
2. Poco adagio 15:29
3. Scherzo, allegro con brio 12:07
4. Finale, allegro con fuoco 9:57

Total: 50:07

Slovak Philharmonic Orchestra, Zdenek Kosler

CD3
Symphony No. 3
Symphony No. 4

SYMPHONY No. 3 in E flat major Op. 10

1. Allegro moderato 10:57
2. Adagio molto, tempo di marcia 18:42
3. Finale, allegro vivace 8:28
4.
SYMPHONY No. 4 in D minor Op. 13

5. Allegro 9:34
6. Andante e molto cantabile 11:27
7. Scherzo, allegro feroce 6:34
8. Finale, allegro con brio 9:50

Total: 75:55

Slovak Philharmonic Orchestra, Zdenek Kosler

CD4
Symphony No. 5
Symphony No. 7

SYMPHONY No. 5 in F major Op. 76

1. Allegro ma non troppo 9:24
2. Andante con moto 8:27
3. Allegro scherzando 7:20
4. Finale, allegro molto 13:11

SYMPHONY No. 7 in D minor Op. 70

5. Allegro maestoso 12:42
6. Poco adagio 10:21
7. Scherzo, vivace 7:49
8. Finale, allegro 9:49

Total: 76:29

Slovak Philharmonic Orchestra, Zdenek Kosler

CD5
Symphony No. 6

SYMPHONY No. 6 in D major Op. 60

1. Allegro non tanto 12:52
2. Adagio 10:56
3. Scherzo, Furiant 6:55
4. Finale, allegro con spirito 10:34

Total: 42:17

Slovak Philharmonic Orchestra, Zdenek Kosler

CD6
Symphony No. 8
Serenade for Strings

SYMPHONY No. 8 in G major Op. 88

1. Allegro con brio 9:43
2. Adagio 11:38
3. Allegretto grazioso 6:00
4. Allegro ma non troppo 8:35

SERENADE FOR STRINGS Op. 22

5. Moderato 4:23
6. Tempo di valse 6:38
7. Scherzo 4:57
8. Larghetto 5:32

Total: 63:41

Allegro vivace

Royal Philharmonic Orchestra, Paavo Jarvi

CD7
Symphony No. 9 “From the New World”
Scherzo Capriccioso

SYMPHONY No. 9 in E minor Op. 95
“From the New World”

1. Adagio-allegro molto 13:07
2. Largo 15:21
3. Scherzo, molto vivace 7:33
4. Allegro con fuoco 11:13
5. SCHERZO CAPRICCIOSO Op. 66 14:52

Total: 62:28

Royal Philharmonic Orchestra, Paavo Jarvi

CD8
Piano Concerto

PIANO CONCERTO in G minor Op. 33

1. Allegro agitato 17:58
2. Andante sostenuto 8:10
3. Finale, allegro con fuoco 10:34
4. ROMANCE for Violin & Orchestra in F minor Op. 11 9:51
5. MAZUREK for Violin & Orchestra in E minor Op. 49 4:56
6. SILENT WOODS (Waldesruhe) for Cello & Orchestra Op. 68 4:56
7. RONDO for Cello & Orchestra in G minor Op. 94 6:08

Total: 63:40

Rudolf Firkusny, piano
Ruggiero Ricci, violin
Zara Nelsova, cello

Saint Louis Symphony Orchestra, Walter Susskind

CD9
ANTONIN DVORAK
Violin Concerto
Cello Concerto

VIOLIN CONCERTO in A minor Op. 53

1. Allegro ma non troppo-adagio ma non troppo 19:00
2. Finale, allegro giocoso 1:03

CELLO CONCERTO in B minor Op. 104

3. Allegro 14:08
4. Adagio ma non troppo 10:30
5. Finale, allegro moderato 12:03

Total: 66:10

Ruggiero Ricci, violin
Zara Nelsova, cello

Saint Louis Symphony Orchestra, Walter Susskind

CD10
Requiem Part 1

1. Requiem aeternam 10:43
2. Graduale 5:10
3. Dies irae 2:18
4. Tuba mirum 9:38
5. Quod sum miser 6:31
6. Recordare, Jesu pie 7:52
7. Confutatis 5:36

Total: 48:00

Magdalena Hajos-syova, soprano
Vera Soukupova, alto
Jozef Kundlak, tenor
Peter Mikulas, bass

Slovak Philharmonic Choir & Orchestra, Zdenek Kosler

CD11
Requiem Part 2

1. Lacrimosa 7:47
2. Domine Jesu Christe 12:22
3. Hostias 11:59
4. Sanctus 5:59
5. Pie Jesu 5:27

Total: 54:32

Agnus Dei

Magdalena Hajos-syova, soprano
Vera Soukupova, alto
Jozef Kundlak, tenor
Peter Mikulas, bass

Slovak Philharmonic Choir & Orchestra, Zdenek Kosler

CD12
Stabat Mater Part 1

1. Stabat Mater dolorosa 20:06
2. Quis est homo, qui non fleret 10:42
3. Eja, Mater, fons amoris 7:13
4. Fac, ut ardeat cor meum 9:02

Total: 47:26

Magdalena Hajos-syova, soprano
Vera Soukupova, alto
Peter Dvorsk?y, tenor
Richard Novak, bass

Slovak Philharmonic Choir & Orchestra, Zdenek Kosler

CD13
Stabat Mater Part 2

1. Tui nati vulnerati 5:28
2. Fac me vere tecum flere 6:32
3. Virgo virginum praeclara 7:06
4. Fac, ut portem Christi mortem 6:42
5. Imflammatus et accensus 6:27
6. Quando corpus morietur 8:19

Total: 40:21

Magdalena Hajos-syova, soprano
Vera Soukupova, alto
Peter Dvorsk?y, tenor
Richard Novak, bass

Slovak Philharmonic Choir & Orchestra, Zdenek Kosler

CD14
Piano Trios Op. 90 “Dumky” & 21

PIANO TRIO No. 4 in E minor Op. 90 “Dumky”

1. Lento maestoso-allegro 4:33
2. Poco adagio-vivace 6:34
3. Andante 5:53
4. Andante moderato 4:55
5. Allegro 4:03
6. Lento maestoso-vivace 4:53

PIANO TRIO No. 1 in B flat major Op. 21

7. Allegro molto 13:27
8. Adagio molto e mesto 7:33
9. Allegro scherzando 7:08
10. Finale, allegro vivace 6:11

Total: 65:10

THE SOLOMON TRIO
Daniel Adni, piano
Rodney Friend, violin
Raphael Sommer, cello

CD15
Piano Trios Op. 65 & 26

PIANO TRIO NO. 3 in F minor Op. 65

1. Allegro ma non troppo 13:57
2. Allegro grazioso 6:45
3. Poco adagio 9:12
4. Finale, allegro con brio 10:14

PIANO TRIO No. 2 in G minor Op. 26

5. Allegro moderato 12:22
6. Largo 6:19
7. Scherzo, presto 5:56
8. Finale, allegro non tanto 6:47

Total: 71:33

THE SOLOMON TRIO
Daniel Adni, piano
Rodney Friend, violin
Raphael Sommer, cello

CD16
Piano Quartets

PIANO QUARTET in D major Op. 23

1. Allegro moderato 15:01
2. Andantino 9:39
3. Finale 7:49

PIANO QUARTET in E flat major Op. 87

4. Allegro con fuoco 8:33
5. Lento 11:11
6. Allegro moderato, grazioso 6:59
7. Finale 9:22

Total: 69:51

AMES PIANO QUARTET
William David, piano
Mahlon Darlington, violin
Laurence Burkhalter, viola
George Work, cello

Recording: January 1989 Troy Savings Bank Concert Hall, Troy, USA

CD17
Piano Quintets

PIANO QUINTET in A major Op. 5

1. Allegro ma non troppo 8:29
2. Andante sostenuto 11:03
3. Finale, allegro con brio 8:56

PIANO QUINTET in A major Op. 81

4. Allegro ma non tanto 13:47
5. Dumka, andante con moto 16:40
6. Scherzo, Furiant, molto vivace 3:46
7. Finale, allegro 7:01

Total: 69:42

Sviatoslav Richter, piano

Borodin Quartet

Mikhail Kopelman, violin I
Andrei Abramenkov, violin II
Dmitri Shebalin, viola
Valentin Berlinsky, cello

Live recording: 31 December 1982

CD18
String Quintets

STRING QUINTET in G major Op. 77, for 2 violins, viola, cello & double-bass

1. Allegro con fuoco 12:27
2. Scherzo, allegro vivace-l’istesso tempo, quasi allegretto 9:22
3. Poco andante 8:42
4. Finale, allegro assai 7:40

STRING QUINTET in E flat major Op. 97, for 2 violins, 2 violas & cello

5. Allegro non tanto 9:26
6. Allegro vivo 5:54
7. Larghetto 10:45
8. Finale, allegro giusto 8:12

Total: 72:53

STAMITZ QUARTET
Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Leixner, cello
Jiri Hudec, double-bass (1-4)
Jan Talich, viola (5-8)
ass (1-4)
Jan Talich, viola (5-8)

Recording: March 1992, Prague

CD19
Music for violin & piano I

1. CAPRICCIO 9:45
2. ROMANCE Op. 11 12:42
3. NOCTURNO Op. 40 6:38

VIOLIN SONATA in F major Op. 57

4. Allegro ma non troppo 11:45
5. Poco sostenuto 6:45
6. Allegro molto 5:46

Total: 53:53

Bohuslav Matousek, violin

Petr Adamec, piano

Recording: 27-30 December 1992, Prague

CD20
Music for violin & piano II

SONATINA in G major Op. 100

1. Allegro risoluto 5:52
2. Larghetto 4:02
3. Scherzo 2:56
4. Allegro 6:20
5. BALLADE Op. 15 6:06

ROMANTISCHE STUCKE/ROMANTIC PIECES Op. 75

6. Allegro moderato 3:24
7. Allegro maestoso 2:42
8. Allegro appassionato 2:27
9. Larghetto 6:01
10. MAZURKA Op. 49 6:03

Total: 46:44

Bohuslav Matousek, violin
Petr Adamec, piano

Recording: 27-30 December 1992, Prague

CD21
Serenade / Hausmusik

1. Rondo for cello and piano in G minor Op. 94, allegretto grazioso 7:43

DROBNOSTI Op. 75a, for 2 violins & viola

2. Cavatina, moderato 3:56
3. Capriccio, poco allegro 2:22
4. Romanza, allegro 3:29
5. Elegia, larghetto 4:30
6. GAVOTTE in G minor for 3 violins: allegretto scherzando 2:41

BAGATELLES Op. 47 for 2 violins, cello & harmonium

7. Allegretto scherzando 2:59
8. Tempo di menuetto, grazioso 3:16
9. Allegretto scherzando 2:56
10. Canon, andante con moto 3:27
11. Poco allegro 4:21

SERENADE for 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 3 horns, cello & double-bass in D minor Op. 44

12. Moderato, alla Marcia 4:17
13. Minuetto 6:08
14. Andante con moto 8:35
15. Allegro molto 6:13

Total: 66:32

Robert Cohen, cello (1)
Roger Vignoles, piano (1)

Alberni String Quartet (6-11)
Howard Davis, violin
Peter Pople, violin
Roger Best, violin/viola
David Smith, cello

Virginia Black, harmonium

Nash Ensemble (12-15)

CD22
String Quartets

STRING QUARTET in D major (without opus number)

1. Allegro con brio 26:20
2. Andantino 17:25
3. Allegro energico 14:42
4. Finale, allegretto 13:37

Total: 72:21

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, 23/24 April 1993

CD23
String Quartets

STRING QUARTET in B flat major Op. 4 B17

1. Allegro non troppo 11:21
2. Largo 15:23
3. Allegro con brio 6:51
4. Finale: andante-allegro giusto-allegro con fuoco 15:08
5. QUARTETTSATZ: andante appassionato 6:59

Total: 56:06

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, 21/22 May, 1993

CD24
String Quartets

STRING QUARTET in E major Op. 80 B57

1. Allegro 9:13
2. Andante con moto 7:38
3. Allegretto scherzando 5:12
4. Finale, allegro con brio 8:04

ZYPRESSEN (Liebeslieder) for String Quartet, B 152

5. I 4:03
6. II 2:14
7. III 2:34
8. IV 5:57
9. V 3:21
10. VI 2:32
11. VII 2:02
12. VIII 3:02
13. IX 2:49
14. X 2:10
15. XI 2:30
16. XII 2:44

Total: 67:14

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, January 1993

CD25
String Quartets

STRING QUARTET in E minor Op. 10

1. Assai con moto ed energico 14:55
2. Andante religioso 8:44
3. Allegro con brio 11:34
4. QUARTETTSATZ in F major B120 9:27

Total: 44:49

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, February 1992

CD26
String Quartets

STRING QUARTET in F minor Op. 9

1. Moderato 15:53
2. Andante con moto quasi allegretto 9:56
3. Tempo di valse 3:45
4. Finale, allegro molto 7:40

STRING QUARTET in A minor Op. 12

5. Allegro ma non troppo 9:50
6. Poco allegro 7:29
7. Poco adagio 8:29
8. Finale, allegro molto 9:13

Total: 72:53

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, May 1991

CD27
String Quartets

STRING QUARTET in A major Op. 2

1. Andante-allegro 13:09
2. Andante affetuoso ed appassionato 10:29
3. Allegro scherzando 5:46
4. Finale, allegro animato 10:27

TERZET in C major for 2 violins & viola, Op. 74

5. Introduzione-allegro ma non troppo 4:13
6. Larghetto 5:52
7. Scherzo, vivace 4:25
8. Thema con variazioni, poco adagio 5:24

Total: 60:16

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, December 1990

CD28
String Quartets

STRING QUARTET in C major Op. 61

1. Allegro 14:18
2. Poco adagio e molto cantabile 7:29
3. Scherzo 8:35
4. Finale, vivace 7:52

TWO WALTZES Op. 54

5. No. 1, moderato 3:59
6. No. 2, allegro vivace 2:44

Total: 45:28

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague 1990

CD29
String Quartets

STRING QUARTET in D minor Op. 34

1. Allegro 12:29
2. Alla Polka 6:44
3. Adagio 7:09
4. Finale, poco allegro 6:55

STRING QUARTET in A minor Op. 16

5. Allegro ma non troppo 9:09
6. Andante cantabile 7:45
7. Allegro scherzando 4:25
8. Finale, allegro ma non troppo 7:28

Total: 62:45

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague 1989

CD30
String Quartets

STRING QUARTET in E flat major Op. 51 “Slavonic/Slawisches”

1. Allegro ma non troppo 11:06
2. Dumka (Elegia) 8:32
3. Romanza, andante con moto 7:31
4. Finale, allegro assai 7:24

STRING QUARTET in A flat major Op. 105

5. Adagio ma non troppo-allegro appassionato 8:19
6. Molto vivace 6:11
7. Lento e molto cantabile 8:56
8. Allegro non tanto 12:35

Total: 70:17

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague, 1990

CD31
String Quartets

STRING QUARTET in F major Op. 96 “American”

1. Allegro ma non troppo 7:24
2. Lento 8:31
3. Molto vivace 3:55
4. Finale, vivace ma non troppo 5:38

STRING QUARTET in G major Op. 106

5. Allegro moderato 10:10
6. Adagio ma non troppo 10:29
7. Molto vivace 7:16
8. Finale, andante sostenuto, allegro con fuoco 11:17

Total: 65:17

Stamitz Quartet

Bohuslav Matousek, violin I
Josef Kekula, violin II
Jan Peruska, viola
Vladimir Peixner, cello

Recording: Prague 1987

CD32
Slavonic Dances

Slavonic Dances Op.46

1. No.1 in C major 4:00
2. No.2 in E minor 6:00
3. No.3 in A flat major 5:22
4. No.4 in F major 7:59
5. No.5 in A major 3:16
6. No.6 in D major 5:15
7. No.7 in C minor 3:34
8. No.8 in G minot 4:05

Slavonic Dances Op.72

9. No.1 in B major 4:37
10. No.2 in E minor 6:22
11. No.3 in F major 3:24
12. No.4 in D flat major 5:55
13. No.5 in B flat minor 2:53
14. No.6 in B flat major 4:08
15. No.7 in C major 3:08
16. No.8 in A flat major 7:51

Total: 75:09

Royal Philharmonic Orchestra, John Farrer

CD33
Piano Duet
“Slavonic Dances”

Slavonic Dances, Op. 46

1. Presto (Furiant) [C major] 4:07
2. Allegretto scherzando – Allegro vivo (Dumka) [E minor] 5:27
3. Allegretto scherzando (Sousedska) [D major] 5:05
4. Tempo di minuetto (Sousedska ) [F major] 6:36
5. Allegro vivace (Skocna) [A major] 3:13
6. Poco allegro (Polka) [A flat major] 4:45
7. Allegro assai (Skocna) [C minor] 3:15
8. Presto (Furiant) [G minor] 3:59

Slavonic Dances, Op. 72

9. Molto vivace (Odzemek) 4:14
10. Allegretto grazioso (Dumka) [E minor] 5:50
11. Allegro (Skocna) [F major] 2:57
12. Allegretto grazioso (Dumka) [D flat major] 6:13
13. Poco adagio – Vivace (Spacirka) [B flat minor] 2:55
14. Moderato, quasi minuetto Polonaise) [B flat major] 3:50
15. Allegro vivace (Kolo) [C major] 3:12
16. Grazioso e lento, ma non troppo, quasi tempo di valse (Sousedska) [A flat major] 6:59

Total: 69:17

Ingryd Thorson & Julian Thurber, piano
Recording: December 1989/June 1990, Ski Church Hall, Oslo, Norway

CD34
Piano Duets

Legends, Op. 59

1. Allegretto non troppo, quasi andantino [D minor] 3:03
2. Molto moderato [G major] 4:08
3. Allegro giusto [G minor] 4:11
4. Molto maestoso [C major] 5:30
5. Allegro giusto [A flat major] 4:16
6. Allegro con moto [C sharp minor] 4:21
7. Allegretto grazioso [A major] 2:14
8. Un poco allegretto e grazioso, quasi andantino [F major] 3:16
9. Andante con moto [D major] 2:27
10. Andante [B flat minor] 3:14

Total: 63:25

From the Bohemian Forest, Op. 68

In the Spinning Room. Allegro molto [D major]
By the Black Lake. Lento [F sharp minor/major]
Walpurgis Night. Molto vivace [B falt major]
In Wait. Allegro comodo [F major]
Silent Woods. Lento e molto cantabile [D flat major]
From Troubled Times. Allegro con fuoco [A minor]

Ingryd Thorson & Julian Thurber, piano

Recording: December 1989/June 1990, Ski Church Hall, Oslo, Norway

CD35
Piano Works

TEMA CON VARIAZIONI in A flat major

1. Tema, tempo di minuetto 1:50
2. Variation I 1:15
3. Variation II 1:08
4. Variation III, poco meno mosso 3:46
5. Variation IV, allegretto scherzando 0:46
6. Variation V, tempo I 0:51
7. Variation VI, poco andante e molto tranquillo 2:48
8. Variation VII, piu mosso 0:56
9. Variation VIII, un poco piu mosso 4:15

SILHOUETTEN Op. 8

10. No. 1, allegro feroce in C sharp minor 1:52
11. No. 2, andantino in D flat major 1:30
12. No. 3, allegretto in D flat major 1:41
13. No. 4, vivace in F sharp minor 1:23
14. No. 5, presto in F sharp minor 1:06
15. No. 6, poco sostenuto in B flat major 3:18
16. No. 7, allegro in D major 0:53
17. No. 8, allegretto in B minor 1:32
18. No. 9, allegro in B major 1:30
19. No. 10, allegretto grazioso in G major 2:17
20. No. 11, allegro moderato in A major 1:50
21. No. 12, allegro feroce in C sharp minor 1:44

2 FURIANTEN Op. 42

22. No. 1 in D major 6:05
23. No. 2 in F major 6:56

WALTZES Op. 54

24. No. 1, moderato in A major 3:35
25. No. 2, allegro con fuoco in A minor 3:20
26. No. 3, poco allegro in E major 2:43
27. No. 4, allegro vivace in D flat major 2:48
28. No. 5, allegro in B flat major 2:34
29. No. 6, allegro in F major 3:49
30. No. 7, allegro in D minor 2:20
31. No. 8, allegro vivace in E flat major 2:47

Total: 75:10

Kai Adomeit, piano

Recording: 1994 Hochschule fur Kirchenmusik Heidelberg

CD36
RUSALKA

Opera in 3 acts Part I

1. Overture 3:17

ACT 1

2. Ho, ho, ho! (Three dryads, the Watersprite) 7:23
3. Watersprite, my father dear! (Rusalka, The Watersprite) 3:59
4. He comes here frequently (Rusalka, The Watersprite) 4:27
5. O moon high up in the deep sky (Rusalka, The Watersprite, Jezibaba) 7:49
6. Your ancient wisdom knows everything (Rusalka, Jezibaba) 8:29
7. Abracadabra! (Jezibaba, The Watersprite, The Hunter) 4:29
8. Here she appeared and again disappeared (The Prince, The Hunter) 2:14
9. The hunt is over, return home at once (The Prince, The Naiads, The Watersprite) 5:13
10. I know you’re but magic that will pass (The Prince) 1:41

ACT 2

11. Well then, my dear boy (The Gamekeeper, The Turnspit) 8:03
12. A week now do you dwell with me (The Prince, The Foreign Princess) 8:45
13. Festive music; ballet 5:21

Total: 71:09

The Watersprite: Marcel Rosca, bass
Rusalka, the Naiad: Ursula Furi-Bernhard, soprano
Jezibaba, the Witch: Nelly Boschkova, mezzo-soprano
The Prince: Water Coppola, tenor
The Foreign Princess: Tiziana K. Sojat, mezzo-soprano
First Dryad: Tamara Felbinger, soprano
Second Dryad: Vesna Odoran, soprano
Third Dryad: Martina Gojceta, soprano
The Gamekeeper: Zeljco Grofelnik, baritone
The Turnspit: Martina Zadro, soprano
The Hunter: Vitomir Marof, baritone

Academic Choir "Ivan Goran Kovacic"

Zagreb Philharmonic Orchestra

Alexander Rahbari, conductor

Recording: 13-18 December 1997 Zagreb

CD37
RUSALKA

Opera in 3 acts Part II

ACT 2 (continuation)

1. No one in this world can give you (The Watersprite) 4:23
2. White blossoms all along the road (Chorus, The Watersprite) 3:02
3. Rusalka, daughter, I am here! (The Watersprite, Rusalka) 6:17
4. Strange fire in your eyes is burning (The foreign Princess, The Prince, The Watersprite) 6:23

ACT 3

5. Insensible water power (Rusalka) 7:29
6. Ah, ah! Already you have come back? (Jezibaba, Rusalka) 5:59
7. Uprooted and banished (Rusalka, The Naiads) 3:32
8. That you’re afraid? Don’t be silly! (The Gamekeeper, The Turnspit, Jezibaba, The Watersprite) 6:11
9. Hair, golden hair I have (Three Dryads, The Watersprite) 8:05
10. Where are you, my white doe? (The Prince) 4:12
11. Do you still know me, love? (Rusalka, The Prince, The Watersprite) 10:52

Total: 66:25

The Watersprite: Marcel Rosca, bass
Rusalka, the Naiad: Ursula Furi-Bernhard, soprano
Jezibaba, the Witch: Nelly Boschkova, mezzo-soprano
The Prince: Water Coppola, tenor
The Foreign Princess: Tiziana K. Sojat, mezzo-soprano
First Dryad: Tamara Felbinger, soprano
Second Dryad: Vesna Odoran, soprano
Third Dryad: Martina Gojceta, soprano
The Gamekeeper: Zeljco Grofelnik, baritone
The Turnspit: Martina Zadro, soprano
The Hunter: Vitomir Marof, baritone

Academic Choir "Ivan Goran Kovacic"

Zagreb Philharmonic Orchestra

Alexander Rahbari, conductor

Recording: 13-18 December 1997 Zagreb

CD38
Symphonic Poems Vol. 1

Czech Suite op. 39

1. Preludium (pastorale) 3:15
2. Polka 5:11
3. Sousedska (minuetto) 4:05
4. Romance (Romanza) 4:01
5. Finale (furiant) 5:17
6. My Home Overture op. 62 8:57
7. Husitska Overture op. 67 12:28
8. In Nature?s Realm Overture op. 91 3:40
9. Otello op. 93 14:08

Total: 71:37

Janacek Philharmonic Orchestra, Theodore Kuchar

Recording: 20-28 August 2004, Ostrava, Czech Republic

CD39
Symphonic Poems Vol. 2

1. Symphonic Variations op. 78. 20:26
2. Carnival Overture op. 92 8:47
3. Water Goblin op. 107 20:00
4. Noon-Day Witch op. 108 13:38

Total: 63:12

Janacek Philharmonic Orchestra, Theodore Kuchar

Recording: 20-28 August 2004, Ostrava, Czech Republic

CD40
Symphonic Poems Vol. 3

1. Golden Spinning Wheel, op. 109 26:11
2. Wood Dove, op. 110 20:02
3. A Hero?s Song, op. 111. 19:44

Total: 66:14

Janacek Philharmonic Orchestra, Theodore Kuchar

Recording: 20-28 August 2004, Ostrava, Czech Republic

http://forums.ffshrine.org/f92/antonin-dvorak-masterworks-40cd-box-set-2005-a-138885/#post2417587

---------- Post added at 07:31 AM ---------- Previous post was at 07:26 AM ----------

[B]Ludwig Van Beethoven - Complete Works (100 CD Box Set) (2007)

MP3 | 320 kbps | 100 CD | 15 Gb

CD 1 - Symphonies Nos. 1 & 3
CD 2 - Symphonies Nos. 2 & 7
CD 3 - Symphonies Nos. 6 & 8
CD 4 - Symphonies Nos. 4 & 5
CD 5 - Symphony No. 9
CD 6 - Piano Concertos Nos. 1 & 3
CD 7 - Piano Concertos No. 2 & Op. 61
CD 8 - Piano Concertos Nos. 4 & 5
CD 9 - Violin Concerto
CD 10 - Triple Concerto
CD 11 - Overtures
CD 12 - Orchestral Works / Organ Works
CD 13 - Dances I
CD 14 - Dances II
CD 15 - Music for Wind Ensemble I
CD 16 - Music for Wind Ensemble II
CD 17 - Chamber music for Flute I
CD 18 - Chamber music for Flute II
CD 19 - Septet Op. 20 & Sextet Op. 81b
CD 20 - Quintet Op. 16 - Trio Op. 11 - Horn Sonata Op. 17
CD 21 - Trio Op. 38; Duo WoO 40
CD 22 - Serenade Op. 25, works for mandolin & piano
CD 23 - Piano Quartets
CD 24 - Piano Trios I
CD 25 - Piano Trios II
CD 26 - Piano Trios III
CD 27 - Piano Trios IV
CD 28 - Cello Sonatas I
CD 29 - Cello Sonatas II
CD 30 - Violin Sonatas I
CD 31 - Violin Sonatas II
CD 32 - Violin Sonatas III
CD 33 - String Trios I
CD 34 - String Trios II
CD 35 - String Quartets Op. 18 Nos. 1 & 2
CD 36 - String Quartets Op. 18 Nos. 3 & 4
CD 37 - String Quartets Op. 18 Nos. 5 & 6; Op. 95 “Serioso”
CD 38 - String Quartets Op. 59 Nos. 1 & 2
CD 39 - String Quartets Op. 74 & Op. 131
CD 40 - String Quartets Op. 127 & Op. 135
CD 41 - String Quartets Op. 132 & Op. 59 No. 3
CD 42 - String Quartets Op. 130 & Grosse Fuge
CD 43 - String Ensembles I
CD 44 - String Ensembles II
CD 45 - Piano Sonatas Op.2 Nos. 1,2,3
CD 46 - Piano Sonatas Op. 7, Op. 10 No. 1, Op. 10 No. 2
CD 47 - Piano Sonatas Op. 10 No. 3, Op.13 “Path�tique”, Op. 14 No. 1, Op. 14 No. 2
CD 48 - Piano Sonatas Op. 22 - Op. 26, Op. 27 No. 1, Op. 27 No. 2 “Mondschein”
CD 49 - Piano Sonatas Op. 28 “Pastoral”, Op. 31 No. 1, Op. 31 No. 2 “Sturm”
CD 50 - Piano Sonatas Op. 31 No. 3, Op. 49 No. 1, Op. 49 No. 2, Op. 53 “Waldstein”, Op. 54
CD 51 - Piano Sonatas Op. 57 “Appassionata”, Op. 78, Op. 79, Op. 81a, Op. 90
CD 52 - Piano Sonatas Op. 101, Op. 106 “Hammerklavier”
CD 53 - Piano Sonatas Op. 109, Op. 110, Op. 111
CD 54 - Piano Variations I
CD 55 - Piano Variations II
CD 56 - Piano Variations III
CD 57 - Piano Variations IV; Bagatelles
CD 58 - Bagatelles
CD 59 - Piano Works
CD 60 - Piano Works 4-hands
CD 61 - Leonore Part 1 (original version of Fidelio, 1805)
CD 62 - Leonore Part 2 (original version of Fidelio, 1805)
CD 63 - Fidelio Part 1
CD 64 - Fidelio Part 2
CD 65 - Egmont
CD 66 - Die Gesch�pfe des Prometheus, Ballet Music Op. 43
CD 67 - Die Ruinen von Athen, K�nig Stephan
CD 68 - Arias
CD 69 - Cantatas WoO 87 & 88
CD 70 - Der Glorreiche Augenblick Op. 136
CD 71 - Vocal Works
CD 72 - Christus am �lberge
CD 73 - Missa Solemnis in D major Op. 123
CD 74 - Missa Solemnis (continuation); Mass in C major Op. 86
CD 75 - Songs I
CD 76 - Songs II
CD 77 - Songs III
CD 78 - Songs IV
CD 79 - Canons, Epigrams and Jokes
CD 80 - Irish songs WoO 152 & 153, selection
CD 81 - 12 Irish songs WoO 154 complete
CD 82 - 26 Welsh songs WoO 155 complete
CD 83 - Scottish Songs WoO 156 & 157, complete
CD 84 - Scottish Songs Op. 108 & WoO 158/1
CD 85 - Folksongs WoO 158/a/b/c
CD 86 - Symphony No. 9 in D minor Op. 125
CD 87 - Symphony No. 3 - Leonore Overture No. 1 & 2
CD 88 - Symphony No. 5 & 7
CD 89 - Piano Concerto No. 5 - Piano Sonatas Nos. 8 & 23
CD 90 - Violin Concerto Op. 61 - Romances for Violin & Orchestra Nos. 1 & 2
CD 91 - Piano Sonatas Op.13, 27, 57
CD 92 - Piano Sonatas Nos.30, 31, 32
CD 93 - Piano Sonatas Nos. 21, 23, 30, 31
CD 94 - Piano Sonatas Nos. 29 & 32
CD 95 - Violin Sonatas Nos. 5 & 7 - J.S. Bach: Partita No. 2
CD 96 - Cello Sonatas Nos. 1, 2, 3
CD 97 - Piano Trio Op. 97 - Franz Schubert Piano Trio No. 1
CD 98 - String Quartets Op. 130 & 131
CD 99 - FIDELIO, Opera in 2 Acts Op. 72 (Act 1)
CD 100 - FIDELIO, Opera in 2 Acts Op. 72 (Act 2)

http://forums.ffshrine.org/f92/ludwig-van-beethoven-complete-works-100-cd-138886/#post2417594

Herr Salat

08-09-2013, 04:46 PM

OscarRomelPR, I think these box sets are not in the spirit of this thread.

Try posting them here:

Classical by Request (Thread 58159)

bishtyboshty

08-09-2013, 04:59 PM

OscarRomelPR, I think these box sets are not in the spirit of this thread.

Try posting them here:

Classical by Request (Thread 58159)

I was begining to wonder.

wimpel69

08-19-2013, 02:58 PM

No.397

Three orchestral works from the 1980s, when Alvin Singleton worked as a
"Meet the Composer"-supported composer-in-residency to the Atlanta Symphony Orchestra.
All three are avantgarde, strongly characterized and powerful pieces rife with dramatic
contrast, full of incident and ideas. For Aunt Edna they ain't.

Categories: symphonic/large orchestra
Style(s): 20th century avantgarde

Music Composed by Alvin Singleton
Played by the Atlanta Symphony Orchestra
Conducted by Robert Shaw & Louis Lane

"At 22 minutes, "Shadows" is the big work in time and substance. . . . What starts
as a meditation explodes into a funky, emotion-laden kind of dance. Audience-friendly
yet raw, it's a small masterpiece.

"After Fallen Crumbs," dedicated to the memory of the Rev. Martin Luther King Jr., starts
with big, bleating brass, then gets smaller. There's a curious twist in this six-minute score:
insistent timpani strokes compete with the main story line, as if someone were urgently
knocking on the door and the dinner guests inside ignored it, as if Death himself were trying
to enter. "A Yellow Rose Petal," Singleton's first large orchestra work, contrasts fragile
phrases with the bullying power of the full orchestra — exhilarating at its best moments."
The Atlanta Journal-Constitution

Source: Louisville First Edition CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 104 MB

Download Link - https://mega.co.nz/#!ZQIRWQbR!SrsFfiXS4hsJjDB2PKumIz1cyC0t7UOcSot6TXu 5VTc

Enjoy! Don't share! Buy the original! :)

bohuslav

08-19-2013, 03:32 PM

[/COLOR]yep, wonderful share. million thx! do you have any music by Adolphus Hailstork? i know celebration from an old cbs lp...so there it is in an black composer series from detroit. links dosent work;O( so text:Black Composers Series - Detroit Symphony Orchestra | Songs, Reviews, Credits, Awards | AllMusic (http://www.allmusic.com/album/black-composers-series-mw0001835103)

wimpel69

08-20-2013, 08:40 AM

No, I only got the Hailstork material that Naxos released.

No.398

Daniel Sternefeld (1905-1986) was a Belgian composer and conductor. Sternefeld took
private lessons with Renaat Veremans and Paul Gilson at the Royal Conservatory of Flanders in
Antwerp, after which he studied conducting under Frank van der Stucken. He completed his studies
at the Mozarteum in Salzburg with Bernard Paumgartner, Clemens Krauss and Herbert von
Karajan. In 1938 he was appointed principal conductor of the Royal Flemish Opera. Sternefeld
wrote his first Symphony in 1943 while hiding from the occupying German Army. He escaped
deportation and in 1942 risked his life by attending the funeral of his teacher Paul Gilson in Brussels.
In 1948 he left the Royal Flemish Opera for the Belgian Radio Symphony Orchestra in Brussels -
serving initially as associate conductor, and then from 1957 to 1970, as principal conductor -
where he became known for his interpretations of modern music. In his writing a clear evolution
can be traced from a late romantic musical language, by way of the chromaticism of Wagner
and the sonority of Mahler and Richard Strauss, to a lyrical expressionism.

Sternefeld's most significant work is certainly the conflict-ridden WWII-time Symphony No.1,
a powerful mainstream 20th century symphony. The interludes from Mater Dolorosa show
off the composer's more reflective side. Every continental European child is probably familiar with
the folk song "Fr�re Jacques" - I learned this canon at school, too. The set of
Variations on this song is scored for wind band.

Categories: symphonic/large orchestra, suite, opera
Style(s): 20th century tonal

Music Composed by Daniel Sternefeld
Played by the Brussels Philharmonic Orchestra
Conducted by Arturo Tamayo

"Though little known outside of his native country, Daniel Sternefeld was one of the most
prominent Flemish composers of his generation. His compositions were not numerous, but dealt
with substantial, often dark subject matter, and they were greatly influenced by the likes of
Stravinsky and Bart�k in particular. Vol. 9 of Et'Cetera's Flemish Connection series opens with
Four Interludes and Finale from Sternefeld's successful opera Mater Dolorosa. Each of the five
sections deal with emotions of tragedy and loss: pain, tears, agony, war, and resignation. Despite
the subject matter, the Suite is not entirely oppressive, containing many memorable, tender
moments. The First Symphony of 1943 (the so-called "War" Symphony) indeed deals with war
and tragedy yet again. The tyrannical, harsh first movement is eventually transformed into the
bright, victorious atmosphere of the third and final movement. The program ends with a solemn
setting of Kol Nidrei -- the Jewish prayer uttered before the day of atonement -- and finally a
bright, sunny set of Variations on "Fr�re Jacques." Performing these sometimes heavy
works is the Brussels Philharmonic under Arturo Tamayo. The orchestra does an admirable
job of capturing the intense emotions of Sternefeld's music without making them
overwrought. The brass section of the orchestra in particular is put to the test throughout
the program and delivers a powerful, controlled, boisterous sound."
All Music

Source: Klara CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 163 MB

Download Link - https://mega.co.nz/#!V80xVCqS!HHAdpSMDtcCg1kpxjXJprH-Ztg1peaq8qnA2wMvWk5E

Enjoy! Don't share! Buy the original! :)

wimpel69

08-21-2013, 09:32 AM

No.399

Montague Phillips (1885-1969) was born in London and studied at the Royal Academy of Music.
Initially a church musician, he branched out into orchestral writing and even conquered the West End
stage with his operetta, The Rebel Maid, which starred his wife, Clara Butterworth. Many of his
pieces later found their way onto library discs, but since not all were written for that purpose, cuts
had to be made to accommodate the 78 rpm disc. His works all displaying his talent for melody, and
expert craftsmanship that places him as quite the equal of his friends, Eric Coates and Haydn Wood,
albeit with a smaller body of work.

The presence of Gavin Sutherland as conductor of this program should give insiders a
clear picture of the kind of music to expect from this all-Phillips collection. Yes, it's British Light Music,
but more in a sense of it being romantic than being slight. Montague Phillips has written concertos
and other, "more serious" stuff, too - here, he indulges in shorter forms and suites. This is all very
well-crafted music, and if you're a stickler for this particular, very English style, you'll find much to enjoy.

Categories: symphony orchestra, dance, suite, overture
Style(s): neo-romantic, British Light Music

Music Composed by Montague Phillips
Played by the BBC Concert Orchestra
With Matthew Trusler (violin)
Conducted by Gavin Sutherland

"This writer has reviewed many light music recordings, but few as enjoyable and
rewarding as this second volume Dutton has devoted to the legendary Montague Phillips
(1885–1969). A member of the generation that included light music giants Eric Coates and
Haydn Wood, in his earliest years around World War I, Phillips aspired to recognition as a
“classical” composer (in addition to church music, there are two piano concertos, a symphony,
and several symphonic poems). But during the 1920s, after he had written over 100 art songs
or “ballads” for his wife, Phillips began to focus more and more on shorter forms. Even in
these efforts, however, his innate aristocratic sense of form and occasion as well as his full,
rich orchestration remained even more appropriate for the concert hall.

This collection opens with one of Phillips’s most spirited and harmonically sophisticated works,
the Charles II Overture , specially commissioned in 1936 for a BBC program of light music
premieres. This arresting piece is followed by Hillside Melody of 1925, which illustrates
Phillips’s penchant for a type of pastoral lyricism very different from the modal inflections
of the Vaughan William circle. The popular Hampton Court of 1954 epitomizes his wealth
of melodic invention and pervasive optimism.

The 1912 Phantasy for Violin and Orchestra—at 12 minutes’ duration the longest single
work here—is drawn from his youthful catalog, where his interests were still concentrated
on so-called “serious” music, but even here his gift for engaging and communicative
themes holds sway. The Festival Overture —originally entitled “In Praise of My Country”—
is a persuasive example of Phillips’s patriotic (but never fulsomely so) afflatus, while the
relatively short In Old Verona , subtitled “serenade for strings,” gives an enchanting impression
of Italianate life through decidedly Anglican eyes. Next comes In May Time, a charming
suite for small orchestra comprising four miniature nature-pictures in a somewhat genteel
idiom, once included in the Chappell publishers’ production music catalog. This varied
and well-contrasted program ends with the Empire March of 1942, which exudes pomp
and circumstance without in the least sounding imperial or triumphalist.

The excellent BBC Concert Orchestra plays for Gavin Sutherland with unstinting gusto
and conviction, and Dutton has provided a degree of sonic immediacy and dimensionality
that is aurally overwhelming. This may be “light music,” but it is still stupendously
impressive and inexhaustibly entertaining."
Fanfare

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wimpel69

08-21-2013, 05:25 PM

No.400

Another collection of contemporary "Western-style" orchestral works by Hong Kong composers,
this time recorded with the Russian Philharmonic Orchestra under Mak Ka-lok, a
"house conductor" of the HUGO label at the time. Again, the styles are rather diverse, but unlike
the collection previously uploaded, the emphasis is more obviously placed on European-style avantgarde.

Categories: symphonic/large orchestra, Asian composers
Style(s): 20th century avantgarde

Works include:

Richard Tsang: Prelude to '97
Law Wing-Fai: Sphere Supreme
Joshua Chan: Devotions of Morning Fragrance
Daniel Law: Symphony No.2
Chan Wing-Wah: Transit

Music composed by (see above)
Played by the Russian Philharmonic Orchestra
Conducted by Mak Ka-Lok

"The Russian Philharmonic Orchestra is firmly rooted in Russia's rich musical traditions, and has
achieved an impressive and outstanding musical quality by drawing its musicians from the highest
ranks of Russia's most famous orchestras such as the Moscow Radio Symphony Orchestra,
the Russian National Orchestra and the State Symphony Orchestra. The Russian Philharmonic
Orchestra was originally formed as a recording ensemble and has gone on to receive high acclaim
for its concert performances. In addition to regular recordings for leading international companies,
the orchestra has undertaken tours to Turkey, Austria, Germany, China, Taiwan, Finland and
elsewhere. Dmitry Yablonsky was appointed Music Advisor to the orchestra in 2003. In 2006
the orchestra won a Gramophone Award for their recording of Shostakovich on
Deutsche Grammophon.

Maestro Mak Ka Lok, is an international named conductor and composer of Hong Kong origins.
He worked as a conductor in Russia between 1993 and 2002 and as a composer in Vienna
between 2002 and 2011. In 2012 he has found the HK18 Symphony Orchestra and also the
Symphony Home in Hong Kong."

Source: Hugo Classics CD (my rip!)
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File Size: 129 MB

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wimpel69

08-22-2013, 08:24 AM

No.401

A collection of works (mostly) for string orchestra by American and Israeli composers.
Paul Creston's impassioned WWII-themed Chant of 1942 is perhaps the most
intriguing work here, but all of them are well-crafted. They range from wistful and introspective
to the charming Israeli Dances by Julio Chajes and the folk/mythology inspired
Armenian Rhapsody (No.2) by Alan Hovhaness.

Categories: strings/small orchestra, dance, suite
Style(s): 20th century tonal, neo-romantic

Music by Paul Creston, Norman Dello Joio, Julio Chajes
And Vincent Persichetti & Alan Hovhaness
Played by Members of the Israel Philharmonic Orchestra
Conducted by David Amos

"This CD is not part of the Crystal Hovhaness '800' series but nicely complements it.
HOVHANESS'S Celestial Fantasy is subdued and inward with over-the-shoulder glances at Warlock's
Capriol but with the accustomed oriental sway and twist. The Second Armenian Rhapsody (which
closes this disc) is similar to the other two rhapsodies with its long-lined swaying tunes, pizzicato
and wilder court dances. Not consistently compelling but well-rounded and always tuneful. The disc
partners David Amos conducting a generous Hovhaness collection (almost 70 minutes) with the
Philharmonia on CD810 and Amos conducting the Artik Concerto on CD802.

PAUL CRESTON's romantic and tuneful music has, surprisingly, made little headway despite its
obvious strengths. Several of his symphonies have made it onto CD (and Naxos will add to that
small store in 2000). No doubt there would have been a complete symphonic cycle from Gerard
Schwarz if only Delos had not run out of stamina (and cash).

Creston's Chant of 1942 is overcast, emotional and heavy with tragedy redolent of the deathly
times in which it was written. The liner notes relate the music to the despondency of the times and
the horrors of Greece, Poland and Lidice (compare Martinu's and Alan Bush's works referring to Lidice).
The final section of the Chant is like some muffled clock, desperate and at the same time threatened
and empyreumatic. Surely this work takes some inspiration from Shostakovitch's Leningrad
Symphony as well.

What a surprise to discover the melting lilt of Creston's Suite For Strings (1978). The whole thing
lasts less than 16 minutes and is in four movements, by turn, jaunty-lilting; scattily carefree; hauntingly
serenading; and the final fugal Cumulus throws and spins the tunes of the three previous movements
together in a careful and concentrated display.

NORMAN DELLO JOIO's Air for Strings (1967) is a tender serenade of crystal brevity. CHAJES Israeli
Melodies are a simple and dignified set of string songs. Nothing grates. The down-side is that there is
a certain blandness about the music which is cast off only in the opening intensity of Song of the Night.
PERSICHETTI'S Introit is not simple. It inhabits the desolate places of Warlock's Curlew and the misty
streams of Bernard van Dieren's imagination.

Recommended for anyone wishing to add a tuneful collection of string works to their collection.
Committed Crestonians (and we do exist) and Hovhaness acolytes will also need this polished
and well-balanced album."
Musicweb

Vincent Persichetti, Paul Creston

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gpdlt2000

08-22-2013, 01:48 PM

Thanks for the latest posts,wimpel!

wimpel69

08-23-2013, 08:27 AM

No.402

Sylvio Lazzari (his real first names were Josef Fortunat Silvester) was born in Bozen, Southern Tyrol,
on 30 December 1857. His father was from Naples, his mother an Austrian. To give in to his parent�s wishes
he interrupted his training as a violinist to study in Innsbruck, Munich and Vienna, where in 1882 he obtained
his doctor�s degree. The same year, during a visit to Paris, following the advice of Ernest Chausson and
Charles Gounod who both had recognized his gifts, Lazzari decided to devote himself entirely to music.
At the Conservatoire he became a pupil of Ernest Guiraud and of C�sar Franck.

In 1894, two years before Lazzari was naturalized as a French citizen, Eug�ne Ysa�e had given the first
performance of the Sonate pour piano et violon, bringing this work to international renown. In 1922,
his Rhapsodie pour violon et orchestre was to be launched by none other than Georges Enesco.
Lazzari�s most important symphonic works are Symphonie en mi b�mol (1907), Tableaux Maritimes
(1920), Effet de Nuit (1890), Marche pour une f�te joyeuse (1903) and, to complete his works for
solo instrument and orchestra, Concertst�ck pour piano (1895). His vocal music includes over fifty works,
either for solo voice (ten songs are available in orchestrated versions), for vocal duet or for chorus and his
chamber music also includes some twenty works for solo piano.

Although Lazzari�s music is influenced by Richard Wagner, Ernest Chausson and C�sar Franck, it is highly
individual in style and of a decidedly more virile temper than those three he considered his masters. It always
sounds uncompromising, well-constructed and mature. Lazzari had a way with absolute, programme and
theatre music, and knew how to write for singers and for instrumental soloists. A predilection for Breton
legends had brought him into contact with the folklore of that region.

Music Composed by Sylvio Lazzari
Played by the Moscow Symphony Orchestra
Conducted by "Adriano"

"This disc continues the Marco Polo label's practice of finding and resurrecting worthy Romantic-era
music that lay dead for years on library shelves. In this case, they present two orchestral works of
Sylvio Lazzari, a Paris-based Austro-Italian from the Tyrol originally named Josef Fortunat Silvester:
an undated Symphony in E flat and a 1920 work called Tableux maritimes (Maritime Pictures).

This is a worthy pair indeed, especially in the hands of the conductor Adriano (he uses only his surname)
and the Moscow Symphony Orchestra. Performed here, the Tableaux have a coloristic sparkle
(despite the use of a very standard orchestra with only a bass drum in addition to the timpani as percussion).
The taut performance seems full of commitment and understanding, and the orchestral execution is fine.
The ending of the first movement, depicting the sun setting into the sea, is a magical moment.

As for the symphony, one gets the impression that the work is slightly too academic, an odd
coupling of Franckian cyclic form and more nearly impressionistic harmonies. But this listener is not
sure whether this is the fault of the music or a too-formal approach by the conductor."
All Music

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File Size: 184 MB (incl. cover & booklet)

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wimpel69

08-26-2013, 08:42 AM

No.403

Thomas Ad�s (*1971) is among the brightest young stars in contemporary composition,
and a musician of broad achievement and influence. His complex and appealing music exhibits
a flair for drama, humor, and personal expression and is notable for the creative use of instrumental
color. Also active as a pianist and conductor, Ad�s divides his time between composition and a
busy performing schedule, as well as teaching at the Royal Academy of Music.

Ad�s' reputation was secured by his chamber opera, Powder Her Face, Op. 14, a commission
from Almeida Opera for the 1995 Cheltenham Festival. Its premiere, as well as productions in
Germany and the United States, attracted enormous critical attention and praise, and led to a
commission for the 2004 season at Covent Garden (The Tempest, an adaptation of Shakespeare).
His first large-scale orchestral work, Asyla -- which was premiered by Simon Rattle and
the Birmingham Symphony Orchestra in 1997 -- established Ad�s' reputation as a composer
of lasting value and individuality.

Nicholas Maw (1935-2009), one of the most highly regarded British composers of his generation,
has written music in a language greatly influenced by the expressionistic style closely associated with
Arnold Schoenberg. Still, it is misleading as well as unduly dismissive of Maw's singular mode of
expression to categorize him simply as Schoenbergian, or even as expressionistic. Maw's music,
with its opposition and blending of 12-tone and tonal principles, is better regarded as the multiply
influenced but cohesive creation of a wholly original creative voice.

In 1962, at the age of 26, Maw wrote Scenes and Arias for orchestra and three women's voices,
the work that established him as a composer of some consequence. Since then, he has composed operas,
sonatas, and chamber, vocal, and choral works, but remains best known for his orchestral music.
From 1973 to 1987 he worked on the immense symphonic poem Odyssey, generally regarded as
his greatest creative achievement. A recording of Odyssey by Simon Rattle and
was nominated for a Grammy award in 1992.

Categories: symphonic/large orchestra, English composers
Style(s): 20th century avantgarde

Music by Thomas Ad�s & Nicholas Maw
Played by the Berliner Philharmoniker & City of Birmigham Symphony Orchestra
Conducted by Sir Simon Rattle

"This is the fourth disc of music by Thomas Ad�s, reaffirming his status as the most brilliantly inventive
British composer of his generation. Ad�s is something of a miniaturist and the 23-minute Asyla,
commissioned for the CBSO in 1997, is, in terms of scale, his biggest work to date (Powder her Face
is longer but scored for smaller forces). The title (the plural of ‘asylum’) is ambivalent, suggesting both
‘refuge’ and ‘madhouse’. Intermittent cowbells epitomise the former, while the latter aspect reaches
its extreme point in the third movement, aptly described by Andrew Porter as ‘a sort of Rite of Spring
cum disco’ -- at once exhilarating and disturbing. In the Chamber Symphony, tango and distant
Weberian horncalls combine in the kind of phantasmagorical fantasy Ad�s conjures so well."
BBC Music Magazine

"Like Homer's, Nicholas Maw's Odyssey is on a massive scale. It explores the many possibilities
of identity and pleasure in depth, though variations on a rich theme, before resolving to a simple,
restful unison E flat. Simon Rattle, who introduced tonight's performance with unpatronising clarity,
gave his television series on twentieth-century music the title Leaving home because the century
seems to move away from the tonal and formal securities of classicism and romanticism. Maw,
unusually for a composer of the same generation as Birtwhistle, comes home not to the past
but to the musical conclusion of a complex debate between different forces and temptations.

Maw worked on Odyssey from 1972 to 1985. The course of its movements reflects both the
development of his interest towards tonality in this period and the musical ghosts which a
twentieth-century composer cannot ignore. A tense but texturally diffuse introduction servers
as a long down-beat, followed by a first movement which states and develops a fourty-four
bar theme in distorted classical style. A contrastingly playful second movement, with almost
twee harp interludes, evokes the English musical tradition "from the reign of both Elizabeths",
as Rattle put it, though the dominant spirit is inevitably Britten. The third movement reintroduces
the main theme, transformed, in an extended romantic ramble, in the spirit of Bruckner, with
many unison melodic passages. The fourth movement reintegrates the different traditions
in a dense but excited romp that ends in an explosive epilogue and the quiet coda, where it
all has been heading in both time and tonality.

Each section of Odyssey is introduced by a "time chord", a loose-textured chime with
occasional ticking, based on the sound of a clock that Maw grew up with. If you can spot it,
this is a useful cue that a new section is starting, but the appeal of the work certainly doesn't
depend on its formal structure, which in any case is too massive to take in on a single hearing.
Rather, the pleasure is in the way Maw builds up musical interest by reinventing familiar
musical ideas from different traditions so that they work in dialogue at many levels towards
a single point. The extended third movement, in particular, contains many enjoyable sections
that flow from each other apparently going nowhere much but actually building up an
underlying sense of purpose and tension.

Simon Rattle commented that Odyssey is a difficult work for the orchestra. It is the longest
work in the standard repertoire, at about ninety-five minutes, and it includes delightful but
demanding solo work for all the sections of the orchestra."
Concerto.Net

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wimpel69

08-27-2013, 12:03 PM

No.404

Wind, sand, and a dream of flight brought Wilbur and Orville Wright to Kitty Hawk, North Carolina where,
after four years of experimentation, they achieved the first successful airplane flights in 1903. With courage
and perseverance, these self-taught engineers relied on teamwork and application of the scientific process.
What they achieved changed our world forever.

This is a collection of orchestral works celebrating the 100th anniversary of the first flight of the
Wright Brothers. William Bolcom is among the best-known American composers, the others
(Steven Winteregg, Michael Schelle & Robert Xavier Rodriguez) are still waiting to
be discovered by a wider audience.

William Bolcom: Inventing Flight
Steven Winteregg: To Fly Unbounded
Michael Schelle: Wright Flight
Robert X. Rodriguez: The Story of Wilbur and Orville Wright

Categories: symphony orchestra, American composers
Style(s): 20th century tonal/avantgarde

Music by (see above)
Played by the Dayton Philharmonic Orchestra and Chorus
With Allison Janney (narrator) & Andrew Russo (piano)
Conducted by Neil Gittleman

"Neal Gittleman writes: "The Dayton Philharmonic's Wright Brothers Centennial Commissioning
project dates back to 1997. At that point, more than five years before the actual 100th
anniversary of Wilbur and Orville's first successful powered flight, it was already clear that
something big was called for. 2003 would also be the Ohio state bicentennial, the orchestra's
seventieth anniversary and the DPO's first season in the new Benjamin and Marian Schuster
Performing Arts Center. Given our commitment to the music of today, a major commissioning
effort seemed the way to go, bringing to life four new medium-length pieces addressing the
broad theme of the Wright Brothers. How do you do that? Easy. You find fearless composers
like Bill Bolcom, Robert Rodriguez, Mike Schelle and Steve Winteregg and turn them loose.
They attacked the challenge with the same vigor as Orville and Wilbur tackled the challenges of
powered flight. Technical problems had to be solved. For the Wrights there were issues of
wing and propeller design, inventing a control mechanism, finding a light but powerful motor
and conquering the multidimensional challenges of lift, yaw and roll. For the composers,
there were questions of genre, language, piece-d'occasion - or piece-for-the-ages and "How
many percussionists can I have?" In the end, what made both endeavors successful was
imagination and inventiveness - the imagination to envision the end result and the inventiveness
to make it happen. More than anything else, this CD and the four works it contains reflect
the spirit of Wilbur and Orville Wright, the greatest sons of Ohio's great city of inventors".
Allison Janney, of The West Wing fame, was raised in Oakwood, a small suburb of Dayton.
She attended Kenyon College in Ohio and landed a role in a play directed by alumnus
Paul Newman. Newman's wife, Joanne Woodward, encouraged Janney with her acting
and suggested that she consider studying at New York's Neighborhood Playhouse. She
has won three Emmy awards for her work in television."

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File Size: 178 MB (incl. booklet)

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wimpel69

08-28-2013, 08:45 AM

No.405

Josephslegende (The Legend of Joseph), Op. 63, is a ballet in one act for the Ballets Russes
based on the story of Potiphar's Wife, with a book by Hofmannsthal and Kessler and music
by Richard Strauss. Composed in 1912/14, it premiered at the Paris Opera on 14 May 1914.

Hugo von Hofmannsthal first proposed Josephslegende to Strauss as a Zwischenarbeit or 'interim work'
between Ariadne auf Naxos and Die Frau ohne Schatten. Composition began in June 1912,
but in a letter of 11 September Strauss confided "Joseph isn't progressing as quickly as I expected. The chaste
Joseph himself isn't at all up my street, and if a thing bores me I find it difficult to set it to music. This God-seeker
Joseph - he's going to be a hell of an effort!". Strauss drew on earlier sketches for his abandoned
ballet Die Insel Kythere and wrote for an outsized orchestra with exotic instrumental colouring,
including four harps, organ, celeste, glockenspiel, xylophone, large and small cymbals, four pairs of
castanets, and a double-bass clarinet.

With Diaghilev as impresario, Nijinsky as choreographer and creator of the title role - replaced after his
marriage and fall from grace by Fokine and Massine - costumes by L�on Bakst and Alexandre Benois,
scenic design after Veronese by Josep Maria Sert, and Strauss conducting the premi�re, the initial run
lasted seven performances. This was shortly followed by a further seven in London conducted by Sir
Thomas Beecham, who had loaned the money for the commission to Diaghilev.

This is one of only a handful of complete recordings of the ballet. Most often, conductors have
gone for the suite, which omits about half the material.

Categories: ballet/large orchestra, German composer
Style(s): early 20th century tonal, late romantic

Music Composed by Richard Strauss
Played by the Tokyo Metropolitan Symphony Orchestra
Conducted by Hiroshi Wakasugi

"This is the first complete recording of this rare ballet that was first performed in 1914, then almost
never performed again although it gained good reception from its first performances. If you think that
German composers can be played only by German orchestras, don't worry: Maestro Wakasugi has been
permanent conductor with the Dresden Staatskapelle, Dresden National Opera and also the
Zurich Tonhalle Orchester before recording this piece. You'll find all the colors and Strauss-spirit you
might expect from such a huge-proportioned Strauss work."
Amazon Reviewer

Costume designs for the original "Josephslegende" production.

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wimpel69

08-30-2013, 08:36 AM

No.406

Patric Standford was born in 1939 in Yorkshire, England. He studied at the Guildhall School of Music
in London with Edmund Rubbra and Raymond Jones, played the violin and viola in the orchestras and chamber
music classes, and learned the craft of conducting with Lawrence Leonard and Norman de Mar. He won the
1964 Mendelssohn Scholarship which enabled him to extend his studies in Italy with Gianfrancesco Malipiero
and in Poland with Witold Lutoslawski. After gaining a Masters degree at London University, he becamse
involved in the world of commercial music, writing and arranging for films, televsion and West End shows
through which he acquired practical experience and skills he has always valued. During this time he made
several recordings as a conductor of light music, including an album for the jazz group Continuum which
he cmposed and directed. During the 1970s he established himself as a concert composer with his
Symphony No.1 (The Seasons), which was awarded the Premio Citta de Trieste, a Cello Concerto
(a homage to Brahms), and significantly the oratorio 'Christus Requiem' which drew wide critical acclaim,
including the 'Yugoslavian Government Arts Award' after a performance in Skopje. His Symphony No.3
(Toward Paradise) was awarded the 1985 City of Geneva Ernst Ansermet Prize, and in 1997 he received
the First International Composers' Award of Budapest for his choral masque The Prayer of Saint Francis.
In 1999 he was awarded the first prize of the Belgian International ClarinetFest for his Clarinet Quintet.
Symphony No.5 was commissioned for the BBC Philharmonic in 1986. His choral works attracted
many European performances, and he became a frequent visitor to France (Tours), Hungary (Budapest and
Debrecen) and Estonia (Tallinn) as a jury member for International Choral Festivals. He was professor of
composition at the Guildhall School of Music until 1980, when he was appointed Head of the Music School
at Bretton Hall, a college of Leeds University. He has also played a major role with many British organisations.

Categories: symphonic/large orchestra, English composer
Style(s): early 20th century tonal, advanced tonality

Music Composed by Patric Standford
Played by the Royal Scottish National Orchestra
With Raphael Wallfisch (cello)
Conducted by David Llloyd-Jones

"This CD contains some substantial works by a relatively unknown British Composer. From the accompanying
booklet I see that his tutors were Edmund Rubbra, Malipiero and Lutoslawski. He did not imitate his tutors
and there is least evidence of their influence.

His first symphony was his third attempt at writing it and it is scored for a large orchestra. There are four
movements depicting the four seasons. Not a bit like Beethoven's Pastoral Symphony. this spring is not like
a typical British one, but rather like a Russian one. This is strong vigorous music, the writing is busy, yet
the textures are never overloaded. An interesting piece of orchestral writing. Well worth a listen.

The Cello concerto played by Raphael Wallfisch is a homage to Brahms and is built around the fifth movement
of his German Requiem.Written in 1974, it sems that to date this is his only full scale concerto. Beautiful
music. This should be on programmes for Recorded Music Societies and U3A Music Appreciation Groups.
Finally the disc ends with "Naiades", this was originally a movement from Stanford's Second Symphony.
The Naiades were mythological water nymphs, therefore the music is light and airy. Fast and busy
throughout. this is delightful with sustained delicacy and dexterity.

Thes pieces are well worth investigating and The Royal Scottish National Orchestra under David Lloyd Jones
have made my enjoyment of this music all the better by an excellent sound recording. We are indebted
to The British Music Society for issuing it."
Music Web

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dr krankenhaus

08-30-2013, 10:45 AM

Dear Wimpel, you are a true gold mine!

wimpel69

08-31-2013, 08:34 AM

No.407

K�s�ak (aka Kosaku) Yamada belongs to the group of the first fullyfledged composers that Japan produced. He was also a
prominent conductor, organizer, and leader of the Japanese music world. As a great pioneer, he played a
definitive r�le in helping Western music take root in Japan. In the 1860s, after 250 years of isolation, Japan
restored extensive contacts with Western civilization, including music.

Yamada’s studies in Berlin with Max Bruch were quite fruitful and significant. He absorbed everything he could in Berlin,
while continuing to study academic harmony and counterpoint at school. During this Berlin period, he
made a series of epoch-making achievements in Japanese music history. Yamada’s predecessors had
been attempting pieces for wind band, sonatas for solo instruments and piano-accompanied songs, but Yamada
surpassed them in Germany, where he created orchestral pieces, a symphony, symphonic poems and a
full-scale opera (Heavenly Maiden fallen to Earth), all of which were the first-ever attempts of their
kind by a Japanese composer.

The Symphony in F Major ‘Triumph and Peace’, which amounts to the first-ever symphony by a
Japanese composer, was completed on 8th November 1912. It may be that the symphony initially had no title
and was given the name after the outbreak of World War I in 1914. In any case, the work is true to its name.
It contrasts and unites the triumphant hymn to victory and a calm prayer for peace. A pair of musical
memories of high-spirited military music and devout hymns in his early days in Yokosuka has now grown
into this symphony. Yamada was strongly attached to the Gagaku-like, beautiful
melody of Kimigayo, which meant to him a symbol of the strength and sublimity of Japan, and a link between
‘triumph’ and ‘peace’. All his life he continued to use the melody of Kimigayo or its fragmented motifs in
many of his works, as a metaphor for Japan.

The two symphonic poems The Dark Gate and Madara No Hana (Mandarava) were written in the
same period. The former was started about March 1913 and was completed in October of the same year, while
the latter was started in July and was finished in November. The Dark Gate is based on a poem of the same title
by Rofu Miki, a Japanese poet stimulated by European Symbolism. The story is as follows:
There are many blind people in a room, and there is a big dark gate in front of them. The blind, driven by
uneasiness, knock on the door violently. But the gate does not move at all. One of the blind men murmurs that
they might die. All the people stop talking and silence reigns. Meanwhile some begin to cry, yet the gate is
kept closed. Madara No Hana is based on a poem of the same title by Kazo Saito, Yamada’s close friend, who showed
versatility in music composition, architecture, painting, design of furniture and clothes. Saito studied in Berlin
during the same period as Yamada, and was influenced by Kandinsky and Bruno Taut. “Madara no hana”
denotes beautiful flowers growing in Buddhist Heaven. The poem reads as follows: "The sun is shining red in the night. I see the lights of
the palace and an old man washing his eyes in the lake. I walk about this strange land. Then the old man passes
me by and hurries to the palace. I walk after him only to lose sight of him. Feeling isolated and crying, I still go
on walking and come up to a place, where madara no hanas lie scattered on the ground. The palace in the
distance now shines brightly and I am enchanted by its beauty. But soon after that, it gets dark and only
madara no hanas continue to go."

Categories: symphonic/large orchestra, Japanese composer
Style(s): late romantic, impressionistic

Music Composed by Koscak Yamada
Played by the Ulster & New Zealand Symphony Orchestras
Conducted by Takuo Yuasa

"In 1912, a 26-year-old music student from the provinces attending the Musikhochschule in
Berlin turned out a well-composed and very conventional overture and four-movement symphony
for his theory class. In 1913, the same student wrote two very progressive, very expressive,
and very mystical symphonic poems for himself and a handful of like-minded friends. Not, one
would imagine, a singular story in the heady days and decadent nights of fin de si�cle Berlin except
that in this case the province in question was Japan, the composer in question was named
Kosaku Yamada, and the works are the first overture, the first symphony, and the first
symphonic poems ever composed by someone of Japanese descent.

That Yamada's Overture and Symphony are conventional and inconsequential works is hardly
surprising: after all, he composed them for class. And that Yamada's The Dark Circle and Madara
No Hana are progressive and expressive works is hardly surprising: after all, he wrote them for
himself. But that symphonic poems should be so weirdly radiant; so luminously colored; so
achingly, longingly, yearningly mystical is certainly surprising and that they should be so convincing
and even compelling is astounding. Yamada's Madara No Hana, the flowers in Buddhist Heaven,
is an exquisitely beautiful work of serene ecstasy. The conducting of Takuo Yuasa is lucid, the
playing of the Ulster Orchestra and the New Zealand Symphony Orchestra is clean, the recording
of Naxos is clear, and the uncanny light of Yamada's Madara No Hana shines through."
All Music

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bohuslav

09-01-2013, 03:10 PM

the first movement of the cello concerto from standford reminds me of kilars dracula soundtrack, ;O)
I have to listen several times...thx a lot for this!

wimpel69

09-02-2013, 08:29 AM

You're welcome. :)

No.408

Aarre Merikanto (29 June 1893, Helsinki, Grand Duchy of Finland – 29 September 1958, Helsinki, Republic of Finland)
was a Finnish composer. He was the son of Liisa H�yrynen and the famous romantic composer, professor Oskar Merikanto.
His childhood he spent in Vilppula, Finland. From year 1919, he was married to Meri Gr�nmark. He is considered a key figure
in early Finnish modernism (together with V�in� Raitio and Ernest Pingoud) and several of his works, most notably the opera
Juha, have obtained posthumous attention. As professor of composition in the Sibelius Academy (1951-1958) Merikanto
taught several Finnish composers of the next generation, including Einojuhani Rautavaara, Usko Meril�inen, Aulis Sallinen
and Paavo Heininen.

He studied music in Helsinki 1911, Leipzig 1912–1914 and Moscow 1916–1917. Merikanto's early style was rooted in
Finnish romanticism, but in the 1920s he developed a personal, atonal but not dodecaphonic Modernist style. The reception
of Merikanto's works of this period was mixed: the "Schott" Concerto for nine instruments was awarded in a competition
organized by the German publishers Schott & S�hne, but his domestic Finnish audiences and critics were generally
unenthusiastic and his opera Juha, today considered one of his major works, was never performed during Merikanto's
lifetime. Disappointed with the reactions, starting in the early 1930s, Merikanto gradually abandoned his more radical style
and turned towards a more traditional idiom based on Neoclassicism. He also destroyed or mutilated the scores of
several works from his earlier style period, some of which were later reconstructed by his composition student
Paavo Heininen. Merikanto was diagnosed with lung cancer in the summer 1957, and he died the next year.

The works recorded here are from different phases in Merikanto's career. The symphonic poem Pan, suggestive, sweeping
and explosive by turns, and the ambitious Genesis for soprano, chorus and orchestra are the major works.

Categories: symphonic/large orchestra, Finnish composer
Style(s): 20th century advanced tonality

Music Composed by Aarre Merikanto
Played by the London Sinfonietta, Finnish Radio & Lahti Symphony Orchestras
With Anssi Karttuunen (cello), Karita Mattila (soprano)
And the Savonlinna Opera Festival Choir
Conducted by Esa Pekka-Salonen, Leif Segerstam, Jukka-Pekka Saraste & Ulf S�derblom

"Pan - Symphonic Poem for Orchestra, op.28: Merikanto's impressionistic portrayal of the goat-hoofed forest
god is one of his best known, and more successful, orchestral compositions. Initial reactions to the work were
mixed with many believing that the schizophrenic use of folk-like dance elements in combination with forest
murmurs echoing Wagner were not a sign of maturity. For sheer boldness and subtle use of instrumental color,
Pan must be ranked as one of the more innovative Finnish orchestral works of the early 20th-century.
The playful but elusive flute line that weaves through the work give us a perplexing look at the shenanigans
of the strange creature. This work proved to be an important predesessor to Finnish modernism with its
fearless use of new techniques while managing to stay well within the post-Romantic Scandanavian tradition."
All Music

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wimpel69

09-03-2013, 08:27 AM

No.409

This is a delightful collection of Flemish rhapsodies (five of the six works even bear that same title)
by Belgian composers, and the Frenchman Albert Roussel. You'l find more details about the
composers and the works in the review below.

Categories: symphonic/large orchestra, Belgian & French composers
Style(s): 20th century, late romantic, neo-classical

Music by Michel Brusselmanns, Maurice Schoemaker, Marinus de Jong
And Jean Absil & Albert Roussel
Played by the Belgian Radio and Television Philharmonic Orchestra
Conducted by Alexander Rahbari

"To be honest, if I had read about this disk I might think it to be some kind of April fool.
After all, a disk called Flemish Rhapsody containing five works with the same title might seem to be rather
over–egging the pudding. But this is no jest, for here are six very enjoyable, and colourful, works
from composers whose names, with, possibly, two exceptions, will be new to you.

Brusselmanns was born in Paris, but studied with Paul Gilson - probably the first Flemish composer
to compose a rhapsody for orchestra – Scottish Rhapsody (1886) - at the Brussels Conservatoire.
He remained an isolated figure all his life. This Flemish Rhapsody is not based on any folk material,
but that hardly matters for it’s a cogently conceived work, full of brilliant orchestration. There’s a
particularly melting section for cor anglais about half–way through – and good (original) tunes.
Why have we never heard this piece before? It’s got real charm and quite a bit of cheekiness about
it, and some of the orchestration sounds a little like Constant Lambert! This is super stuff –
a joy from beginning to end.

Schoemaker also studied with Gilson, as well as having lessons in counterpoint from Brusselmanns.
He uses two folk tunes – a boisterous theme for the beginning and end and a slower, dreamier,
idea for the relaxed, and contrasting, middle section. Perhaps not as colourful in its orchestration
as the previous piece it is just as enjoyable.

Marinus de Jong was Dutch by birth but after studying in Antwerp he took Belgian citizenship
and started his musical career as a virtuoso pianist. This work uses a number of folksongs and is
in a freer, more rhapsodic, form than the earlier works. It’s restrained and discreet, nothing really
festive about this music – it seems worthy rather than worthwhile.

Jean Absil was a Walloon and his wife came from Ghent, which is probably the reason for this
work. Using four folksongs – one with the wonderful title The sneaky fisherman – this is a very
fresh and delightful piece of light music. It sports luminous orchestration, well worked out ideas
and is reminiscent of the lovely way that Grace Williams uses the Welsh Nursery Songs in her
Fantasia on that material.

Albert Roussel was born in Tourcoing, which is just on the French side of the border with Belgium,
so it’s not too unusual to expect him to have written this work. Using five 16th and 17th
century Flemish tunes, Roussel creates a piece like the Absil, unpretentious and enjoyable.

Finally, August de Boeck’s Dahomeyan Rhapsody, the earliest work here which, strangely, is
very reminiscent of Delius Dance Rhapsodies, yet it predates both of them by quite some time!
This piece is a lovely romp and nothing else.

This is a most enjoyable collection of unknown pieces in very fine performances and is well
worth investigating because the music is so delightful. The recorded sound is bright and clear
and the notes in the booklet, are in Flemish, French, German and English. In general these are
very optimistic pieces whose only desire is to entertain. You can’t ask for more than that
from a piece of music."
Musicweb

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bohuslav

09-03-2013, 12:46 PM

many thanks, this is fantstic! belgian and netherlands composers are underrated.

wimpel69

09-04-2013, 08:30 AM

No.410

This is truly a "mixed bag" of shorter English orchestral works, grabbed from various
different original releases on the famous Lyrita label. Francis Chagrin (Helter Skelter),
Malcolm Arnold (Beckus the Dandipratt) and Alan Rawsthorne (Fantasy Overture: Cort�ges)
also wrote film scores, while David Morgan (Contrasts) and Peter Warlock (Serenade)
focused on concert music, and Henry Hugo Pierson (Macbeth) simply did not live to
see motion pictures emerging. Details about these works you can find in the review below.

Music by (see above)
Played by the Royal & London Philharmonic & London Symphony Orchestras
Conducted by Barry Wordsworth, Vernon Handley, John Pritchard
And Nicholas Braithwaite

"This CD has three key elements. Firstly there are three works that have been swept up
from previous reissue projects at Lyrita. These include the Comedy Overture, Beckus the Dandipratt
by Arnold, Chagrin�s Helter Skelter and Warlock�s Serenade for Frederick Delius. Contrasts � the
highlight of this CD - by David Morgan was from an LP devoted to his music (SRCS 97). Incidentally,
I wonder what has happened to the same composer�s Violin Concerto from that disc? And thirdly
there are two new offerings from the Lyrita archive: Pierson's Macbeth and the Rawsthorne�s
Cort�ges have not been issued on this label before.

The first work is by the largely forgotten composer Henry Hugo Pierson. This was written in 1869
at a time which traditionally has been regarded as a downbeat period in English musical history �
�The Land without Music�[see]. This work categorically disproves the sentiment of that myth. Pierson,
originally spelt �Pearson�, was born in Oxford in 1816. After a good classical education at Harrow
School and Trinity College, Cambridge he studied music in England and Germany. In 1844 he accepted
the post of Professor of Music at Edinburgh University. However most of his life was spent in
Germany, where he died in Leipzig in 1873. He wrote a number of works in different genres, but he
is perhaps noted for his choral music, songs and stage works. Grove mentions only a handful of
pieces for orchestra besides the present work. These include a Romantic Overture, Hamlet: funeral
march, and a handful of overtures, including Romeo and Juliet and The Maid of Orleans. The Romeo
and Juliet Overture was recorded on Hyperion CDH55088.

There are a number of things that need to be said about this present work. Firstly, although the
composer annotated his score with quotations and �stage directions� it is not necessary to follow
the plot of �The Scottish Play� to appreciate this work. Secondly, the orchestration is impressive; without
going overboard it is fair to say that Pierson was manifestly a master of his art. Thirdly, this is a major
work lasting some twenty minutes. At the back of my mind was the fear that the interest of the
music could not be maintained. Somehow the residual prejudice that exists about �Victorian� music made
me doubt whether the invention and integrity of this composer�s tone poem would hold up. The
reality is that from the first note to the last, Pierson holds our attention and interest. There are
considerable mood changes to catch the imagination - from the witches� incantations through Lady
Macbeth�s death. We also hear the marching English army and a musical representation of the �dagger�
scene. The only problem is that much of this music is frankly quite beautiful as opposed to sinister or
macabre: and one would be tempted to put Duncan, Banquo et al to one side and just enjoy the tunes.
Yet the piece does work as a tone poem and well deserves our attention. It is, in reality, a minor
masterpiece and the sooner we hold up our hands and recognise this, the better. Pierson, along with
Macfarren, Sullivan, Corder and possibly Prout are considerable composers in their own right and
must not be relegated to also-rans under the overpowering shade of Sir Edward Elgar.

I have never heard David Morgan�s Contrasts properly. Let me explain. I did have the original vinyl
LP in my collection � but I bought it second hand. I guess someone must have had it on the beach,
because the sound quality is dreadful. Try as I did, I could not clean the sand from the groove. The
Violin Concerto awaits my pleasure for the same reason. I cannot imagine why someone would want
to use this album as a Frisbee on Morecambe Beach � but that seems to have been the case. A bad
buy! So I was delighted to hear Contrasts on CD. And what a wonderful work I have missed.

I know virtually nothing about the composer � currently I have a note on MusicWeb�s bulletin board
for information, with no success. I do know that he studied with the late Dr Alan Bush and Leighton
Lucas. Morgan was born in 1933 and has written a Sinfonia da Requiem, the above mentioned
Violin Concerto and a number of chamber and instrumental music. He does not feature in New Grove.
Therefore, I depend on Paul Conway�s programme notes for my understanding of this work.

David Morgan composed Contrasts in the autumn of 1974. He dedicated it to the memory of
Shostakovich. The composer has described the composition as "a deliberate contrast in duality:
it consists of two disparate movements, each based on the same two themes, constantly varied
throughout the piece." The first movement is over sixteen minutes long whereas the second is
only five. Yet there is no apparent formal or aural imbalance.

It could be concluded that this work is in fact a two movement symphony � there are plenty of
precedents for that particular form. Or perhaps, as Conway suggests, it is a �Concerto for Orchestra�.
Whatever the formal underpinning of this work, it is undoubtedly a fantastic piece. The emotional range
is tremendous, without being confusing or overbearing. The musical style is always approachable
without being simplistic or pass�. It is possible to hear bitterness, reflection and joie de vivre in these
pages: it is moving and exciting and enjoyable at the same time. The balance is perfect: the
orchestration is masterly. I cannot imagine why a work of this calibre and quality is unknown. I would
actually give reams of Shostakovich to possess David Morgan�s tribute to the elder composer.
Finally, I hope that Lyrita will re-release the Violin Concerto as soon as possible.

It surprises me that Alan Rawsthorne�s Cort�ges is even less well known than most of his works.
In spite of some negative criticism in the Musical Times this is a striking essay that impresses by the
skill of its form and the variety of its instrumentation. The title was queried by the contemporary MT
reviewer "Why in French?" I am not sure; perhaps the composer wanted to emphasise the �funereal� as
well as the �triumphant� � which would be less obvious if he had called it �Processionals�? It is divided
into two main parts � the first is more in the line of a lament and the latter that of celebration � but
not untinged with reflection. Paul Conway notes allusions to Mahler in the first half of the work and
suggests that Rawsthorne was able skilfully to combine epic material with intimate moments. The
second section of this overture literally sparkles: the mood has changed out of all recognition. The
work was described in the Musical Times as a �packet of procession snap-shots, mostly cheerful in
our inconsequential English way, but not very original �" I think this is being disingenuous although I
wholeheartedly agree with the �snap-shot� allusion. This is a good overture that was quite definitely
a work of its era. Conway concludes his notes by suggesting that this piece is no less appealing than
the better known Street Corner Overture (1944) although he notes, correctly, that it is more
ambitious and wide-ranging.

I remember my friend John coming into the music department at my �High School� and announcing
that Francis Chagrin was dead. Now I must confess that I had not heard of the composer and was
not sure if �it� was male or female. However I was soon apprised that Chagrin�s great claim to fame
was that he wrote the music to the Colditz Story. Later explorations have revealed that he composed
three symphonies, a piano concerto and a deal of other music. I have never heard these �symphonic�
works and I guess that few people have. It is perhaps difficult to deduce the value of a composer�s
�serious� music from the present Concert Overture. However, even the most cursory hearings of
Helter Skelter reveals a composer who delighted in fine melodies, superb orchestration and
interesting harmonies. This piece is quite definitely a crowd-puller and I have often wondered
why it does not feature in concert programmes as a �curtain raiser�. Surely Chagrin�s non-film
music is long overdue exploration and revival.

Of course, Warlock was a great enthusiast of Frederick Delius. He wrote an impressive biography
on the composer. The Serenade was written between 1921 and 1922 as a tribute to the elder
composer on his sixtieth birthday. I have always viewed this lovely piece as being more Delius-like
than the man himself ever penned! It is certainly a fine tribute, yet somehow it cannot be defined as
pastiche. There are elements of Warlock�s art present and correct in a number of places, yet nothing
quite as Spartan as The Curlew is found in these pages. Gorgeous is not an immoderate adjective
to use for this piece. It has been one of my Desert Island Discs for over a third of a century!

Arnold�s overture was written in 1943 and is generally considered to be his first definitive work. It is a
portrait of a street urchin. Interestingly �dandipratt� was an archaic name for a waif. The programme
notes point out that although the piece is entitled �Comedy Overture�, Beckus is a deeper piece
than the title suggests. It develops as a set variations on two themes through a number of adventures
and misadventures - some being a little sinister. Beckus could be seen as a kind of youthful Till
Eulenspiegel. The attentive listener will recognize a number of Arnoldian fingerprints. It is quite
definitely one of the foundation works of the composer�s musical canon.

This is a great �compilation� and deserves to be popular. It balances works that are relatively well
known with one that has been ignored for generations and one that just demands recognition. Most
of the pieces are available elsewhere, and I guess British music enthusiasts will have these alternative
recordings. My bottom line is that this CD is well worth the price for the Pierson and more especially
for the David Morgan alone. The other five works are attractive and interesting additions to
this �must have� CD."
Musicweb

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wimpel69

09-05-2013, 08:39 AM

No.411

Alexander Scriabin's Symphony No.3 in C minor, entitled Le Divin Po�me (The Divine Poem), was
written between 1902 and 1904 and published in about 1904 - just before Rachmaninoff embarked on his Second
Symphony, Scriabin�s Third is comparable in scale with that work, but on a wholly different visionary level.
At the time he was under the spell of the cult philosopher Tatiana de Schloezer, who nurtured in him a self-image as
a divine creator. For him, music now represented a sensory and sensual reaching-out to experiences beyond the
prosaic � the abstract symphony became a �poem�.

Scriabin sometimes referred to The Poem of Ecstasy as his "fourth symphony", although it was never
officially called such and avoids the traditional division into separate movements. Although played as a single
movement, there are traces of the classical sonata key-scheme that Scriabin had employed previously, but it is
no longer structurally important. Scriabin wrote a long poem to accompany, but not be recited with, the music.
It ends with, "I am a moment illuminating eternity....I am affirmation...I am ecstasy." Scriabin professed to
evaluate music as being the most highly evolved of all the human arts. He also claimed that the emotion of ecstasy
was the most highly evolved of all the human emotions. The Poem of Ecstasy attempts to combine these two
aesthetic principles.

R�verie of 1898 was Scriabin's first orchestral work. In November 1898, when Scriabin went to Saint
Petersburg, he brought a present for his patron and publisher M.P. Bela�eff. The offer was the full score of an
orchestral work named "Pr�lude", a short miniature in E minor and ternary form. Since Bela�eff thought the
French title Pr�lude did not fit an orchestral work, he and Scriabin decided to rename it R�verie.

Music Composed by Alexander Scriabin
Played by the Deutsches Symphonie-Orchester Berlin
Conducted by Vladimir Ashkenazy

"Both as pianist and conductor Vladimir Ashkenazy always has struck me as one of our greatest
musical intellects; yet, especially as he has matured, I often have found his performances lacking in all-
out passion. However, this set of Scriabin symphonies finds him pulling out all the stops and turning in
heated performances, guided by his ever-evident intelligence. These works contain two moments that
typify arch romanticism: the gushing second allegro of the six-movement First symphony, and the
romantic/heroic finale of the Second. Ashkenazy brings unusual fire and forward momentum to these
sections, making these readings the preferred ones. If not quite in that definitive league, his Third
symphony is as good as any in the catalog, and the Fourth (better known as The Poem of Ecstasy)
is more than respectable. The Berlin orchestras play with verve and virtuoso flair; the soloists have
ideal voices, and the recorded sound is excellent."
Classics Today

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wimpel69

09-06-2013, 08:08 AM

No.412

The Australian composer, conductor and teacher Alfred Hill (1869-1960) studied in Leipzig in the late 1880s,
continuing, as a composer, the traditions in which he had been trained, writing music that suggests the work of a
latter-day Australian Dvoř�k. His early musical employment was in New Zealand; he moved back to Australia in
1897, involving himself in opera and operetta, and teaching at the New South Wales State Conservatory until a
dispute led to his resignation in 1934. Hill�s works for the theatre include a number of romantic comic operas,
principally staged in Sydney. His instrumental music sometimes reflects his interest in aboriginal melodies.

The 3rd Symphony, subtitled "Australia" (with material derived from an earlier string quartet), is cast
in the usual four movements; each one carries a programmatic header: I. Introduction (The Lonely, Silent Land) -
Allegro (a. The Workers - b. The Thinkers); II. Australia, mysterious and beautiful; III. The Aborigines; IV.
The Challenge. Like Dvor�k before, Hill works several folk motifs into his score, but filtered through the rigid
technique he was taught in Germany. The 7th Symphony does not seem to have programmatic connotations.

Also included are two symphonic poems: The short, lyrical The Moon's Golden Horn, and the 15-minute, ambitious
The Lost Hunter, for which Hill wrote an extensive narrative (which you can find in the accompanying booklet.

Music Composed by Alfred Hill
Played by the Queensland Symphony Orchestra
Conducted by Wilfred Lehmann

"The Australia Symphony was recorded by Australian EMI on OALP 7524 with the Sydney SO conducted by
Henry Krips. This was a tape of a concert performance given on 16 December 1959 on Hill's 89th birthday.
Hill was to die the following year. The symphony is in four movements the first of which takes Schumann
(Symphonies 1 and 2) and Tchaikovsky (Symphony 5) as models in music of elegant and romantic ease.
The adagio is of an eerie beauty while the third movement (Arnhem Land - Hill's wife Mirrie wrote a whole
symphony with this title and this too was performed by Henry Krips and the Sydney SO) is alternately
stirring and dreamily wandering in the manner of Tchaikovsky 4. The finale has a silvery lunar romance
and bubbling vitality with fine work for the strings.

The Seventh Symphony's first movement is glowingly romantic and of a long-lying thematic richness.
Hill was clearly a most fastidious orchestrator as there is never any blur; instead we are treated to
music of Elysian tenderness. The second movement is redolent of Grieg (The Last Spring). The bustling
presto third movement is Brahmsian and playful. The fourth movement chuckles with Brahmsian bustle
and even a most unusual hint of Franz Schmidt (Hussar Song).

The Lost Hunter is light on the aural palate and its opening bars resound to ppp fanfares echoing around
the glistening ramparts of morning. Here he seems to have cast off Schumann and instead resorted
to a languid nature mysticism not so far a remove from Bax's Spring Fire. Karelia's alla marcia is
suggested by the lithe music at 5.00 and Richard Strauss in the jollity of the final five minutes. The Moon's
Golden Horn might well be described as Leipzig impressionism: somewhat of a static idyll of quietly
simmering ecstasy."
Musicweb

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wimpel69

09-06-2013, 12:15 PM

No.413

Alfredo Casella's Paganiniana is a divertimento for orchestra composed in 1942, based on
themes by Niccol� Paganini. The piece was composed to honor the centenary of the Vienna Philharmonic,
which gave its premiere in March 1942, under the direction of Karl B�hm. It is in four movements: I. Allegro agitato
- II. Polachetta - III. Romanza - IV. Tarantella. The first movement is meant to portray the "satanic spirit of the
great violinist", and uses four main themes, taken from Paganini's Caprices Nos. 8, 12, 16, and 19. The
second, more melancholy, movement is derived from Paganini's Quartet No. 4 for violin, viola, cello, and
guitar. The third movement takes its subject from an unpublished work, appearing first as a duet for solo
violin and clarinet. The finale is taken once again from the quarted, borrowing also from an unpublished
dance for violin and small orchestra.

Casella had his biggest success with the ballet La Giara (The Jar), set to a scenario by Pirandello.
The story is set in a farmhouse where the landowner (Don Lol�) orders a very large clay pot for his olive
oil, but the new vessel breakes almost immediately under mysterious circumstances. The great "Jar-fixer"
Z� Dima, famous for his invention of secret and powerful glue, is called to repair the jar. Z� Dima manages
to repair it but new, comical situations arise and the intervention of a lawyer is required. When he thinks he has
found the solution he is confronted with a new yet another turn of events. Casella supplies the expected
colour and playfulness for this subject, neo-classical style.

Music Comosed by Alfredo Casella
Played by the Orchestra della Svizzera Italiana
Conducted by Christian Benda

"Alfredo Casella (1883-1947) was a major composer who is only now beginning to receive some of
the recognition that he deserves. The reasons for his neglect seem to be more political than musical:
he apparently enjoyed cozy relations with Mussolini’s regime, which led to his ostracism after the
war. However justified that may have been at the time, there’s no reason now not to enjoy the music
of this immensely talented and thoroughly diverting composer. “Paganiniana” is, as the title implies,
a suite of pieces based on the works of the famous violin virtuoso, while the “Serenata” is a charming
neo-classical dance suite that ends with a bracing finale “alla Napoletana.” The program concludes
with another luminous and rhythmically infectious dance selection, this time a suite from the
ballet “La Giara” (after the story by Pirandello). The performances are as delightful as the music.
Now on to the symphonies, please!"
Classics Today

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wimpel69

09-07-2013, 08:24 AM

No.414

It was during his studies in Germany the versatile and expansive Swedish composer Andreas Hall�n
became a great Richard Wagner enthusiast � as clearly revealed in his first opera Harald der Wiking �
Hall�n's foremost achievements were made in the world of the opera but he also created several neo-
romantic orchestral works, among them being his Toteninsel and Rhapsody No.2. Hall�n's
attraction to the Nordic theme and nationalistic tone can be seen here. In an epoch of musical pioneering
such as during the 1890�s in Sweden, Andreas Hall�n is a reflection of contemporary currents.

Hall�n�s music is however far too diversified to be covered by labels like "neo-romantic". He was a typical
representative of his era which makes it difficult to evaluate his position of the musical life of that time -
the extent to which he contributed to the powerful growth of new ideas in the Swedish musical life during
the 1890�s. Perhaps he can be counted among the pioneers as regards orchestral timbre and the free
orchestral pieces. The Wagner elements are certainly very evident in the works recorded here: the suite
of symphonic tableaux, Gustav Wasa's Saga, the shorter descriptive pieces Ethereal Sounds, Summer
Glow and In Autumn, as well as the Romance for violin and orchestra.

Music Composed by Andreas Hall�n
Played by the G�vle Symphony Orchestra
With Peter Olofsson (violin)
Conducted by Christopher Fifield

"Certain composers, who during their lifetime have been frequently performed and highly regarded,
tend to slip into oblivion after their death. Others, sometimes not very successful in contemporary
musical life, grow in reputation when they are gone.

Swedish composer, conductor, critic and teacher Andreas Hall�n certainly belongs to the former category.
Born in Gothenburg on 22 December 1846 he was early recognized as a great musical talent. He received
his first musical training from the cathedral organist in his hometown, Seldener, and was soon able
to stand in for his teacher. He then moved to Germany for more advanced studies, where Reinecke in
Leipzig, Rheinberger in Munich and Julius Rietz in Dresden were his teachers. After a couple of years in
Gothenburg, where he re-organized the Musical Society and formed a New Choral Society and performed
big choral works � Mendelssohn�s Elijah and Verdi�s Requiem among them � he returned to Germany,
mainly due to conflicts caused by his terrible temper and unwillingness to compromise. During the
years 1879�1883 he worked as a singing teacher and got to know more about current European
music life than any other Swedish composer � not least he got hooked on Wagner. On his return to
Sweden he settled in Stockholm, where, apart from a few years in the south of Sweden, he stayed
for the rest of his life. He founded the Philharmonic Society and was the person who, probably more
than anyone else, established Sweden as a country of choral singing. He gave the first Swedish
performances of Bach�s St. Matthew Passion. He also served as conductor at the Royal Opera.

As music critic as well as composition teacher, where he could count among his pupils Oskar Lindberg
and Kurt Atterberg, he was stubbornly conservative. This was after the turn of the century; in his
early years he was rather criticized for being too modern. He is regarded as the first Swedish Wagnerian,
which is not very apparent from the music on this disc but is more obvious in his operas where he
uses leitmotifs. He composed several operas, the first, Harald the Viking premiered in Leipzig in 1881,
conducted by Arthur Nikisch. His most successful work was Waldemarsskatten (Valdemar�s Treasure)
in 1899, based on the medieval event when Danish king Valdemar Atterdag plundered and burned
Visby. It was played no less than sixty times at the Royal Opera and later also in Karlruhe. Among
his other works can be mentioned a Christmas Oratorio (recorded and available on Sterling CDS
1028-2) and a large oeuvre of orchestral music. He wrote no symphonies but a number of
symphonic poems with influences from Franz Liszt. Other early romantics, like Schumann and
Mendelssohn, are also important inspirations and with advanced age he also found nourishment
in Swedish folk music.

Listening to this CD one must regret that Hall�n�s music mainly has rested in the archives for so
long time. It is well crafted, has melodic appeal and his orchestration is inventive and more colourful
than practically anything written in Sweden prior to Hugo Alfv�n.

The Romanze for violin and orchestra, probably written in the early 1880s, opens with dark brass
chords, ominous even, but then the solo violin shines through the clouds that part to reveal a warm,
Nordic landscape. After about four minutes a fanfare announces a gear-shift to something livelier.
Soon we return to the mood of the opening. Gradually the music grows in intensity to a climax
with new, repeated fanfares and so we end on a soft note in a lyric coda. Peter Olofsson is a
stylish soloist.

Gustaf Wasas Saga is an orchestral suite from an extensive score for soloists, choir and orchestra,
written to tableaux by Daniel Fallstr�m, from Gustaf Wasa�s Saga for the celebrations of the 400th
anniversary of the birth of Gustaf Wasa, given at the Royal Opera. For non-Swedish readers it
might be appropriate with a short history lesson:

From 1397 Sweden, Norway and Denmark were in a union, a mini-EU, where the three countries
were supposed to lead a joint foreign policy while retaining the supremacy in domestic questions.
Although the document from the negotiations at Kalmar was never fully ratified, it seems that in the
main they tried to follow the regulations, but not without numerous controversies and even uprisings.
At the beginning of the 16th century this developed into actions of war. The Wasa family was
one of the more influential in Sweden and Gustaf a very active rebellion, so much so that he was
captured and imprisoned in Denmark, from where he managed to escape and returned to Sweden,
just in time to hear the terrible news about the Stockholm Blood-bath, where the Danish king,
Christian �The Tyrant�, had about 70 members of the most important families in Sweden
decapitated, among them Gustaf�s father and other relatives. I should add that Christian �The
Tyrant� is so titled in Swedish history writing, whereas in Denmark he is known as Christian
�The Good�. In an attempt to effect a rescue from the Danish invasion, Gustaf travelled north,
to the province of Dalecarlia, where the peasants were known to be patriotic and earlier in history
had taken part in liberation activities against the Danes. After struggles and disappointment �
events that have become myth in Swedish history � Gustaf was able to organise an army of
Dalecarlian men, who managed to defeat the Danes and liberate Stockholm. In 1523 Gustaf was
elected King of Sweden and then ruled the country until his death in 1560, when the eldest of
his sons took over. Gustaf became a �father of his people�, the creator of the first united Sweden.
He put this hitherto seriously under-developed country on the European map. He ruled his people
with a rod of iron and, especially during his later years, met with disapproval and even serious
uprisings. Anyway he laid the foundation for Sweden�s rise during the 17th century to one of the
great powers of Europe. It is no wonder that his rule and his personality are surrounded with
an aura in Swedish history. In the late 18th century, when his namesake Gustaf III was the
ruler, Naumann�s opera Gustaf Wasa became the Swedish national opera. Its revival in the
early 1990s showed that musically it has still a great deal to offer, even though the premiere,
which I attended, was a catastrophe and was booed � which rarely happens in Sweden.
It was the fault of neither the music nor the singers � Nicolai Gedda sang King Christian �
but the staging. It quickly disappeared from the repertory but was recorded in the studio
by Virgin. I don�t think it is available today but if it is reissued I would advise readers to
give it a listen.

Naumann�s opera deals with the occurrences around the liberation war against the Danes,
whereas Fallstr�m�s and Hall�n�s tableaux cast the net a bit wider. The five movement
suite recorded here concentrates also entirely on the dramatic events during the early
1520s. The first movement, �The Red Dawn of Freedom�, depicts a spectacular sunrise
followed by a pastoral morning with prominent harp and woodwind. Little by little the sun
climbs higher and higher and the light � illustrated by the strings � becomes brighter and
brighter. �Vision� is calm, beautiful and melodious in a kind of folk-tone. In the martial
�Call to Arms� there are fanfares en masse that in due time develop into a theme that is
more or less a direct quotation of La Marseillaise. The fourth movement, �The Entry�, also
entitled �The Wasa March�, opens with the same theme. This is a jubilant procession to
celebrate that the Swedish have defeated the Danes. The long concluding movement,
�Through Suffering to Renown�, takes us from the triumphant victory that brought Gustaf
Wasa to the throne, to the end of his life, where, after more than 35 years in power, he
looks back on his career. The music very much reflects the mood of an old man: sad,
maybe disappointed but still conscious of the great deeds he has done. Through the
melancholy, light thoughts and reminiscences brighten his mood. Brooding brass
harmonies alternate with sunny, transparent woodwind and ethereal strings � is this a
reference to the Lohengrin prelude? Didn�t he come to save Mother Svea � the symbol
of Sweden � just as Lohengrin came to save Elsa? And weren�t they both rejected,
even though they both carried through their mission?

The same string sounds also open Sph�renkl�nge, which is highly evocative music.
The listener is gradually elevated to the spheres, carried on an orchestral fabric ever
richer and ever more harmonically luscious. The track-list states that it was written in
1895 whereas the enormously knowledgeable and reliable annotator Stig Jacobsson �
from whose line-notes I have drawn much of the information in this review � stated
that it was composed a full decade later. The Swedish standard reference book
Sohlmans musiklexikon confirms Jacobsson�s statement.

�In Autumn� is the collective title of the two orchestral pieces Op. 38. The �Elves� Dance
in the Moonlight� is a gossamer light ballet sequence, where the dancers� feet initially
hardly touch the ground � which of course those of real elves never should. This is
depicted with such airy elegance that even Mendelssohn in Midsummer Night�s Dream
mood would have been proud to have written it! The second piece, �Dream Pictures
at Twilight�, is certainly Nordic in character and someone reasonably well oriented in
Nordic music from a century ago would probably at a blindfold test say Hugo Alfv�n.
Stig Jacobsson goes along the same lines. It is beautiful and melancholy!

The same mood is prevalent in �In the Twilight� for string orchestra and here is an
even more distinct feeling of Swedish folk song. I will definitely give my friends in the
Dalecarlian Chamber Orchestra a hint!

The sound is excellent, as always on Sterling�s records, and I would like to praise the
indefatigable Bo Hyttner, who has done sterling - excuse the pun - service to music-
lovers by rescuing so much unjustly forgotten or neglected music. I have also praised
the G�vle Symphony Orchestra before, both on recordings and in live reviews.
Geographically they may be provincial, musically anything but. Christopher Fifield,
who besides all his other activities is also one of my reviewing colleagues here, ensures
that this first class music is presented in the best possible light.

Off the beaten track this may be, but anyone who for some reason has left the main
road on some occasion will know that there are very often landscapes of enormous
beauty to investigate. This is such a landscape!"
Musicweb

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gpdlt2000

09-07-2013, 09:11 AM

A wonderful discovery!
Thanks for the Hall�n!

gururu

09-07-2013, 10:05 AM

Music Composed by Alvin Singleton
Played by the Atlanta Symphony Orchestra
Conducted by Robert Shaw & Louis Lane

I quite enjoyed that program of works. Thank-you for bringing it to my attention.

wimpel69

09-08-2013, 11:47 AM

No.415

Arthur Butterworth was born in Manchester on 4 Aug 1923. On leaving school he
worked in a solicitor's office. He served in the army in the Royal Engineers 1942-1947 and
the German influence is reflected in some of his earliest pieces. It was not until after war service
that he was able to take up formal training at the Royal Manchester College of Music (RMCM)
where he was a student between 1947-1949. He was a student of Richard Hall under whom he
studied composition; he also studied the trumpet and conducting. As a student of Richard Hall he
was inculcated with the ideals of the Second Viennese School but soon rejected this as not being
what he wanted to say. After leaving the RMCM, Butterworth began his professional career as a
trumpeter with the the Scottish National Orchestra (SNO) (1949-1955) and then with the Halle
Orchestra (1955-1962). In 1962 he was appointed associate conductor of the Huddersfield
Philharmonic Society and in 1964 became permanent conductor, a post he found very much to his
taste, leaving only in 1993. Since 1969 he has had a particularly happy association with the Settle
Orchestra in the Yorkshire Dales. He also taught brass for the former West Riding Education
Department for a few years until being appointed lecturer in composition at Huddersfield University
Music Department, a post he came to loathe and finally gave up in 1980, leaving him free to
compose and conduct.

Butterworth's success in writing effective music for brass bands may be explained by the
fact that he began his musical life as a brass player in early youth with Besses o' the Barn in
Manchester. He took on the directorship of the National Youth Brass Band of Great Britain in
1975 but eventually handed over to Roy Newsome. His mature music has followed a rather different
path, being profoundly influenced by the spacious surroundings of the Airedale Moors where
he has made his home. His large scale orchestral scores have an expansive Nordic quality, almost
unique in British music. Despite all that he has achieved, Arthur Butterworth is little known outside
his native North of England, except in the rather confined world of the brass band for which he
has provided effective music. He has composed over 100 works and in 1995 was awarded
the MBE for services to British music.

This album features works from very early and very late in his career, including programatic
works like Northern Summer Nights, The Green Wind, The Quiet Tarn, and Coruscations, as
well as the Symphony No.5 a work that Sibelius lovers should appreciate.

Music Composed by Arthur Butterworth
Played by the Royal Scottish National Orchestra
Conducted by the composer

"A long and perforce patient life has begun to bear fruit for Arthur Butterworth. He is a
composer of steadfast Nordic sympathies. Sibelius, Nielsen and Vaughan Williams may be said
to be hard-wired into his creative psyche. This is not to say that he writes tribute music. His
munificent catalogue is full of strongly personal inventive works of an often muscular self identity.
That said, the synthesis includes the music of these loved figures.

The slender Butterworth catalogue includes a Douglas Bostock-conducted version of Butterworth's
First Symphony on ClassicO and another - a historical one by Barbirolli (on Dutton). The Fourth
Symphony is on the same 2CD set as the Barbirolli First Symphony and the Viola Concerto.

There are six numbered symphonies in total - eight if you count the very early Moorland Symphony
and Odin (a typically Nordic subject for this composer) a symphony for brass band.

The Quiet Tarn has already been written about with great perception and feeling by John France.
It's a brooding piece linked with Malham Tarn in the Yorkshire Dales. The surface of Tapiola is there
and the woodwind cries recall Patrick Hadley's The Hills but the overarching redolence is of Sibelius.
Its companion is the eldritch Green Wind, based on lines from Shelley. A big-boned outdoor effort
it conjures images of green foliage and trees buffeted by the gusting North wind. The blowy
oxygen-rich atmosphere reminds one of the spirit of Bridge's Friston Downs in Enter Spring. It's
given a sensational and tingling performance by the composer and the RSNO. Just one example:
the harp's violence really lifts the listeners' ears. Coruscations arose from a commission from
Lancaster's Haffner Orchestra. The mise en sc�ne is a midsummer evening in the Lake District
uplands. Below there's the wide expanse of Morecambe Bay. Daylight fades, the stars are seen
and the lights of the coastal towns glitter. These are the 'coruscations' of the title. Again the aural
orientation is towards Sibelius and Hadley though another complement might be the second and
flightier of the two Frank Bridge Jefferies poems.

By contrast Gigues seems superficially to recall Debussy. It arose because George Cottam of the
Oldham Orchestral Society goaded Butterworth into writing "something with some tunes for a
change." The result is this scherzo which flickers and stomps with propulsive power. It's a sort
of impudently irrepressible Arnold-like piece: Chabrier's Espa�a meets Debussy's Gigues but in
knowing 20th century dress.

The Fifth Symphony is said by Michael Dennison to be more classical and restrained than its
predecessors. I wonder. It is pretty emotionally head-on and is not short on storms. The DNA
of the three movement piece is clearly Sibelian with insurgencies from Bax and RVW. That initial
stab momentarily suggests the rocking furiant from Dvorak 7 meeting the undulating moan of
the Northern Forests. The wraiths of the slow movement recalls Arnold (Cornish Dances) in the
decrepit wheelhouses, lichen, mist and mystery. You can cut the atmosphere with a knife. The finale
is shaken with Tapiola gales and the tempests of RVW4. It ends in masterful self-abnegating fashion
with tolling drums, calling horns and deep strings. Here is a composer who can end a piece
ineluctably and with a natural and well rounded grace.

To hear a 1958 work like the Three Nocturnes after the 2002 symphony is to have emphasised
how Butterworth has nurtured his language rather than chased fashion. Subtitled Northern Summer
Nights, suggesting Stenhammar, the music is in fact woven from strands that shiver and haunt.
The effect is quite Baxian when Bax was at his most mysterious as in the quieter sections of
The Tale the Pine Trees Knew, The Enchanted Forest and Spring Fire. The first movement
Midsummer Midnight is waywardly slow-pulsed. After a flightily impish and rather French-sounding
Rain comes a movement with a long title The eerie, silent forest in the stealthy darkness.
Why stealthy? It suggests a stalking hunt and that creepy character with glances over the shoulder
by the prey. A spectral ostinato develops over which woodwind cast slow banners and pagan
visions among the leaves and branches. This piece began as a piano suite but its orchestral effect
is completely natural. Again this is atmospheric music at its most potent, in a steely yet delicate
weave. The piece rises to an angry brassy eminence then fades into the misty tremble of the
strings and the musing of the woodwind.

This mix of short orchestral poems and a major symphony whets the listener's appetite for
more Butterworth. And there's more to come. We must keep our fingers crossed for health
and time for more symphonies (2, 3 and 6) from this redoubtable symphonist. He has lived
through fashion's neglect to see some turnaround. Dutton will surely want to record as much
and as quickly with Butterworth as time and resources permit. There's certainly no lack of youthful
vigour here. Those devoted Sibelians intent on exploring beyond even the capacious confines
of the Bis Edition would do well to start with this disc."
Musicweb

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gpdlt2000

09-08-2013, 01:27 PM

Another great discovery!
Thanks!

Akashi San

09-08-2013, 03:57 PM

Thank you for all the recent gems!

Yen_

09-08-2013, 09:29 PM

Many thanks Wimpel for The Legend of Joseph (#405), it was my first time to hear it in full and I enjoyed it immensely.

wimpel69

09-10-2013, 08:35 AM

No.416

This is a collection of unpublished works by the great Arthur Honegger,
with the powerfully dramatic, 40-minute ballet S�miramis at its centre.
There's also a short suite of songs and incidental music for The Tempest,
as well as a interlude to La mort de sainte Almeenne.

Music Composed by Arthur Honegger
Played by the Orchestre Symphonique de R.T.L.
With the Choeur Polyphonia de Bruxelles & Choeur Symphonique de Nancy
And Mariette Kemmer (soprano)
Conducted by Leopold Hager

"The main dish is the Ballet-Pantomime Semiramis, fifth commission from Honegger by patroness,
dancer and actress Ida Rubinstein, Amphion being the fourth written like Semiramis on a book by
French writer Paul Val�ry, and Paul Claudel's Joan at the Stake the sixth and last. The first three were
the incidental music to L'Imp�ratrice aux rochers and to D'Annunzio's Phaedre (recorded by
Rozhdestvenksy, A.Honegger - Symphony No.2, Phedre: Suite for the Tragedy by d'Annunzio, Three
extracts from film 'Napoleon'), and Les Noces d'Amour et de Psyche, a ballet made of an orchestration
of various English and French Suites of Bach. Semiramis flopped on its premiere at the Paris Opera on
11 May 1934, one of the reasons being that Val�ry had inserted, near the end, a long, 15-minute
monologue with no music, in which (based on the testimony of Hermann Scherchen, recounted by
Halbreich in his biography), Rubinstein "meowed interminably , always on the same lachrymose and
monotonous tone". The score was never published and Honegger's widow even banned any
performance during her lifetime, who knows why. The first modern revival took place in November
1992, immediately after this recording (which seamlessly cuts out the monologue, although its text
is provided in the booklet). Running nearly 39 minutes, it is great Honegger. The instrumentation
is very original, heavily based on woodwinds, brass and percussion (which can bring to mind
some pieces of Stravinsky, like his Symphony for Winds) and with apparently the first use ever
of the Ondes Martenot (and two of them) in an orchestral piece. There is also a chorus and
soprano, but they sing only occasionally. The musical result is stark, often aggressively pounding
and "tonally dissonant" as Honegger often was (at least for ears untrained to Bartok, Var�se or
Schoenberg), often very lyrical in Honegger's unmistakable type of lyricism, always ear-catching
and intriguing. The great and imposing quasi-funeral march on track 9 is entirely the sonic
universe of Symphonie Liturgique or the Fifth Symphony.

The rest are fascinating scraps, like the short Largo for strings that Honegger initially composed
when responding to the commission of wealthy patron and conductor Paul Sacher that
ultimately yielded the Second Symphony, but then discarded, or excerpts from the incidental
music to Shakespeare's Tempest, of which only the extraordinary powerful and violent Overture
from 1923 had been hitherto known and recorded (and the rest, which was composed off and
on until 1929, for a production delayed many times, isn't as powerful and striking, but it is
always agreeable and has a few catching orchestral moments). Some of the early pieces, like
the interlude for the uncompleted chamber opera "The Death of Saint Anthelme" that Honegger
briefly worked on in 1918 before the project was abandoned for lack of funding, are surprisingly
romantic (Halbreich hears Debussy in them, but if so it is the early Debussy of Damoiselle Elue),
and the ensuing Vivace, which Halbreich tentatively ascribes also to 1918, sounds almost
like Tchaikovsky, but peppered with the light-hearted and cheerful spirit of Les Six. It is entirely
the spirit of Les Six that is at play in Fantasio (tracks 14-16), a "Skit in Three Pictures" (rather
than "Sketch in three scenes" as the translation has it) composed in 1922 for a famous mime,
and apparently never performed. It could have been written by Sauguet (not a member of
Les Six) or Auric. Interesting to note: of course Honegger was a member of Les Six, but
that was more by dint of journalist Henri Collet's famous article in Comoedia and Cocteau's
ensuing publicity stunts, Honegger never followed the Cocteau-ish party-line, never professing
a great admiration for Satie but always an admirer of Debussy and Wagner, and his music
was always more beefy and dramatic than the typical Les Six fluff. Only in the 1924 Piano
Concertino and 1930 Cello Concerto did he really show off his lighter side, which culminated
in his operettas. But the scraps gathered by Timpani reveal that it was there before. The two
short orchestral pieces on tracks 22 and 23 are excerpted from a radio play that Honegger
composed near the end of his life, in 1951, and are among the last he composed. Despite
the crippling heart-attack that had struck him in 1947 and that would ultimately claim his life
in 1955, it shows a composer of undiminished powers, but also one whose "serious"
music and film music cannot be dissociated."
Amazon Reviewer

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wimpel69

09-11-2013, 08:33 AM

No.417

Arthur William Foote (1853-1937) was an American classical composer, and a member of the "Boston Six"
(which also incuded George W. Chadwick, John Knowles Paine and Amy Beach). Together they wrote the first substantial
body of indigenous concert hall, or "classical," music in America. Foote was especially known for chamber music,
art songs, and music for choirs. He was considered the "Dean of American Composers" during the first two decades
of the twentieth century. He has influenced subsequent generations of musicians through his didactic writings.

The music for which Foote is best remembered today is exclusively instrumental. Almost all of his chamber ensemble
compositions have been recorded. In his own time the Four Character Pieces after the Rubaiyat of Omar Khayyam
was his most popular orchestral work. His works most often programmed by orchestras since that time are the Night
Piece for Flute and Strings and the Suite in E Major. Some two-thirds of Foote�s copious output was
published in his lifetime. Of the three works in this recording that thus carry opus numbers, the earliest is
the �Symphonic Prologue� Francesca da Rimini, based on the story of the doomed lovers Francesca and Paolo
related by Dante in the fifth Canto of The Inferno. Dating from 1890, this was the composer�s second
published orchestra work. It is a fine example of his command of broadly conceived structure as well as of
his powerfully expressive musical language.

Music Composed by Arthur Foote
Played by the Seattle Symphony
Conducted by Gerard Schwarz

"Depending on whom you read, American composer Arthur Foote is either "traditional," "conservative,"
"a classicist," or "individual" and "original." Opinions about Foote's work may be widely divergent, but a
few things are established: Foote did not travel to Europe to gain his musical education -- as did
Horatio Parker and George Chadwick -- but was satisfied to study at Harvard with John Knowles Paine,
taking the first master's degree in music conferred on anyone by an American university. Foote has
been lumped in with a number of late nineteenth century American composers known as the "Boston
School," including Paine, Chadwick, Parker, Amy Beach, and some others. Being identified with the Boston
School is like the kiss of death in terms of posterior reputation, and although Beach is gradually finding a
way out from the grave, others remain forgotten, unheralded, and under-recognized.

In the case of Foote's orchestral music, the vast majority of his production in that genre belongs to the
first 25 years of his active career. In the 15 or so years he continued to compose after that, Foote
concentrated solely on chamber music of outstanding quality. The chamber music is generally adjudged
to be his most important contribution, even as it remains seldom played or recorded. During his lifetime,
however, his orchestral and string orchestra music carried Foote's name onto concert programs more
often than anything else he did. On Naxos' Arthur Foote: Francesca da Rimini, Gerard Schwarz realizes
a long held dream of leading the Seattle Symphony through a whole disc of Foote.

This disc contains roughly half of Foote's small orchestral output, and each of these pieces were
recorded at whatever session Schwarz could get them into; the "symphonic prologue" Francesca da
Rimini, Op. 24 (1890), and the Four Character Pieces after the Rub�iy�t of Omar Khayy�m, Op. 48
(1900), were recorded at the Seattle Center Opera House in 1997, even before Seattle's Benaroya
Hall was constructed. The others were all made at Benaroya; the Suite in E major, Op. 63 (1970), was
recorded in 2005, with the Air and Gavotte (1886-1866) following in 2007. These last two pieces
belong to Foote's Serenade for Strings, Op. 25, though the score indicates that these two movements
can be played separately. The Air is especially lovely, being modeled after Johann Sebastian Bach's
so-called "Air on a G String" much in the manner that Brahms modeled after Bach, with an important
difference in that Foote's use of counterpoint is comparatively restrained; the piece is very direct
and unfussy. Francesca da Rimini is full-bodied, memorable, and captivating; the Character Pieces
are suitably exotic but not over the top and once popular with American symphony audiences;
the Suite in E is likewise engrossing, well-realized, and dare we say, original? No matter what would
tend to stop you from checking out this CD -- whether it's the Boston School thing, or the fact
that his name sounds like a body part -- if you like Brahms, you'll like Arthur Foote, and this might
hold true if you like Samuel Barber, as well."
All Music

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 139 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!1pU1RZxQ!Yoh75S6N-ePkmET8chsW5j21L5gTRi8w0-auaHjxQnY

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wimpel69

09-12-2013, 08:25 AM

No.418

Sir Arthur Sullivan (1842-1900) was of partly Irish descent and his Symphony in E (later known as 'Irish')
originated during a holiday in Northern Ireland when he was 21. He recounted the moment of its conception in a letter
to his mother: 'the other night as I was jolting home… through wind and rain in an open jaunting-car, the whole first
movement of a symphony came into my head with a real Irish flavour about it - besides scraps of other movements.'
Symphonies by Englishmen were rarities in the middle of the nineteenth century, especially by a young composer.
Mendelssohn and Schubert are obvious influences on the work, but what is also abundantly evident is the freshness
of Sullivan's melodic gifts as well as his technical fluency.

Sir Charles Mackerras on the ballet Pineapple Poll, which he compiled from
various tunes in the Gilbert & Sullivan operettas:

"The idea of transforming the music of the Gilbert and Sullivan operas into a ballet score occurred to me while I was
playing in the orchestra for a Gilbert and Sullivan season in Australia. 'How wonderful it wou"ld be', I thought, 'to
arrange the eminently danceable tunes into a sort of symphonic synthesis and score them for full orchestra.'
Although the idea had been in my head for several years, the opportunity to put theory into practice did not occur
until 1951 at Sadler's Wells, when I suggested it to John Cranko, a young choreographer from South Africa who
was just beginning to create attention with his ingenious and original balletic inventions." Pineapple Poll was
first performed on 13 March 1951 at Sadler's Wells Theatre, by the then Sadler's Wells Theatre Ballet.

Music Composed by Sir Arthur Sullivan
Played by the Royal Liverpool Philharmonic Orchestra
Conducted by David Lloyd-Jones

"Growing up as I did in the New England prep-school tradition, I had the opportunity to sing
in some half-dozen Gilbert and Sullivan operettas (we did one every year), and saw many
more in local productions in and around Connecticut. I remember particularly memorable productions
of Iolanthe and Patience (dragoons on motorcycles), but at one time or another I had the good
fortune to see or act in most of these pieces, some on multiple occasions. Although Gilbert’s
verbal wit does not export well, at least according to my friends on the continent, Sullivan’s tunes
remain some of the finest and most memorable ever to grace operetta. I’ll take him over those
Viennese schlockmeisters any day, though Offenbach is another story entirely.

All of which is a long way of saying that Pineapple Poll, Charles Mackerras’ balletic answer to
Ga�t� Parisienne, is a masterpiece of musical pastiche, and a delicious treat for anyone who
just wants to relax and revel in delicious melodies, dressed up in “bright as a shiny new penny”
orchestration.

Mackerras himself recorded “Poll” at least twice, for EMI and later for Decca in the early digital
days, and both performances are splendid, as might be expected. But so is this one. It’s every
bit as rhythmically infectious, exceptionally well played, and brilliantly recorded. David Lloyd-Jones’
vivacious take on the Irish Symphony provides a very substantial bonus, making this new release
a prime recommendation if you want to hear Sullivan’s major orchestral work alongside many
of his best tunes, but without the voices. Marvellous!"
Classics Today http://i1267.photobucket.com/albums/jj559/sound67/p10s10_zps4828614f.gif

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 187 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!VsNE2Y7L!SzbcfURAzUY4FC-Qx4p5ZUdVx2IQLwz7Lfjgk6SWKn4

Enjoy! Don't share! Buy the original! :)

wimpel69

09-12-2013, 12:01 PM

Charles Mackerras was a great Gilbert & Sullivan expert, In once enjoyed a concert performance of his at the PROMS, which was marvellous.

gpdlt2000

09-12-2013, 12:17 PM

It would be wonderful if we could have Pineapple Poll in Mackerras's last version (digital) with the Philharmonia Orchestra.

wimpel69

09-13-2013, 08:45 AM

No.419

The Prince of the Pagodas is a ballet created for The Royal Ballet in 1957, by choreographer John Cranko,
with music commissioned from Benjamin Britten. The ballet was later revived in a new production by
Kenneth MacMillan in 1989, achieving widespread acclaim for Darcey Bussell's premiere in a principal role. The
world premiere of Cranko's original production took place on January 1, 1957, at the Royal Opera House, Covent
Garden, London, with MacMillan's production premiering at the same venue on December 7, 1989. A recording
of the music was produced with Britten conducting the orchestra of the Royal Opera House.

The plot of The Prince of the Pagodas was written by John Cranko and has some parallels to the Shakespeare
play King Lear. In The Prince of the Pagodas, an Emperor must decide which of his two daughters should inherit
the throne, and he chooses the evil older sister Belle Epine over the young and beautiful Belle Rose. Belle Rose
is taken by magical flying frogs to Pagoda Land, and meets the Prince of Pagoda Land disguised as the Salamander.
Belle Rose and the Prince return to the land of her father and confront her evil sister, in the end driving her away.

Britten incorporated many elements of Balinese gamelan music into the score of The Prince of the Pagodas,
including simulating the seven-tone pelog tuning on Western instruments. Britten was first exposed to gamelan
music by Canadian composer Colin McPhee, who had lived in Bali from 1931-38. Britten utilized a �pseudo-gamelan�
sound in several of his works, including Paul Bunyan and Peter Grimes, after meeting McPhee.
However, perhaps the most influential experience in gamelan music for Britten was a two-week vacation he
took in Bali in 1956. He performed a thorough study of gamelan music while he was there and immediately
began incorporating Balinese musical ideas into The Prince of the Pagodas. For example, in the Prelude of the
ballet, the Salamander Prince theme is played by several instruments in a layered texture, where the instruments
are playing in different keys and start the theme at slightly different times in a technique called polyphonic
stratification, which is typical of Balinese gamelan music.

Britten's contribution to the gala celebrations of Queen Elizabeth II's coronation in 1954, the opera Gloriana
(William Plomer's libretto is a fascinating character-study of Elizabeth II's Renaissance namesake, Elizabeth I),
was far too subordinate to the weighty pomposity of all such official proceedings to be paid much heed (or even
very seriously listened to) by the comparatively disinterested audience at Covent Garden on June 8. Partly as a
way of sustaining Gloriana's reputation after so lukewarm a premiere, Britten extracted a four-movement
Symphonic Suite (alternately a suite for orchestra with tenor soloist) from the opera.

Music Composed by Benjamin Britten
Played by the London Sinfonietta & Bournemouth Symphony Orchestra
Conducted by Oliver Knussen & Uri Segal

"The main reason for acquiring this set is the only recording on CD of Britten�s magical Prince of the Pagodas
complete. The composer recorded the work in the 1950s but made large cuts so that it would fit on three
LP sidesl. Ever since Oliver Knussen�s account was issued, it has been highly praised for both the music and
the performance. It originally came out on Virgin by itself and then was reissued on EMI with Britten�s Symphonic
Suite from Gloriana - but with the Bournemouth orchestra and Uri Segal conducting - accompanying the ballet.

It makes for a very generous coupling and on sheer quantity is a real bargain. However, the Britten in and of
itself is cause for some celebration. Except for its length, I do not understand why there have not been more
recordings of this marvelous music. It after all is not as long as Prokofiev�s Romeo and Juliet and there are
several recordings of that complete score. However, I doubt any could top the performance and recording
under review.

Britten composed his colorful score in variation form for John Cranko�s Royal Ballet, which premiered it on
1 January 1957. Although he had been introduced to Balinese gamelan music earlier by Canadian composer
Colin McPhee, it was his two-week vacation in Bali in 1956 that led Britten to incorporate the sounds of the
Balinese gamelan into his only ballet. This influence is apparent not only in the extensive use of such �exotic�
percussion as bells, gongs, xylophone, and vibraphone, but also in the layered texture of the music itself.
The ballet throughout its nearly two-hour duration does not contain a dull moment. I was glad to see that
the various orchestral soloists get individual credit on the list of tracks for their roles in the work, including
David Purser (trombone), John Harle (alto saxophone), Sebastian Bell (flute), Michael Thompson (horn),
John Orford (bassoon), the various percussionists and others."
Musicweb

Source: EMI CDs (my rip!)
Format: mp3, 320k/s (CBR), ADD/DDD Stereo
File Size: 332 MB

Download Link - https://mega.co.nz/#!V98GWKBL!d23ClWlADEMJFKHI81on9DrDeilnHOtPKVt3CeY DLWA

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wimpel69

09-13-2013, 10:45 AM

No.420

One of the most original and prolific composers of the twentieth century, Hanns Eisler (1898-1962)
proved that expressing humanistic and political concerns does not necessarily lead to musical banalities,
but can achieve his stated aesthetic ideal of "freshness, intelligence, strength and elegance"
(as opposed to "bombast, sentimentality and mysticism"). Both Arnold Schoenberg and Anton Webern
gave Eisler free private lessons in composition (1919 - 1923), influencing Eisler's highly chromatic and
harmonically dense yet witty and graceful early style (notably in the Piano Sonata, Op. 1). Eisler moved
to Berlin to teach in 1925, and thinned his harmonic style and added jazz-inspired rhythms. The next year,
Eisler joined the German Communist Party, wrote articles for the periodical Rote Fahne (Red Flag), and
composed choral works (eg., "Der neue Stern"/The New Star) and popular marching songs
("Solidarit�tslied"/Solidarity Song, "Einheitsfrontlied"/The United Front Song, and other classics).

In 1930 he began his lifelong collaboration with writer Berthold Brecht, immediately producing
Die Massnahme and one of the first important works of socialist realism, the moving cantata
Die Mutter (The Mother, 1932). After 1933, Eisler's works were banned by the Nazis. Forced into
exile for 15 years, he traveled throughout Europe and to the U.S. and Mexico, teaching and composing
for films (such as the beautiful Fourteen Ways of Describing the Rain, 1941, based on an anagram
of the name Schoenberg). Eisler began his largest work in 1935, the Deutsche Sinfonie, Op. 50
(1935 - 1957), a soul-moving, dramatic, "anti-fascist cantata" in Eisler's tonal-serialist style. The text is
by Brecht with portions from the novel Bread and Wine (1936) by the "renegade" author Ignazio Silone,
who opposed Stalin's "show trials." In 1947, Eisler and Brecht were brought before the infamous House
Committee on Un-American Activities and questioned about works like "Lob des Kommunismus"
(In Praise of Communism) from Die Mutter which states that communism is against filth and criminality.
Eisler left the States and eventually settled in the DDR, composing their national anthem, and writing
"applied music" for the theater (17 plays), cinema, cabaret (36 chansons, and the splendid "Neue
deutsche Volkslieder"/ New German Folksongs), television, public events, and so on.

The four orchestral suites featured on this album were all derived from music written for different
media: Suite No.1 ("for radio use"), No.2 ("No Man's Land" - a film score), No.3 ("Kuhle Wampe" -
another film score), No.4 ("Song of Heroes" - a documentary film score), while the Chamber Symphony
and the Theme and Variations "The Long March" have no programmatic connotations.

Music Composed by Hanns Eisler
Played by the Gewandhaus Chamber & Berlin Radio Symphony Orchestras
Conducted by Max Pommer & Heinz R�gner

"Recorded in 1970s East Germany by the famed Leipzig Gewandhaus Orchestra, this sampling of
Hanns Eisler's short chamber works (four suites based on the scores for early sound films and a
highly-compressed "Chamber Symphony" composed in the 1940s) showcases Eisler's lifelong
quest for "communicative" music oriented towards social reality.

The four suites are all strictly tonal, and echo Eisler's work of the same period with Bertolt Brecht's
radical political theater. They include music for the leftist antiwar movie "No Man's Land"--a film
that so enraged the Nazis they tracked down and destroyed every copy.

But the Chamber Symphony is a surprising return to the "modern" twelve-tone style of his teacher,
Arnold Schoenberg. Composed in the early 1940s (during Eisler's exile in the U.S.) as film music
for a documentary on the Arctic ice sheet, it was an experiment in applying the twelve-tone method
to film in a way that would engage an ordinary audience. The innovative use of electronic instruments
with a small chamber ensemble effectively communicates both the intense cold portrayed in the
documentary and the glacially slow but powerful movement of the Arctic ice mass. But the music,
while pictorial, also has a connection with the movement of historical forces--as one would expect
from a politically-engaged composer like Eisler. According to Eisler scholar G�nter Mayer (in his
notes for the Berlin Classics CD of this music), "whilst working on the final version ... he had
followed reports on the radio about the invasion of France and Paris by the fascist troops (summer
1940). In consequence, the sharp contrasts between assaultingly shrill and lyrically tender
sounds stand for his experience of the brutality of fascism and the barbaric destruction of human
relationships.

While the music is definitely "modern" in contrast to his strictly tonal political compositions in
Berlin before Hitler's seizure of power, Eisler's rejection of abstract or strictly concert music is
evident in this composition. Like other anti-romantic composers of the era he works with abbreviated
and rapidly shifting forms--a "montage effect" characteristic of Weimar art and one suitable for
the fast-paced tempo of an experimental film. Like his other "applied" chamber works of the same
period, the Chamber Symphony reinforces Eisler's reputation as one of the most expressive and
reachable composers in the twelve-tone idiom."
Amazon Reviewer

Source: Edel/Berlin Classics CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 150 MB

Download Link - https://mega.co.nz/#!NA4znbya!CmrrwU06hurjmmv5StYrIxDjuINOgTkpld_GgWj wtPs

Enjoy! Don't share! Buy the original! :)

radliff

09-15-2013, 09:22 AM

it seems that the Aarre Merikanto cd is scratched at the "end", i noticed serious problems in the last track some time after the half-time of the piece (I hope I remember correctly)

so if you're making your own audio collection, you should consider re-ripping this plus whatever else you might have to and be able to do (dunno, my own CDs I've almost always bought new and kept pristine, so this is out of my depth)

oh, and, of course, thank you for these posts!

wimpel69

09-15-2013, 12:01 PM

No.421

Of course, these two albums have already been uploaded to ffshrine on several occasions, but no
thread on could-be-film music would be complete without at least a disc each of programme music by
two of the key "film composers" of the 20th century, Bernard Herrmann and Mikl�s R�zsa.

The Herrmann disc includes a film score suite, The Devil and Daniel Webster, for the 1941
William Dieterle classic that is, in fact, an Americanized take on the "Faust" story. The suite is witty and
highly enjoyable, though it does not really reflect the tone of the AA-winning film score as a whole. This
is why it is a very specific "concert collecton" from the score. The light-hearted Currier and Ives Suite
is all wit and bliss, too, a colorfur selection of musical postcards. On the opposite end of emotional states
is Herrmann's haunting tribute For the Fallen of WWII.

Mikl�s R�zsa was already a established young concert composer in Europe before he tried his hand
at film music from 1937 (at the recommendation of his colleague and friend Arthur Honegger, who
had already written several memorable film scores). The Three Hungarian Sketches were an early triumph
for the young Hungarian who came to realize that, as personally satisfying as these successes were, they'd
never pay the rent. The angry, explosive Overture to a Symphony Concert is a later piece, the
composer's response to the brutally suppressed revolution in Budapest in 1956. The rather folksy
Tripartita for Orchestra was R�zsa's final orchestral work (not counting the Viola Concerto of 1979).

Music Composed by Bernard Herrmann & Mikl�s R�zsa
Played by the New Zealand Symphony & BBC Philharmonic Orchestras
Conducted by James Sedares & Rumon Gamba

"James Sedares and the New Zealand Symphony Orchestra definitely capture the spirit of
these Herrmann works, both emotionally and musically. Indeed, this recording exposes both
the manic and the depressive sides of Herrmann (along with lots of phases in between), and
Sedares expertly weaves his way through all of the mood changes as if he were experiencing
them himself, which perhaps he was. He also seems to have elicited a good deal of enthusiasm
and commitment from his orchestra, which benefits greatly from producer/engineer Michael
Fine's usual warm and rich sound."
Fanfare

"Don�t be deceived by the cute �Hungarian� titles: This is serious music. Colorful and
tuneful, of course, but wonderfully crafted and expressively substantial. In words such
as the Tripartita and even the Overture, R�zsa reveals himself to be closer to Bart�k than,
say, Kod�ly or Leo Weiner�he�s not afraid to adopt some of the harmonic acerbity of real
Hungarian folk music, and the result is captivating but never cheap. It�s good to see him
being given �complete� treatment by Chandos, and hopefully this series also will include the
suites from his film scores; they deserve to be taken as seriously as his more abstract works.

The performances here are excellent, and very well recorded. Often I find the BBC
Phiilharmonic to be an orchestra lacking in character, with a certain generic �studio� sound,
but of course the conductor makes a big difference, and Rumon Gamba infuses the music
with plenty of spirit and energy. In the Hungarian Serenade he�s a touch quicker than the
recent Naxos release, and perhaps a touch more rigid in consequence, but really there�s very
little to choose between the two, and it�s the couplings that tell. Naxos offers a fine
performance of the Viola Concerto, while the couplings here total another quarter hour of
music and make the perfect introduction to R�zsa�s career as a �serious� composer.
This disc is a keeper."
Classics Today

Source: Koch International / Chandos CDs (my rips!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Sizes: 118 MB / 178 MB

Herrmann, The Devil and Daniel Webster etc. - https://mega.co.nz/#!9xNnhYyJ!bx9loSbQ7cBGsKjrb2G_oR3-jM0Z8_m1Bg5bcA7zGNo
R�zsa, Three Hungarian Sketches etc - https://mega.co.nz/#!ok82AKiS!DRqz6lMJWicTNsza5eZn7BPrdmIcxuJtfMIfysB 5WBs

Enjoy! Don't share! Buy the originals! :)

---------- Post added at 01:01 PM ---------- Previous post was at 12:49 PM ----------

so if you're making your own audio collection, you should consider re-ripping this plus whatever else you might have to and be able to do (dunno, my own CDs I've almost always bought new and kept pristine, so this is out of my depth)

Thanks, I'm going to consider that. Obviously I don't have the time to relisten to all of these rips again before uploading them here.

And I hope you'll be following your own advice if and when you'll finally be able to to share some of your own music here for the first time.

bohuslav

09-15-2013, 08:22 PM

absolutely fantastic chandos disc, billion thanks. i know the sedares, the naxos cds and lp version from rozsa himself with orchestral pieces.
but gamba is realy superb. the orchestra is a dream!
do you have more from this series?

wimpel69

09-16-2013, 08:23 AM

I might post Jennifer Pike's version of the Violin Concerto sometime i the concerto thread.

No.422

Born in Hamburg in 1903, Berthold Goldschmidt's early private musical studies revealed a talent
for the piano and composition. In 1922 he joined Franz Schreker's composition masterclass at the Hochschule
f�r Musik in Berlin; among his fellow students were Alois H�ba, Karol Rathaus and Ernst Krenek. Following
his studies in composition and conducting, Goldschmidt, like many composers of his generation, first earned
his living as a coach and assistant conductor in opera houses. In 1925, as an unpaid coach at the Berliner
Staatsoper, he assisted Erich Kleiber in the preparations for the premiere of Alban Berg's Wozzeck. He later
served as house composer and musical adviser to the stage director Carl Ebert in Darmstadt, where he also
conducted opera.

Goldschmidt's first public success as a composer came in 1925, when he was awarded the coveted
Mendelssohn Prize for his Passacaglia for Orchestra, Op. 4. Erich Kleiber was so impressed with the
youthful work that he included it in one of his Staatskapelle concert programs. His First String Quartet, Op. 8,
led the following year to a contract with Universal Edition, then the leading publisher of contemporary music in
central Europe. It was, however, the premiere of his first opera, Der gewaltige Hahnrei, in Mannheim in 1932
that firmly established Berthold Goldschmidt as "one of the great hopes of German music," in the words of
musicologist Hans Redlich. The work was praised by public and critics alike, and was programmed by Carl Ebert
for the 1932/33 season at Berlin's St�dtische Oper. Tragic historical developments intervened, however, and
Goldschmidt, a Jew, found his conducting career abruptly at an end and performances of his works banned in
his native Germany. Several very difficult years followed in which Goldschmidt earned his living giving piano
lessons before a frightening Gestapo interrogation in 1935 drove him to leave Germany for England. Many
of his early manuscripts, including a Requiem, a piano quintet and the award-winning Passacaglia, were lost,
as Goldschmidt had left them for safekeeping with a friend whose house was destroyed during the war.

In England, opportunities for work were few, and Goldschmidt survived initially by giving lessons in lieder
interpretation. He continued to compose, writing among other works his Second String Quartet and the
Ciaccona Sinfonica. In 1938 he received a commission from the Jooss Ballet to compose music for a
new ballet, Chronica, which recounted the rise and fall of a dictator. The controversial theme met
with empresarial resistance and Jooss transferred the action, at the last minute, to the Renaissance,
leaving Goldschmidt's completed music with an incompatible theatrical production. Criticism followed
and Goldschmidt returned to giving lessons to survive.

Goldschmidt's conducting career resumed in 1947, when he became an opera coach at the first
Edinburgh Festival. His big break came when George Szell, who had been scheduled to conduct the performances
of Verdi's Macbeth, cancelled at the last minute and Goldschmidt stepped in to save the day.
His success provided a sufficient nudge to relaunch his conducting career and appearances followed with
many of London's major orchestras, including the premiere of the completed verion of Mahler's
Tenth Symphony, which Goldschmidt himself had prepared together with Deryck Cooke. Despite the
victory of his opera Beatrice Cenci in the 1951 Festival of Britain competition, interest in Goldschmidt
the composer was practically non-existent. A post-war avantgarde movement dominated by atonality
left Goldschmidt's supposedly traditional music out in the cold. With little outside inspiration, Goldschmidt
all but ceased to compose.

It was not until 1983, when a chance event led to a run-through at London's Trinity College of his opera
Der gewaltige Hahnrei, that Goldschmidt's star began once again to rise. In 1984, the composer
received a commission for a clarinet quartet and was invited to the United States for a concert of his
chamber music at the Pasadena Conservatory in California. Simon Rattle gave a performance of his
Ciaccona Sinfonica at the 1987 Berliner Festwochen, and his opera Beatrice Cenci received its
premiere - nearly forty years after its completion - in a concertant performance at London's Queen
Elisabeth Hall in 1988. Goldschmidt was suddenly en vogue, ad he produced several chamber works
until his death in 1996.

Music Composed by Berthold Goldschmidt
Played by the City of Birmingham Symphony, the Orchester der Komischen Oper Berlin
And the Orchestre Symphonique de Montr�al
With Chantal Juillet (violin) & Francois Le Roux (baritone)
Conducted by Simon Rattle, Yakov Kreizberg & Charles Dutoit

"Before a performance of the late Berthold Goldschmidt�s Violin Concerto in 1994 the soloist and
the conductor (Chantal Juillet and Charles Dutoit) took the composer out to dinner. The restaurant was
in the very street in Paris where, 65 years earlier, he had met the Belgian dramatist Fernand Crommelynck
to discuss the adaptation of his play Le cocu magnifique into an opera (Der gewaltige Hahnrei). Host and
hostess urged Goldschmidt to write a piece about this remarkable coincidence which, he said, had
awakened in him �undreamt-of memories�. The Rondeau (subtitled �Rue du Rocher�) is an old man�s
reflection on the passing of time, filled with nostalgia and rueful irony but also with tenderness and
passionate warmth. It is a wonderfully rich, satisfying piece and makes a moving conclusion to a
programme that begins with the Op. 4 Passacaglia, an already mature work, audibly by the same
composer, though written 70 years earlier: it is strong, vehement and very striking music, the first
of Goldschmidt�s responses to Bach.

Bach is also a presence in the still more emotionally direct Ciaccona sinfonica, an absorbingly resourceful
work (all three movements based on variants of the same theme) in which earnest eloquence is drawn
even from the nimble concluding �Gigue�. And one of the most striking movements from the ballet
Chronica, a passacaglia evoking a prison yard, draws a lot of its power from the contrast between
an implacable ground and the lamenting variations above it.

Les petits adieux, a set of four orchestral songs, dates from 1994; it resulted, Goldschmidt said,
from realizing on another visit to France that he had never set the French language. He also
suggested (in an interview printed in the booklet accompanying this disc) that in his recent music
he composed in �a more compressed, condensed way�. That is certainly true of these songs: they
are austerely eloquent (the last in particular poignantly beautiful), without a single unnecessary
note. With every recording of his music that appears it becomes more and more obvious that
Goldschmidt is a major composer; anyone who still doubts it will not do so for long after sampling
this absorbing and impressive collection. The performances and recordings are all admirable,
not least those conducted by the composer himself."
Gramophone

Source: Decca CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 155 MB

Download Link - https://mega.co.nz/#!Z1kEATYT!NzbeKy9jgYfVW4NMaC6dfhv4yEFMjLLY4dEmwTK Hu70

Enjoy! Don't share! Buy the original! :)

wimpel69

09-18-2013, 08:14 AM

No.423

Australian composer Brenton Broadstock (*1952) has an interesting biography. He was brought up in the
Salvation Army and had experience of brass bands when young � as well as a peripatetic �institutionalised�
youth. Incidentally those addicted to Strine might like to know according to the booklet notes that down
under the Salvation Army is known as the �Salvos�. Initially a trombonist Broadstock gravitated to bass
guitar in a rock band. Later he studied composition in America and in Sydney with Sculthorpe.

This disc spans a good two decades�s worth of his work. We open with the rather Waltonian 1981
Festive Overture � all dynamic percussion, swirling strings and evincing a real insider�s knowledge
of the brass section. Timeless is dedicated to his daughter and was composed in 2002. Written
for string orchestra it ranges avidly from reflective stillness to almost Straussian effulgence. The final section
brings the beauty of melancholy, one refined through experience to something approaching reconciliation.
This is a lovely work � touching and unpretentious but full of life, colour and with a kind of narrative-
emotive core running through it.

The Mountain is from an earlier period and is for chamber forces. It�s dedicated to his erstwhile
teacher, Sculthorpe. The brass calls and pitch wobbles lend it a tense air but one senses a genetic link
to Sibelius. The high winds and brass are chilly but the drive from about 5:00 is monumental. Later we have
some translucent colours and textures, outer-spacey, as our gaze seems to rise from the peak to far beyond.

Federation Square: Rooms of Wonder is more of an occasional piece, having been written for the opening
of a city square � hence the title. �Rooms of Wonder�, the subtitle, alerts us to the quiet rapture of discovery. With
its moments of enraptured stasis and brusquely angular writing this peace is plastic, almost sculptural. It has
the effect of suggesting a head-turning excitement at the newness of the architecture. The pitch bending and
motoric writing hint at the raw newness and the tenderness and aerial dancing sections convey the
excitement of the Square.

Finally there�s the Fourth Symphony subtitled Born from Good Angel�s Tears. It�s a compact work
not appreciably longer than Federation Square. This was written in 1995. Slowly evolving lines have once more a
complement of glissandi and pitch �switching.� And once more there�s a Sibelian sense of organic growth and
development through these means are very different. There�s Golden Mean climax � strong and involving � and
a warmly optimistic conclusion.

Music Composed by Brenton Broadstock
Played by the Tasmanian Symphony Orchestra
Conducted by Ola Rudner

"Brenton Broadstock was born in Melbourne, Australia. He studied History, Politics and Music at Monash
University, and later composition and theory with Donald Freund at the University of Memphis in
the USA and with Peter Sculthorpe at the University of Sydney. The University of Melbourne
awarded him the Doctor of Music degree in 1987. From 1982-2006 he was employed in the Faculty
of Music, University of Melbourne where he was Professor of Music and Head of Composition.

In 1991 he signed a publishing contract with G. Schirmer, Australia (Music Sales). He has won numerous
prizes for composition including First Prize in the 1981 Townsville Pacific Festival's National Composition
Competition for his orchestral work Festive Overture; the Albert Maggs Award; two APRA Music Awards
for his orchestral works The Mountain and Toward The Shining Light; First Prize in the Hambacher Preis
International Composers' Competition, West Germany for his Tuba Concerto; and in 1994 he received
the Paul Lowin Song Cycle Award, Australia's richest composition prize, for Bright Tracks for mezzo
soprano and string trio. His orchestral work Stars In A Dark Night (Symphony #2) received four 'Sounds
Australian' National Music Critics' Awards including 'Best Australian Orchestral Work in 1989' and was the
Australian Broadcasting Corporation's entry to the prestigious Paris Rostrum of Composers in 1990. In
2001 he received the Australian Music Centre�s Victorian Award for Best Composition � Dark Side
(Symphony #5), and in 2002 his Federation Flourish was nominated for an APRA/AMC �Orchestral
Work of the Year�.

Brenton has been a member of many boards, committees and competition panels, including The Australia
Council, Arts Victoria, ad the Australian Music Centre. He has written 6 symphonies, concertos for tuba,
piano, euphonium and saxophone, several orchestral works, a chamber opera, 4 string quartets and
much chamber, choral and solo music. His compositions are available on 43 commercial CDs worldwide.
In 2007 he was one of 4 musicians short-listed for the Melbourne Prize and he was appointed as a
Vice Chancellor�s Fellow at the University of Melbourne. From 2008 he has been a freelance composer
and in 2009 was Composer in Residence with the Melbourne Symphony Orchestra."

Source: ABC Classics CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 135 MB

Download Link - https://mega.co.nz/#!FlMDTY5Y!dJGiyTaZ9ff5gb8_vr4gUnCriZFw7c12yzib3sg vn9I

Enjoy! Don't share! Buy the original! :)
And don't forget your friendly uploader! ;)

laohu

09-24-2013, 04:45 AM

Hi wimpel69, nice work you had done here

please reup these:

n.� 9 - V�in� Raitio, Forest Idylls, Summer Pictures from H�me, etc (page 1)
n.� 34 - Leo Sowerby: From the Northland, Comes Autumn Time, Prairie (page 3)
n.� 39 - Kevin Kaska: Battle for Atlantis, The Isle, Mount Vesuvius, The Golden Falcon (page 3)
n.� 314 - Joseph Holbrooke: The Birds of Rhiannon, Ulalume, The Bells, The Children of Don (page 21)
n.� 315 - Joubert, Martelli - Symphonies - Alwyn - Works (page 21)
n.� 351 - Joaquim Serra: Orchestral Works (page 25)

The rest are fine.

thanks for your hard work my friend

wimpel69

09-24-2013, 08:10 AM

So the final depositfile uploads are gone ey? :(

---------- Post added at 09:10 AM ---------- Previous post was at 08:54 AM ----------

No.424

This is an intriguing collection of works for percussion and chamber ensembles by the
great Mexican composer Carlos Ch�vez (Carlos Antonio de Padua Ch�vez y Ram�rez, 1899-1978),
who was also that country's first symphony conductor of international renown. You can
find more info on him in the biographical sketches of earlier uploads in this thread.

Music Composed by Carlos Ch�vez
Played by the La Camerata & Tambuco Percussion Ensembles
Conducted by Eduardo Mata

Xochipilli (An Imagined Aztec Music)
Suite for Double Quartet
Tambuco
Energia
Toccata

Source: Dorian CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 152 MB

Download Link - https://mega.co.nz/#!RwEDmDAZ!N9kvFxeK-eCyRqvsd6D_KDngYAs58paa6soE2UzzQY8

Enjoy! Don't share! Buy the original! :)

laohu

09-25-2013, 01:44 AM

it remains 2 from deposit files :)

wimpel69

09-25-2013, 07:34 AM

Re-Ups:

V�in� Raitio, Forest Idylls, Summer Pictures from H�me, etc. (No.9)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/#post2184700

Leo Sowerby: From the Northland, Comes Autumn Time, Prairie (No.34)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2191624

Kevin Kaska: Battle for Atlantis, The Isle, Mount Vesuvius, The Golden Falcon (No.39)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/3.html#post2192778

Joseph Holbrooke: The Birds of Rhiannon, Ulalume, The Bells, The Children of Don (2 CDs) (No.314):
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2290241

Joubert, Martelli - Symphonies - Alwyn - Works (No.315)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/21.html#post2291955

wimpel69

09-25-2013, 08:46 AM

No.425

Born on 4 March 1915 in Barcelona, Carlos Surinach was among this century's premier composers
for the dance. His works combined the fiery imagery of his native Spain with the technical sophistication of his
German musical education. Studies in composition at the Barcelona Conservatory were followed by advanced
work at the D�sseldorf Conservatory, the Cologne Hochschule, and Berlin's Prussian Academy as well as at
lecture-seminars under Strauss. He was conductor of the Barcelona Philharmonic and the orchestra of the
Gran Teatro del Liceo before moving to the United States in 1951 where he gained renown as both composer
and conductor.

In the United States, Surinach's scores were quickly picked up by choreographers and dance companies
including Martha Graham and the Joffrey Ballet. Graham included his Acrobats of God and Embattled Garden
in her Edinburgh Festival programs and the Joffrey programmed his Feast of Ashes for their Russian tour in
1963. An impressive body of orchestral, choral, and chamber music as well as music for the dance is uniquely
colored by Surinach's innate sense of rhythm and melody. Surinach became an American citizen in 1959, a
time when his career was nearing its zenith. He even gained the distinction of having one of his ballets presented
on national television when CBS broadcast the premiere of David and Bathsheba in 1960. He died in 1997.

Melorhythmic Dramas, commissioned by the Meadow Brook Festival of Oakland University, was completed
in 1966. Sixten Ehrling led the Detroit Symphony in its first performance, at the Festival in Rochester, Michigan,
on august 16, 1966. Each of the seven movements of the work explores a different musical idea as it expresses
the dramatic emotion of its title. �Fervid� (No. 1) assigns the principle melodic material to the horns, while
atmosphere scales in strings and winds contrasts with sharp, percussive accents by the entire orchestra. In
�Festive� a dance rhythm takes over, with only brief snatches of melody emerging in horns and strings in low
unison. �Poignant� explores string sonorities, abandoning the sharp accents and rhythms of the first movements.
�Tragic� continues the low sonorities, with a counterpoint between slow bassoon fifths and a Spanish-song recitative
in the �celli. �Voluptuous� gives is the Spanish song itself, in violin and viola at the octave, surrounded by lush
string, harp and wind accompaniment. In �Vehement� the entire orchestra joins in the brilliance and driving rhythm,
led by the trumpets. Solo passages for winds are interspersed above the periodic ground bass. �Mournful,�
concluding the work in an uneven 10/8 rhythm, combines to the sonorities, rhythmic ideas, sharp accents,
and passage work of the previous movements in a new treatment which works up to a brilliant climax.
Throughout, the score is distinguished by its rhythmic invention, its colorful orchestration, and its imaginative
textures and sonorities.

Music Composed by Carlos Surinach
Played by The Louisville Orchestra
Conducted by Robert Whitney & Jorge Mester

"This recent addition to the latest incarnation of the acclaimed
Louisville Orchestra series of recordings brings collectors four world
premiere recordings, two of them also being Louisville Orchestra
commissions. The orchestra began its legendary series of recordings by
composers of our time back in 1948. Some of the early LPs were
far from the best fidelity, but this new CD series has remastered the
original tapes and the sonic quality is improved over even those which
previously appeared in CD versions.

Surinach, who lived until 1997, hailed from Barcelona. He conducted the
Orquesta Filarmonica there and later the Lamoureux Orchestra in Paris,
establishing his reputation as both conductor and composer. Much of his
output was dance scores for such performers as Martha Graham and the
The Joffrey Ballet. Spanish popular and folk music is a clear influence
on Surinach�s work, but he has a highly original take on the genre
which avoids any tendencies toward clich�s. The original recordings
date from l954 thru l967, so two of them are mono only. Both the
Symphonic Variations and the Sinfonietta Flamenca are imbued in the
dramatic dance style derived from Flamenco. The first work has some
12-tone elements and the second is more intense in communicating the
strong emotions of the Flamenco style of southern Spain. Dramatic
emotions are also found in the Melorhythmic Dramas of 1966."
The Audiophile Audition

Source: Louisville First Edition (via Albany Records) (my rip!)
Format: mp3, 320k/s (CBR), ADD Mono/Stereo
File Size: 147 MB (incl. covers, booklet)

Download Link - https://mega.co.nz/#!JlMj0ZCJ!IUFzUUCpe_XfAsjxjKD5PBNFJPcbEaOn7b1Obvr gF1o

Enjoy! Don't share! Buy the original! :)
And don't forget your friendly uploader! ;)

Re-up:

Joaquim Serra: Orchestral Works (No.351)
http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/25.html#post2336454

Phideas1

09-25-2013, 09:15 PM

No.122

Two ballet scores by French late romantic composer and long-term conductor (1910-32) of the famous "Concerts Colonne"
in Prais, Gabriel Piern� The mise-en-sc�ne in Cydalise et le Chevre-Pied is a charming mishmash of archaic characters
and settings with the overall character of a pastorale: nymphs, fauns, sultans and sultanas disporting themselves in the
gardens of Versailles at some unspecified time. Our hero, Styrax, has a cheeky clarinet motif which proves ingeniously
adaptable according to context, whether lovelorn, active or triumphant. But the further into the ballet you go, the more
wonderful tunes there are sprinkled around. This album features the first suite from that work, as well as the of Ballet de la
Sultane des Indes, the ballet within a ballet. Then there's the charming Concert Piece for Harp and Orchestra, as well
as the set of variations Divertissements.

Music Composed by Gabriel Piern�
Played by the Orchestre National de l'O.R.T.F.
With Lily LKaskine (harp)
Conducted by Jean Martinon

"Gabriel Piern� has been called the most complete French musician of the late Romantic/early twentieth century era.
In his own music Piern� blended a seriousness of purpose (acquired in part through his studies with Cesar Franck) with
a lighter, more popular flavor reminiscent of Jules Massenet (with whom Piern� also studied); his dedication to the music
of his contemporary French composers earned him a reputation as a conductor of deep integrity.

Piern� was born in 1863 in the town of Metz. He displayed great musical promise as a child, and by 1871 he had entered
the Paris Conservatoire to study composition with Massenet and organ with Franck (Franck's organ class, however, often
focusing more on composing than on playing). At age 11 Piern� earned a medal for his solf�ge skills, and he later went on
to win top prizes in organ, composition, and piano, as well as (in 1882) the coveted Prix de Rome (for the cantata Edith).

In 1890 Piern� succeeded his teacher, Franck, as organist at St. Clotilde cathedral, a distinct honor for a young man of 27.
In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts
Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the
preparation of new works). In addition to his activities on the podium, Piern� served on the administration of the Paris
Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934). In the
years prior to his death in 1937 he was elected to the Acad�mie des Beaux Arts and made a Chevalier of the L�gion d'honneur.

Piern�'s output as a composer, while by no means as vast as some of his Parisian colleagues (one thinks in particular of
Saint-Sa�ns), includes entries in most of the standard genres; in typically French style, he avoided symphonic form in favor
of orchestral poems and character pieces. While Piern�'s large-scale works, such as the 1897 oratorio L'an mil and the
opera Vend�e from the same year, showcase a solid grasp of musical architecture, the smaller chamber works (sonatas
for both violin and cello and a String Quintet, among other pieces), are more indicative of his exceptional facility."
All Music

Source: Erato CD (my rip!)
Format:mp3, 320k/s (CBR), ADD Stereo
File Size: 128 MB

Download Link (re-up) - https://mega.co.nz/#!Spw1XQSL!RsRlkSjMAHmljfYjwHImZgxxnRpMybGXmH2lUsu GFHk

Enjoy! Don't share! Buy the original! :)

I have wanted this harp piece since the 1970s... never imagined it was released on CD, and especially with Jean Martinon conducting. Thank you Wimpel.

laohu

09-25-2013, 09:31 PM

thanks for the reups wimpel69

wimpel69

09-26-2013, 08:44 AM

No.426

Charles Koechlin (1867-1950) composed a suite of short tone poems as an account of a journey of Pierre Loti,
Les Heures Persanes (The Persian Hours) in 1913, set originally for solo piano, which he orchestrated in 1921.
His talents as an orchestrator were already recognised at the Polytechnique, where he arranged the first Ballade of
Chopin. For Debussy he orchestrated the ballet Khamma and for Faur� the suite Pell�as et M�lisande.

The "Persian Hours" are divided into separate moments or stages. The period of travel is without doubt the deepest
reality of the orient that Koechlin, following Pierre Loti, has made part of his work. "He who wants to come with me
to see at Isfahan the season of roses, should travel slowly by my side, in stages, as in the Middle Ages", wrote
Pierre Loti at the beginning of his work. His journey in 1900 only lasted two months. It took him from Bushehr on
the Persian Gulf to the Iranian plateaux, alter crossing Shiraz. Then he continued towards Isfahan, to Teheran,
crossing the mountains of Elburz to reach the Caspian Sea.

Koechlin never visitied Persia, but he knew Algeria. It would not have been difficult for him to write music of a
frankly oriental flavour, but he did not do so. His cycle of tone poems remains an imaginary journey in which one
may notice oriental touches as exquisite as they are fine and delicate - the counterpart of short poems, like
those of the poets of Persia. Koechlin's journey takes two days, if one follows sun and moon that play an important
part in the work. There are three mentions of moonlight (No.8, on the terraces; No.14, over the gardens and
No.16, over the desert). The centre of the work is in the tenth piece, Roses at Midday, since the journey is
undertaken to see the season of roses and this is the only place where the sun is at its height.

The time is marked from the first piece with a piano that the orchestration has not overwhelmed - it is simply
integrated with the general instrumental ensemble. It re-appears at various points, in the third piece, for example,
where it forms part of the description of the rapid steps of climbing, and the fourteenth (the third story), where
there is a very fine duet with the vibraphone. The orchestration, which adds refinement to the colours of the
Heures, has also transformed the work. In the first place it establishes the length of the journey.
Koechlin makes splendid use of the sustained notes of the violins, with superb violin solos in Nos. 4, 5, 14 and
15, or of cellos and double basses. Koechlin also uses a particularly refined technique with wind instruments,
notably the flute, an instrument that lends itself to oriental characteristics, as in the second stage of the journey.
In this homogeneous ensemble the percussion add brilliant touches and underline the sense of the marvellous,
as with the vibraphone in the fourth section.

Another oriental element is evident not so much in exotic melodic lines as in the harmonic procedures employed,
with use of modes and repeated notes. Although the sixteenth section has little in common with the dance of
the dervishes, the arabesques of the twelfth sound extremely modern, thanks to the polytonal design. The Orient
surely shows us the way. These Hours pass, we feel them pass, we feel the time. It is without doubt the
greatest miracle of this composition that it is in no way monotonous, but one must take time....

Music Composed by Charles Koechlin
Played by the Staatsphilharmonie Rheinland-Pfalz
Conducted by Leif Segerstam

"Charles Koechlin was born on November 27th,1867(died 1950) in Paris into a family with origins in
Alsace. His grandfather Jean Dollfuss had established a textile company at Mulhouse. Koechlin was incredibly
prolific, discovering new roads to diatonicism much more an experimentor in linear richness and context
than his contemporaries Ravel,and Debussy.Orchestration was to become a special vision.Perhaps not as
refined or extended as Ravel but equally foreward looking. He had tried his hand at orchestral timbre quite
early with marvelous successes as Debussy's 'Khamma', and Faure's(his teacher) 'Pelleas et Melisande'.
His own music has a deep fascination, an affinity with programmatical imagery,lyricism, simplicity of melos,
directedness,harmonic richness. His 'Jungle Book'after Kipling, a symphonic poem, 'Bandar Log', 'Spring
Running' are all widely played masterworks.

The 'Heures persanes' is 16 pieces originally written for piano; this piece functions like all of Koechlin's
music as a journey,an odyssey filled with anxiety,forbiding dimensions,even danger,this was a real journey
however, one towards Isfahan to Teheran, the mountains of Elburz to reach the Caspian Sea. He also
knew Algeria quite intimately.

He loves the string timbral body as his primary sound, where all other orchestral colours emanate, from.
As in the first three movements here where he will toss a melodic line from flute, to solo violin, to clarinet
to oboe. Leif Segerstam and the Rheinland-Pfalz Philharmonic do a fantastic,comprehensive job with
vision sorting out these discreet timbres. We always hear everything, the overwhelming richness of the
blended/distended at times string body, even the bassoon timbres buried into the center of the orchestral
canvas is heard. The Harp is also utilized quite effectively,as punctuating moments. Koechlin's music
is also incredible rich in harmonic motion, almost unceasingly, it never stops searching. Perhaps that's
an obvious metaphor for the creative agenda here,but a good one.As you proceed through the work,
you do sense some unexplainable homesickness, a longing. The music never is at rest, it is always
pushing forward,even as in thevery long second piece the Caravan eight minutes in duration over a
pedal stasis throughout. I was thrilled by the extended use of string harmonics,whole nests of them,
incredibly modern much further developmentally in conception than his duel iconoclastic contemporaries
as Stravinsky/Schoenberg."
Amazon Reviewer

Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 165 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!5ldCCZ4b!K8i_RF7wBKv_3ydYPHTGJkBQzDcKNRF-nIA0ZWXcUb0

Enjoy! Don't share! Buy the original! :)

gpdlt2000

09-26-2013, 10:18 AM

Koechlin is an extraordinary (and much underrated) composer.
Thanks, wimpel!

wimpel69

09-27-2013, 08:17 AM

No.427

Charles Roland Berry (born 1957 in Boston, Massachusetts) is an American composer. He studied music
history and music composition at the University of California with and Peter Racine Fricker. Fricker taught
him the intricate details of serialist music, and to discipline his musical imagination. In 1982, he met Paul Creston
in San Diego, California, and studied composition with him for one year. In Santa Cruz, California, he became
acquainted with the Hungarian cellist, composer, and former conductor for the Honolulu Symphony, George Barati.
In the 1990s he presented performances of his music in San Francisco with George Barati, Lou Harrison, and
an electronic composer, Charles Amirkhanian.

Composer Berry about the works on this CD: "The works on the new Centaur Records CD were composed in
2002 and 2003 in Seattle, Washington. They show a variety of style and structure, all with predominantly tonal
harmonies. I have experimented with Form, more than with tonality. I am also interested in the interactions
between melody and rhythm. I will often contrast irregular halting rhythms against a lyrical melodic line. Olympic
Mountains Overture (= Quileute Overture) is tribute to the grandeur of these mountains, and can be considered a tone poem.
Quileute Overture was inspired by a visit to La Push, Washington, home to the Quileute Indian tribe. This tribe
lives between the mountains and the sea, a stormy place, which gave rise to myths of the Thunderbird. This
piece uses no Native American music, though I attempted to create an exotic mood, using unusual orchestration,
with ocarina.

Symphony No.3 and the Cello Concerto are large scale works, with contrasting movements. My intention
was to explore different ways, to create a coherent form for each of these movements. The overall mood of Symphony No.3
is calm and optimistic, which led me to subtitle the work, "Celestial". The first inspiration for my Cello Concerto was recordings
of standard repertoire, performed by Lynn Harrell. After the piece began, I drew inspiration from the performance techniques
of Walter Gray. I have dedicated the work to Walter Gray, in gratitude for his artistry and friendship. He was the first cellist
play the solo score of the Concerto, and the solo cello part for Quileute Overture.

My intention with each of these works was to compose music which is both accessible and modern, music which
can be enjoyed by the concert-goers who enjoy standard romantic and classical repertoire. I have deliberately
avoided many well-established, contemporary composition techniques, because I feel those techniques alienate many
listeners. I believe a composer can be adventurous and original, without inventing new musical languages, arcane languages,
which are unintelligible to most listeners. My intention is to offer some familiar reference points, and then reach beyond
those references to new forms of expression. Coherence in any piece is achieved by some kind of repetition.
By choosing which fragments are repeated, how often, and in what disguise---I am able to create Forms which
have infinite variety, and rely little on any historical forms. I use intellectual planning, only to get started with a
piece---later I find preconceived plans, whether Classical, Romantic, or Serialist, get in the way of the music."

]

Music Composed by Charles Roland Berry
Played by the Jan�cek & Moravian Philharmonic Orchestras
With Jiri Hanousek (cello)
Conducted by Theodore Kuchar & Joel Eric Suben

"The stated purpose of composer Charles Roland Berry is to write pieces that are both distinctively modern and
yet accessible and appealing to casual listeners. Considering that some of his most significant instructors and inspirations
were the likes of John Cage, Peter Fricker, and Paul Creston -- composers whose works are still sometimes difficult to
digest by some -- Berry has certainly succeeded. Surprisingly, much of his music (particularly in underlying harmony
and texture in the strings) has very distinct hints of Aaron Copland. Although the liner notes of this album (written by
the composer) describe his background and thoughts on his compositions in general, they regrettably do not go into
any detail on the actual works performed on the CD, not even to tell in which year they were composed. Still, listeners
interested in getting their proverbial toes wet in the largely unexplored pool of new music will certainly find his rhapsodic
cello concerto and pastoral, almost Western-sounding Third Symphony a pleasingly easy-to-follow foray into the
unknown. Performances given by the Jan�cek Philharmonic Orchestra and the Moravian Philharmonic Orchestra
are overall strong, though not flawless. Jir� Hanousek's playing in the Cello Concerto is marred only by the somewhat
nasal sound quality afforded him on this recording."
All Music

Source: Centaur CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 183 MB (incl. cover)

Download Link - https://mega.co.nz/#!Jt9kDBqS!AqjlozEffDwJG4z-GvOUVHPgvvRTAHOub1PfoTd3lgA

Enjoy! Don't share! Buy the original! :)

wimpel69

09-28-2013, 08:33 AM

No.428

A precocious child, Charles Tournemire (1870-1939) was appointed organist of the church of St. Pierre in Bordeaux
at the age of 11. He studied at the Conservatoire de Paris with C�sar Franck and Charles-Marie Widor, winning in 1891
the first prize in organ; he also studied with d'Indy at the Schola Cantorum. In 1898, Tournemire succeeded Gabriel Piern�
as organist in St. Clotilde, a post he held for the rest of his life. As organist, Tournemire toured Germany, Holland, and
Russia before the Great War. Between 1900 and 1914 he composed his first five symphonies , all of which were performed
at the time. In 1904, Tournemire's cantata Le sang de la sir�ne won the concours musicale de las ville de Paris.

The Franck-inspired idiom that had sustained Tournemire to that time began to give way to a more complex harmonic
texture that incorporated some degree of impressionistic harmony. This style began to deepen in 1908 after Tournemire
married the sister of the wife of Josephin "S�r" P�ladan, a French mystic who was the founder of the Ordre de Rose-Croix
in Paris. Tournemire also began to read the works of Joris-Karl Huysmans, and through P�ladan, took an interest in
Madame Blavatsky. Tournemire's music reflected these discoveries through his arrival at a distinct "mystical" organ style.
The First World War caused a break in Tournemire's creative life. He was mobilized and, although he had projected a
Sixth Symphony in 1915, he could only start to work on it in 1917. This symphony, in addition to two more that followed it,
were never performed in his lifetime. In 1919, he was appointed a professor at the Paris Conservatoire, but the Great
War had brought about a cultural and musical change of ambience; Tournemire found himself out of step with the times
of Les Six and Stravinsky.

The massive, 90-minute Symphony No.7, subtitled "Les Danses de la Vie" (The Dances of Life), as each of
its five extensive movements presents another aspect of the history (or, life) of mankind, albeit allegorically, being described
in musical terms by a different dance form. Indeed, Tournemire himself suggested that the work could be performed either
in the concert hall or as a stage/ballet event. Tournemire wrote detailed notes about the "programme" of each dance, and
these coments are actually reflected in the sturcture. The symphony, which took him four years to finish (1918-1922)
was not performed until 1992!

Music Composed by Charles Tournemire
Played by the Moscow Symphony Orchestra
Conducted by Antonio de Almeida

"This is an enormous work in five movements, each 15 minutes long. In this symphony, Tournemire
is not interested in traditional symphonic construction and you will look in vain for sonata structures or
lengthy sections which equate to slow movements or scherzi. Each movement contains an enormous
variety of music and could almost stand on its own. At the end, then, you may feel that the whole is less
than the sum of its parts and wonder whether you have heard a true symphony. (For this reason, the
Seventh Symphony is not the equal of the astounding Sixth.) However, you will also almost certainly
feel that the extraordinary musical journey you have been on makes such a consideration of no importance.

Tournemire's harmonic language is polytonal, modal and sometimes atonal. He has a particular fondness
for hollow-sounding parallel harmonies. Debussy is a clear influence but the Seventh Symphony, unlike
the Third, shows very little influence of Impressionism. Tournemire is far more interested in highlighting
colours than in blending them. This is a symphony, after all, and Tournemire does nothing to distract
attention from the unfolding argument. This is motivic rather than melodic music. Each movement presents
its ideas and then develops them by shortening or lengthening them, reassigning colours, altering rhythms
or changing the harmonic context. The music is often highly rhythmic and dynamic. It is never dull.
A particular feature of this symphony is that the textures are not, on the whole, string-led. The third
movement, for example, is very much led by the woodwind and the fourth by the brass.

The Symphony is entitled "Les Danses de la Vie". According to the notes which come with these discs,
it "follows humanity throughout its development from primitive barbarianism to the supreme haven of
love and serenity". The first movement, "Danses des Temps Primitifs" is built on the opening processional
music and, above all, the flute motif. That is all the material that Tournemire needs to build this superb piece.
Even the little fanfare figure which punctuates the music occasionally is derived from the main idea.

The second movement, "Danses de la Gentilite", begins by presenting numerous fragmented ideas and
then, when the tempo picks up, a clarinet introduces a lyrical theme (probably as close as Tournemire gets to a
tune in the whole symphony). It is heard again in the brass later on. Tournemire's imagination takes wing
as he weaves an extraordinary fantasy on all that has been heard until now. Eventually the opening
music returns and the movement ends quietly.

The third movement, "Danses Medievales", dominated by the woodwind, is built almost entirely on its
opening arabesque figures. Again, you will be amazed at the variety of the music Tournemire draws from
them. Then a lovely string-led passage, still clearly related thematically to the opening idea, arrives and
the mood changes to a gentle reverie.

The mood changes entirely for the fourth movement, "Danses Sanglantes". This time the brass take the
lead. The galloping rhythms give way to the movement's most important idea, played by the bassoons.
Various patterns emerge which are reminiscent of ideas from previous movements. Notice in particular the
bass clarinet solo which is related to the first movement's main idea and which introduces a quieter central
section. The opening music returns and, after an enormous brassy climax, the movement ends with a series
of emphatic chords.

The fifth movement, "Danses des Temps Futurs", opens gently with a string of unassuming ideas. There are
many references to previous movements, most obviously in a viola solo which is again related to the first
movement's main idea. The flute solo, the movement's most important idea, is also very closely related to
the "tuneful" theme from the second movement. Gradually the symphony's threads are picked up, then,
and the work comes to a resplendent conclusion."
Amazon Reviewer

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Cristobalito2007

09-28-2013, 11:02 AM

Wimpel. Once again....a big thank you for the following -
Hausegger (Nature)
Stanford
Merikanto
Schifrin
Kats (swan)
thomson (kurka)
Parsadanian (wow)
Kalomiris
Zhou (rhymes)
Estacio (My favourite!)

If you have anymore like Estacio or Kalomirism or zhou on your thread...can you point me to them? Many thanks again for your kind sharing

---------- Post added at 04:02 AM ---------- Previous post was at 03:41 AM ----------

a question to wimpel or any readers..can anybody advise me music which is mysterious and mystical. I'm thinking along the lines of vaughan williams and Jerry goldsmiths v'ger music for Star Trek 1. thank you.
ps - i know hovhannes already

pp312

09-29-2013, 02:57 AM

Just caught up with this thread. Some very fine music here. I'm astonished there was so much great tonal music written in the last century. And what a disgrace that so many fine tonal composers were passed over in those years of atonalism and serialism, often to retire from composing altogether (George Lloyd, for instance, went back to tending his garden). How much great music was not written because of all this trendiness, and how many potential converts to classical music were turned away by sounds they couldn't abide masquerading as "art" music.

I remember hearing an interview with Miklos Rozsa made around 1960 at a concert where one of the pieces was atonal. The interviewer asked Rozsa what he thought about these new trends in music, clearly expecting a positive answer. Instead Rozsa gave one of the most scathing indictments of atonalism I've ever heard. He said, I suppose, all the things concert goers had been thinking for years but would never have voiced for fear of being labelled "reactionary", and he said them most eloquently and convincingly. I wish I could find that interview, not only for Rozsa's remarks but for the obvious discomfiture of the interviewer, which was hilarious.

Thank you, wimpel69. You're a king amongst men. :)

wimpel69

09-29-2013, 08:47 AM

Cristobalito, I don't think there's much more Estacio music on disc. There's some Kalomiris, but mostly chamber music.

No.429

Ipswich-born Christopher Wright is a contemporary composer of tonal music. He was born in 1954 and was privately
trained by fellow British "tonalist" Richard Arnell, with formal studies at Goldsmith's College London and Nottingham University.
Wright worked as a school teacher for much of his life (1977-1993), and only devoted himself to composition full-time after
his wife's death in 1993. He himself describes his music as "largely tonal with atonal flavourings. Accessible both musically
and technically." This is certainly true of the light-hearted orchestral works on this album, which include the Spring Overture,
Idyll, A Little Light Music, Threnody and Capriccio Burlesque.

Music Composed by Christopher Wright
Played by the Royal Ballet Sinfonia & Manchester Sinfonia
With John Turner (recorder) & Maxwell Spiers (cor anglais)
Conducted by Barry Wordsworth, Gavin Sutherland & Christopher Wright

"Christopher Wright here presents his calling card as a composer for the orchestra. His chamber and human
voice aspects can be sampled on a Merlin Classics disc MRFD070914 – also reviewed here. Dutton have done
him proud both as to documentation and in providing a generous selection from his catalogue. His A Spring
Overture - a modesty there - bustles yet is shot through with silverpoints and the gleam of crystal. It was
inspired by Walton's Portsmouth Point but also seems to reference the open-air Copland of the Outdoor Overture.
The four movement A Little Light Music acts the part with singing energy and moody inwardness. It references
the great English string tradition from Elgar to Parry to Purcell to Vaughan Williams and Tippett. It's a luminous
work full of inventive touches to tickle and flatter the ear. The Threnody for orchestra was one of three works
written circa 2002. All were affected by the composer coming to terms with his mother's death. The other two
are the Four Meditations on the Merlin disc and In Memoriam for chorus and orchestra – which I have not
heard but would like to. The Threnody is by no means all sorrow. There is anger here too of the sort that bellows
out in the Finzi Cello Concerto tuttis and there’s considerable eloquence too. It's a very powerful and deeply
moving work. As Wordsworth said - and Finzi through Wordsworth – the Threnody speaks of "thoughts too
deep for tears". The music is broadly within the ‘church’ of Howells and Hadley. My attention was held throughout.
Searching for cor anglais and strings explores another potent theme for modern times: the composer addresses
a world bereft of stillness and security in which activity blots out reality and travel fills the need for escape from
self. The sorrowing cor anglais meanders and reflects until the music sinks into a querulous rest. The final pages
have the gleam of the violins fading … fading. The Idyll for small orchestra is the third of three ten minute
orchestral essays. It is the most strongly keyed into the English musical tradition with a distinct Finzian mien
redolent somewhat of the Severn Rhapsody. The Divertimento throws aside drowsy pastoral visions with
bubbling and witty playing of that one man dynamo of the British recorder repertoire John Turner. It's a wonderfully
vivacious work in three sections laid out as a single track. The Capriccio Burlesque for strings takes us back to
the bustling world of A Little Light Music and A Spring Overture. It's again in the grand English tradition yet
adds valuably to it rather than being in thrall to its greatest monuments.

The disc is well documented and very attentively recorded. I hope there will be more from Christopher Wright.
For now what we have here speaks from lush English pastures - landscapes and, more to the point, mindscapes.
There is nothing wrong with light music and some of these works fit that label but other things such as Searching
and the Threnody are much, much more."
Musicweb

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---------- Post added at 09:47 AM ---------- Previous post was at 09:03 AM ----------

No.430

Craig H. Russell was born in Los Alamos, New Mexico, on 3rd April, 1951. He received his Bachelors and
Masters degrees in guitar performance from the University of New Mexico and his Ph.D. in Historical Musicology
from the University of North Carolina at Chapel Hill. As a classical guitarist, he studied under Hctor A. Garca at the
University of New Mexico and Emilio Pujol at the Curso Internacional de Guitarra, Laud y Vihuela in Cervera, Lrida, Spain.

As a composer, Russell has received wide praise and recognition for his work. His textures, melodies, harmonies
and orchestrations are often described as Coplandesque, frequently evoking the many cultural influences of American
life. He has worked closely with the acclaimed vocal group Chanticleer, including the production of two CDs, Mexican
Baroque (nominated for a Grammy Award and Chanticleers No.1 selling CD) and Matins for the Virgin of Guadalupe.
Russell reconstructed the music of these recordings from musical shreds of evidence in Mexican and California archives,
assisted at rehearsals, wrote the liner notes and collaborated throughout the recording process. Russell has been a
professor at California Polytechnic State University, San Luis Obispo, since 1982 and has won numerous teaching
awards including the California State University Trustees Outstanding Professor Award and the Presidents Arts Award.

Says Russell, "the Rhapsody for Horn and Orchestra had its genesis in the fall of 1998. Commissioned by the San Luis Obispo
Symphony and dedicated to Richard Todd, my idea was a five-movement scheme that would explore different flavors
and varied styles. The form would be a vessel of “alternating siblings,” where the first and third movements would be sisters,
and the second and fourth movements would be close brothers. The final movement would be a brisk race that would
blast us forward in one frenetic, breathless run to the finish line.

The birth of Middle Earth similarly came as an unanticipated commission in 1995. Conductors Carol Kersten and Fred
Lau asked if I would write a piece for the Junior Strings (a special strings ensemble of the San Luis Obispo Youth Symphony)
in celebration of their 30th Anniversary. As my wife, Astrid, my boys Peter and Loren, and I were working our way through
Tolkien’s The Hobbit and his trilogy The Lord of the Rings, I decided to put together a short suite of seven movements,
each of which has to do with those novels. The movements were: 1) Frodo Leaves the Shire; 2) Gimli, the Dwarf; 3)
Galadriel & Her Elvin Mirror; 4) Gollum; 5) Gandalf: The White Rider; 6) Orcs & Ring Wraiths; and 7) Frodo & Company
Return. The whole work was composed in three days. I tried to be brief, and whenever possible, funny or clever. Gimli
sounds like a rugged Irish tune. Galadriel is lush and romantic. Gollum is composed of random “gulps” made by the string
basses, creating a swallowing sound. In Gandalf, the piece is divided in half with the second half of the piece being the
exact replication of the first half but flipped upside down and backwards. The movement about the monstrous Ring Wraiths
and the clumsy, ill-mannered, brutish, and slovenly Orcs is performed by the instrumentalists playing approximate pitches.
I have the piano player play one brutish passage holding tennis balls and banging away. The last movement has snippets of
Gimli, Galadriel, and Gandalf all layered over Frodo’s initial theme. Thus all the heroes mentioned in my suite weave
their way back home. Two years after the premi�re, I took the original version and re-orchestrated it for symphonic
orchestra adding two additional movements: Shelob’s Lair and Strider and the Crowning of Aragorn. Shelob’s Lair has
bizarre instrumental effects that replicate the clicking sounds of a terrifying giant spider ready to consume her prey.
Strider begins with rapid leaps that traverse enormous musical territory, just like a character who traverses wide expanses
of terrain almost instantly. This same character (both in the plot and in the musical material) is soon discovered to be a
king, and this “leaping melody” reappears as a regal coronation by the movement’s end.

The final work on this disk is the second movement of my Symphony No. 2, American Scenes, which is dedicated
to my parents John Henry and Catherine Quillin Russell. This movement, Gate City: Methodist Hymn is a clear
homage to my mother, her inspired faith, and her enchanting home town of Gate City, Virginia. The back-porch sound
of a country fiddle begins this American reverie that spiritually is modeled on those home-spun Wesley hymns that fill
Methodist hymnals. The piece then unfolds with a silent prayer in the middle before returning to the opening tune and
the Appalachian beauty of this mountain village."

Music Composed by Craig Russell
Played by the San Luis Obispo Symphony Orchestra
With Richard Todd (French horn)
Conducted by Michael Nowak

"The highlight on this Naxos American Classics disc by California composer Craig Russell is the expansive
Horn Rhapsody, 41 minutes long, composed for and played by horn virtuoso Richard Todd. In five movements,
it demonstrates Russell's ability to write beautiful and exciting music in a number of jazz-inflected and American
concert-music styles...Todd is a fabulous hornist and he is more than ably backed by the terrific San Luis Obispo
Symphony conducted by Michael Nowak. (As I have mentioned elsewhere, we are in a golden age of American
orchestras when a regional orchestra like this one can sound like one of the majors!)...Expertly done and a lot of
fun...Craig's style combines the rhythmic sophistication of late 20th-century jazz and advanced orchestral
technique with the 'comfort food' harmonies of the Copland-Barber axis. I enjoyed every moment of it."
Amazon Reviewer

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File Size: 145 MB (incl. cover, booklet)

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These two composers, one British, one American, born within three years of each other,
are typical for contemporary tonal composers on a "regional level", who draw inspiration from
the rich heritage of their countries' music history and are proudly "eclectic". Much like the
film composers of the "silver age".

bohuslav

09-29-2013, 11:19 AM

wonderful! this thread is amazing, billion thanks wimpel69 for all this fine music.

thehappyforest

09-29-2013, 04:25 PM

Agrees with bohuslav, you deliver the goods!!

mik-91

10-05-2013, 10:02 PM

possible any music by Germaine Tailleferre or dana suesse ?

wimpel69

10-07-2013, 08:31 AM

No.431

Cristobal Halffter is among the more important Spanish composers of the twentieth and twenty first
centuries and easily among the Iberian Peninsula's most adventurous as well. He evolved quickly from the
conservative Falla-tinged style of his youth to the post-Webern modernism of his middle- and late-years.
He delved into neo-Classicism early on, then dabbled in serial music, aleatoric, and electronic techniques,
and finally fused multiple styles together, often calling upon styles from the distant past. Arguably, Halffter
was the leading avant-garde Spanish composer of the mid-twentieth century, and probably must be
regarded as one of the most influential as well. His orchestral work Microformas (1959-1960)
helped usher in a new era in Spanish music, both shocking audiences and critics and stimulating his fellow
composers to look toward the future. Halffter composed in most genres, including ballet, opera, symphonic
(including a variety of concertos), chamber, vocal, choral, and various instrumental works.

Cristobal Halffter was born on March 24, 1930, in Madrid, Spain. His uncles, Ernesto Halffter and
Rodolfo Halftter, were also well-known Spanish composers. Of the three Halftters, Ernesto is probably
the more popular, while Cristobal is considered the more influential.

Cristobal's family fled the Spanish revolution and lived in Germany until 1939. He studied at Madrid's
Real Conservatorio de M�sica, where his most important composition teacher was Conrado del Campo.
Halftter graduated in 1951 and two years later attracted critical attention with his Piano Concerto, which
was awarded the National Music Prize in 1954. Halffter was appointed conductor of the Cadiz-based Manuel
de Falla Orchestra in 1955, holding the post until 1963. In 1964 he became director of the Madrid Real
Conservatorio, where he had served as professor of composition since 1960. Halffter's compositional style
remained in the vanguard of modernism in the 1960s and 1970s. During this time he also composed several
works relating to human rights, such as the massive 1968 choral work Yes, speak out, yes.

By the 1980s Halffter had settled into a less aggressive compositional manner, employing styles out
of the past, as in the 1981 Fantasia para una sonoridad de G.F. Haendel, for string orchestra. In
1989 Halffter took on the post of principal guest conductor of the National Orchestra, Madrid. He remained
active as a composer and conductor. Among his works are the opera Don Quixote (2000) and
Attendite, for cello octet (2003).

Music Composed by Cristobal Halffter
Played by the Madrid Symphony Orchestra
With the Coro Santo Tom�s de Aquino
Conducted by Pedro Halffter-Caro

"Halffter's "Prelude for Madrid '92" is a rousing, tonal, choral-orchestral work of ten minutes (ingeniously
using and tranforming a fandango) which calls to mind the celebratory quality of Orff in its full-throated joy.
Daliniana (1994) depicts three of Salvador Dali's paintings in glaringly bright music of uncompromising
dissonance and great eruptive outbursts and 1981's Handel Fantasy is a brooding, severe meditation on
a theme from one of the organ concertos which suddenly warms with a direct quotation in the middle of
the score. This ear-opening disc closes with another choral-orchestral work from 1992 which echoes the
optimistic spirits of the Madrid Prelude."
Records International

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Kempeler

10-07-2013, 11:41 PM

delete

wimpel69

10-08-2013, 12:34 AM

Sorry, I only answer requests from fellow users who themselves contribute to the board, express gratitude once in a while and who generally follow common courtesy in their requests. I'm sure that's understandable.

guilloteclub

10-08-2013, 04:58 AM

�afewrquisotis uma dedquitroque ulm?

wimpel69

10-08-2013, 08:26 AM

No.432

Born in Rochester, New York, in 1948, composer Dan Welcher has been gradually creating a body of
compositions in almost every imaginable genre including opera, concerto, symphony, vocal literature, solo piano,
and various kinds of chamber music. With over one hundred works to his credit, Welcher is one of the most-played
composers of his generation. Dan Welcher first trained as a pianist and bassoonist, earning degrees from the
Eastman School of Music and the Manhattan School of Music. He joined the Louisville Orchestra as its Principal
Bassoonist in 1972, and remained there until 1978, concurrently teaching composition and theory at the University
of Louisville. He joined the Artist Faculty of the Aspen Music Festival in the summer of 1976, teaching bassoon
and composition, and remained there for fourteen years. He accepted a position on the faculty at the University
of Texas in 1978, creating the New Music Ensemble there and serving as Assistant Conductor of the Austin
Symphony Orchestra from 1980 to 1990. It was in Texas that his career as a conductor began to flourish,
and he has led the premi�res of more than 150 new works.

Composer Welcher about the works on this album:

"The tone-poem Haleakala: How Maui Snared the Sun was crafted as both a children�s story and a piece
of mature contemporary music, designed to appeal on many levels. The music, using three ancient Hawaiian
chant-tunes, many authentic percussion instruments, and six Polynesian scales, is capable of standing alone, and
in fact the work can be performed without narration. The text is a highly evocative and poetic retelling of one
of the most famous myths about the Polynesian demigod Maui, known as �the trickster.� We meet Maui by
reputation first with the recounting of two earlier legends, and then in the story of Haleakali. Maui finds his mother
weeping because the sun moves so quickly that �the kapa (tapa cloth) will not dry, and the kalo (taro) and
sweet potatoes are withering�. Maui is determined to fix this, and devises a plan to entrap the sun as it enters
the chasm at Haleakala, the sacred volcano on the island that now bears Maui�s name. Once all sixteen legs
(rays) of the sun have been snared in a vigorous battle, Maui extracts a promise from the sun to go more
slowly for six months of the year, creating the winter and summer seasons.

Prairie Light is based on three highly unusual watercolors that Georgia O�Keeffe painted during her year
of teaching in Canyon, Texas in 1917. O�Keeffe is, of course, well-known for her expressionistic cow skulls
and sensual flowers, but these three early works show a naive, almost primitive sensitivity to light and shadow.
I chose to place them in the order of sunrise, mid-day and night.

First given by the Honolulu Symphony in October 1989, Concerto for Clarinet and Orchestra was
commissioned by Bil Jackson. I had known Bil both as a symphonic clarinettist and a jazz player, so the resulting
work, while not a �jazz concerto�, takes advantage of the checkered history of the clarinet. Cast in two lengthy
movements and scored for a rather small orchestra, it is a sort of �uptown big brother�to my 1974
Flute Concerto."

Music Composed by Dan Welcher
Played by the Honolulu Symphony Orchestra
With Bil Jackson (clarinet) and Richard Chamberlain (narrator)
Conducted by Donald Johanos

"MODERNIST LITE: Dan Welcher, born in 1948, has been a composition professor at the University of
Texas in Austin since 1978. His music is modernist lite � nothing wrong with that. Its textures are admirably
transparent, its colors alternately bright and subtle, its tonal language spiced with just enough dissonance
to keep it interesting. Nadia Boulanger, the great French teacher of composers from Aaron Copland to Philip
Glass, would have approved.

TELLING A TALE: Mr. Welcher has a penchant for evocative music. Haleakala is a 22-minute work with
narrator, recounting a Hawaiian legend. The music does illustrate the story, much as Ravel's Daphnis et Chlo�
does, and actor Richard Chamberlain is the admirable speaker. But the score might be more effective as a
ballet, � la Ravel, minus the spoken voice.

FROM PRAIRIE TO JAZZ CLUB: The Prairie Light triptych appealingly answers O'Keeffe's spare imagery with
subtle washes of color and flashes of light. The Clarinet Concerto is a fine successor to Copland's, more
unsettled in its slow music, more uninhibited in its jazzy exuberance.

BOTTOM LINE: Attractive music, performed with skill and superbly recorded. (Some Dallasites will remember
conductor Donald Johanos as music director of the Dallas Symphony Orchestra in the 1960s.)"
Dallas Morning News

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wimpel69

10-09-2013, 11:07 AM

No.433

This is a colorful album of shorter, programmatic orchestral works/suites. Darius Milhaud visited
many countries in his life, so a Globe Trotter Suite from him seems only appropriate:
six countries are represented by one characteristic, often folk-inflected piece each: France, Portugal,
Italy, the U.S., Mexico and Brazil. In contrast, Paule Maurice's Tableaux de Provence (scored for alto
sax and orchestra) and Malcolm Forsyth's Sketches from Natal cover different aspects of
just one strip of land. Fela Sowande's African Suite, cast in five movements for strings alone,
is a cheerful (albeit not truly "African-sounding") conclusion.

Music by Darius Milhaud, Paule Maurice, Malcolm Forsyth & Fela Sowande
Played by the CBC Vancouver Symphony Orchestra
With Julian Nolan (saxophone)
Conducted by Mario Bernardi

"Paule Charlotte Marie Jeanne Maurice was a French composer born in Paris September 29, 1910
to Raoul Auguste Alexandre Maurice and Marguerite Jeanne Lebrun and died August 18, 1967 in
Paris. Registration lists at the Conservatoire National Sup�rieur de Musique de Paris report that
her father was an office worker and state only that the two were married. Her most famous
composition is Tableaux de Provence pour saxophone et orchestre written between 1948 and
1955 dedicated to saxophone virtuoso, Marcel Mule. It has five movements entitled, Farandoulo
di Chatouno, Cansoun per ma mio, La Boumiano, Dis Alyscamps l'amo souspire, and Lou cabridan.
It is most often heard as a piano reduction. It was premiered on December 9, 1958 by Jean-Marie
Londeix with the Orchestre Symphonique Brestois directed by Maurice's husband, and fellow
composer, Pierre Lantier. Maurice's other compostions include Suite pour quatour de flutes, Volio,
Cosmorama, Concerto pour piano et orchestre, Memoires de un chat, Trois pieces pour violon,
and many more. There are more titles catalogued in the the library of the Conservatoire National
Sup�rieur de Musique de Paris where Maurice studied and spent her professional life. Paule
Maurice's teachers included Jean Gallon (Harmony), No�l Gallon (Counterpoint and Fugue)
and Henri B�sser (Composition). From 1933 to 1947 Maurice was Jean Gallon's teaching
assistant. She received first prize of harmony in 1933, second prize of fugue in 1934, and in
1939 received first prize in composition. In 1942, Maurice was appointed Professor of D�chiffrage
(sight-reading), and in 1965 became Professor of Harmonic Analysis at l'Ecole Normale de
Musique. Maurice taught many students who became professors to the Conservatoire National
Sup�rieur de Musique de Paris with some winning the Prix de Rome (saxame.org). Paule Maurice
and Pierre Lantier wrote a treatise on harmony entitled Complement du Traite d'Harmonie de
Reber and became an important reference work in France and abroad. It was intended to be used
in conjunction with the 1862 treatise of Napolean Henri Reber entitled Traite d'Harmonie.
The impact of Stravinsky, Debussy, and Ravel created the need to update harmonic analysis."

Paule Maurice, Malcolm Forsyth, Fela Sowande

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Firestars004

10-10-2013, 02:21 AM

Hi. I'm looking for some new classical music with that old world vibe. By old world vibe I mean a similar type of sound to Grieg's Anitra's Dance from Peer Gynt, or Brahm's Hungarian Dances, Liadov's Village scene by the Inn. Any help would be greatly appreciated.

Thanks.

wimpel69

10-10-2013, 08:42 AM

I'd suggest the suite from "Aladdin" by Carl Nielsen or the ballet "Lakshmi" by Ludolf Nielsen (no relation) which I posted in this thread. Also, Rimsky-Korsakov's "Sch�h�razade" & "Capriccio Espagnol" and most of the Spanish music posted in the thread (Guridi et al) come to mind. And youl'll find Liadov's complete short tone poems above, too. There are also many British Light Music pieces that are "oriental" in character, like Ernest Tomlinson's "Aladdin" (available here) or, especially, Albert Ketelbey's charmingly "tacky" "In a Persian Market".

No.434

Benedict Mason (*1954) came to composition relatively late, having studied film-making after graduating
from King's College, Cambridge. His work embraces many aspects of post-modern diversity, including electronics,
exploration of polyrhythms and video. Of particular importance in Mason's work are spatial considerations and
since 1993 he has written a series of works for specific venues, generically entitled 'Music for Concert Halls'.
These works exploit the architectural and acoustical properties of the building, such as the Clarinet Concerto,
written for the Royal Albert Hall, in which only the soloist appears on stage while the members of the ensemble
are positioned around the auditorium.

David Sawer (*1961) studied music at the University of York and subsequently won a DAAD scholarship
to study in Cologne with Mauricio Kagel. In 1992 he was awarded the Fulbright-Chester-Schirmer Fellowship in
Composition. A Paul Hamlyn Foundation Award followed in 1993 and, in 1995, the Arts Foundation’s Composer
Fellowship. In 1996 he was composer-in-association with the Bournemouth Orchestras; in 2006 he was
awarded a Civitella Ranieri Fellowship. The 1990s saw a succession of important commissions. Byrnan Wood,
his first large-scale orchestral piece, was premiered at the Proms. Drama, or a fascination with theatrical possibilities,
is present in many of his works. His radio composition Swansong, a commentary in words and music on a
short story by Hector Berlioz, won a Sony Award in 1990. In Byrnan Wood, the image from Macbeth of
Malcolm’s disguised army advancing on Dunsinane provided an initial abstract idea – sound transforming itself
as it moves through the orchestra.

Music by Benedict Mason & David Sawer
Played by the BBC Symphony Orchestra
Conducted by Lothar Zagrosek & Andrew Davis

"Lighthouses of England and Wales - being a guided tour around a chorus of the main English and Welsh
lighthouse phases (as extant in the Trinity House Schedule of Lighthouses and Fog Signal Characters and
Equipment), from the Solway Firth to the Farne Islands, some of which were notated "in the field", and in
which each lighthouse is portrayed in solo, in turn, with accompanying pre-echoes and "after-images" of
the others. And also part of a topographical series of pieces featuring compositional "surveying�", whereby
physical characteristics and statistics form the basis of a piece's musical realisation.

During the summer of 1987 I visited all the main Trinity House Lighthouses. I worked in situ and from
different vantage-points, notating the interplay of their patterns with less important or more distant
flashing signals. I worked entirely objective intentions, and was not at all concerned with Romantic notions
of seascape and moodscape (that came later at my desk, when I adopted such concerns in a more
ironic context). I tried to examine "orchestrational" notions of depicting weather, sea and natural
phenomena in terms of our conditioned responses to such musical approximations. Precise depiction
of weather was important. I worked in all conditions and travelled to other locations during daylight.

Scale was something else I tried to notate. A distant lighthouse signal is the gentlest bleep on the
horizon. Close to, is a huge lumbering beam that swings past, appearing to speed up as it comes towards
you and slow down after it has gone past. This is translated into sound as its most literal when the
conductor makes a semicircular sweeping gesture across the orchestra, which cues all the players in
domino effect as the conductor's arm passes the line of vision.

This silent light was continuously mysterious to me, even more so given the metronomic and dynamic
way in which the lighthouses behaved. To translate light into sound on many simultaneous levels was
also am "orchestrational" endeavour. I had in my mind the possibility of the piece representing a
model of this island's coastline, the size of a concert hall, in which all the lighthouses are flashing in
a tempo and can be viewed/heard together. It is as if one is moving on a fast journey through a series
of different locations while always remaining on the same spot. To use a photographic analogy, each
location exists in a different depth of field, each coming into focus to be viewed briefly before turning
the lens to take control and develop, by virtue of the deliberate device of each new episode
interrupting and distracting the listener's attention, and curtailing his or her involvement with
the previous view or episode."
Benedict Mason

Sources: Collins Classical & NMC CDs (my rips!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Sizes: 37 MB / 47 MB

Lighthouses of England and Wales - https://mega.co.nz/#!x40hzYhR!alD1BEroG01AniD4Z7vgRlP98GVE9NqQIk9HgE6 MUbY
Byrnan Wood - https://mega.co.nz/#!YkdBVTCK!Zah-bHTucjtDFr3iY-LJ0yTQ7iUy7knaNT1eqxUFBgQ

Enjoy! Don't share! Buy the originals! :)

wimpel69

10-10-2013, 10:19 AM

No.435

Carl Nielsen's (1865-1931) Aladdin, Opus 34/FS 89, is incidental music written to accompany a
new production of Adam Oehlenschl�ger�s "dramatic fairy tale" presented at The Royal Theatre in Copenhagen in
February 1919. Nielsen composed much of the music in Skagen during the summer of 1918, completing it after
returning to Copenhagen in January 1919. He experienced major difficulties with the work as the director,
Johannes Poulsen, had used the orchestra pit for an extended stage, leaving the orchestra cramped below a
majestic staircase on the set. When Poulsen cut out large parts of the music during final rehearsals and changed
the sequence of dances, Nielsen demanded that his name be removed from the posters and the programme.
In fact, the theatre production in February 1919 was not very successful and was withdrawn after only 15 performances.

Nielsen frequently conducted extracts from Aladdin to great popular acclaim both in Denmark and abroad.
The music was successfully presented at London�s Queen's Hall on 22 June 1923 and at 12 performances of Aladdin
at the Deutsches Schauspielhaus in Hamburg in November and December 1929. Nielsen had been scheduled to
conduct extracts with the Radio Symphony Orchestra on 1 October 1931 when he suffered a major heart attack.
Lying on a hospital bed, he was nevertheless able to listen to the "Oriental March", "Hindu Dance" and "Negro Dance"
on a crystal set before he died the following day.

The two Peer Gynt Suites by Edvard Grieg, compiled from the composer's elaborate stage score,
need no introduction. The performance by Herbert Blomstedt and the San Francisco Symphony
is one of the finest available, and the coupling with Aladdin is only too appropriate.

Music by Carl Nielsen & Edvard Grieg
Played by the San Francisco Symphony Orchestra
Conducted by Herbert Blomstedt

"This disc is split between two Scandinavian composers, containing the two Peer Gynt Suites of
Norwegian Edvard Grieg and both the Maskarade Overture and Aladdin Suite of Denmark's Carl Nielsen.
I'm not into multiple versions of Peer Gynt, so I can't really compare the performance on this album to
others, but to my untrained ear Herbert Blomstedt leads the San Francisco Symphony in what are very
satisfying performances. The playing is full and polished, conveying a shimmering sense to the music
overall, and a feeling of unstoppable drive in particular as the well-known "In the Hall of the
Mountain King" reaches its conclusion. Meanwhile, my lingering attention lies more in the direction
of the Nielsen music, in particular the Aladdin Suite. Its opening Oriental Festive March is lush
and decadent, and though in my estimation the rest of the piece never quite reaches such propulsive
heights again until the very end, all the in-between is nonetheless well worth the trip. All in all, this
a marvellous disc, both for the more familiar Grieg and the lesser known but engaging music of Nielsen."
Amazon Reviewer

Johannes Poulsen in his production of Aladdin; composer Carl Nielsen in 1918

Source: Decca CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 145 MB

Download Link - https://mega.co.nz/#!ZQ5UVILB!DCxgYBenPIYoExP4fDVu3xvqmKBSRDBpennZi3f opqs

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Firestars004

10-10-2013, 11:18 AM

Thanks :)

guilloteclub

10-10-2013, 12:28 PM

Contes d �Orient (Adolphe Biarent)

wimpel69

10-10-2013, 02:59 PM

No.436

It is possible, if perhaps not likely, that when British composer and conductor Albert William Ket�lbey died
in 1959 at the age of 84 he had somehow heard some of then-young Henry Mancini's suave music. If so, perhaps
the aged Ket�lbey was able to recognize that the mid-twentieth century was getting from Mancini something quite
like what his own generation got from him many years earlier: music that aims to please not through depth of
content, academic pretension or gritty progressivism, but by virtue of lightheartedness, charm, and thoroughly fine
craftsmanship.

Ket�lbey showed remarkable musical gifts while still a young boy. There is an anecdotal tale (for once probably
true!) of how 11-year-old Ket�lbey wrote and publicly performed a full-length piano sonata and received the
blessing of Edward Elgar for his efforts. Two years after that he received a scholarship to Trinity College, and at
16 he was named the new organist at St. John's Church in Wimbledon. Ket�lbey took to conducting musical
theater shortly before the turn of the new century, which no doubt helped redirect his compositional interests
toward light music.

Over the first couple decades of the twentieth century, Ket�lbey issued a hearty stream of pseudo-programmatic
orchestral works; pieces like The Phantom Melody (1912) and In a Chinese Temple Garden (1923) were
very popular in their day, and earned Ket�lbey enough money to eventually purchase and retire to an estate
on the Isle of Wright. He also composed a comic opera, the Wonder Workers (1900), and several "serious"
concert pieces, including a String Quartet and a Concert-Piece for piano and orchestra. Ket�lbey
used pseudonyms for some of his music.

His greatest popular success was probably In a Persian Market, a delightfully tacky depiction of the
hustle and bustle (but also the romance) of the orient, but Chal Romano and In a Monastery Garden
were also big hits in their day. It seems only fitting that John Lanchbery, himself a light music maverick and
ballet/opera conductor, did this recording. The suite from Ballet �gyptien is another example of the fascination
that European composers had with the orient in the 19th and early 20th centuries.

Music by Albert Ket�lbey & Alexandre Luigini*
Played by the Philharmonia and Royal Philharmonic* Orchestras
With The Ambrosian Singers
Conducted by John Lanchbery & Anatole Fistoulari*

"It's a joy to hear this collection again after a lapse of years. In Lanchbery's hands
sentimentality is firmly played down in a forthright and yet refined approach that enables
Ketelbey's splendid tunes to emerge with elegance and stylishness.

The obvious favourites are here, of course; but after getting the programme under way with
superb performances of In a Persian market and In a monastery garden (both complete
with chorus) Lanchbery then gives us Chal Romano, a more ambitious piece of work
that at times reminds me of Elgar (as well as of Eric Coates and Franz Lehar) rather
than the more familiar Ketabey. A real joy, too, is The clock and the Dresden figures, a
truly delicious piece of light music with a concertante piano part brilliantly played by
Leslie Pearson. Vocal solos by Vernon Midgley and Jean Temperley also help to give
further individualism to In the mystic land of Egypt and Sanctuary of the heart.

Altogether this is a most imaginatively planned and splendidly performed tribute to a
master of melody. The digital refurbishment, too, produces astonishingly vivid sound
quality. I can't imagine anybody being disappointed with the end product. A.M.L."

Source: EMI Eminence CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 155 MB

Download Link - https://mega.co.nz/#!5RZQGSZS!XuMhswp1LMlQCX47g-PpVx3lIUM6x3AxJxyYKKHcgyI

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wimpel69

10-11-2013, 08:34 AM

No.437

Don Kay's musical language has its roots in the tradition of Western art music but has been
significantly shaped by his experience of Tasmania's environment and history.The process of
transforming this experience into musical form involves what he describes as styles of thinking:
the use of pure sound in its own right; literal - imitating existing sounds; metaphorical - evocative/
suggestive; and abstract - detached from specific meaning.

Tasmania's natural environment has been a major influence in his composition.Weather and
landscape, for example, have inspired asymmetrical patterning with short recurring motifs involving
subtle shifts and changes.Kay identifies Hastings Bay (1986) as the first mature piece which was a
direct, conscious response to a specific personal experience of a specific place, acknowledged by the
title. Two works, amongst a number important to him for reflecting this influence, are: Tasmania
Symphony - the Legend of Moinee for cello and orchestra (1988), and Piano Trio,
The Edge of Remoteness (1996).

Kay is aware that his response to nature is developing into an individualised, personal language
which, liberated from literal and metaphorical connections, now permeates his abstract work.
Don Kay was born on January 25th 1933 in Smithton, Tasmania. He was educated at Smithton
Primary School, Launceston Church Grammar School and the University of Melbourne where he
gained his music degree.He studied composition privately in London with Malcolm Williamson (1959-1964).

Since returning to Hobart in 1964 he has composed much music for professional individuals,
ensembles, young performers, amateur groups, theatre, concert and public occasions. His compositions
include two one-act operas, a three-act opera, five concertos, three symphonies, vocal, choral and
chamber music, including six string quartets. His works have been performed Australia-wide and
internationally.

Music Composed by Don Kay
Played by the Tasmanian Symphony Orchestra
With Christian Wojtowicz (cello)
Conducted by Richard Mills

"The Australian Composer Series has embraced new recordings, the very occasional import from
another label and reissues. This Don Kay release falls into the last category. It was recorded by Kay’s island
state orchestra in Hobart in 1992. And it fits very soundly into the wide-ranging brief that constitutes this series.

Kay studied first in Melbourne, and then in London (1959-64) with Malcolm Williamson. Returning home
he taught at the University of Tasmania rising to the position of Dean of the Faculty of Music – a position
from which he retired in 1998.

There are two big works here, both rooted in the soil and the sea and in the myth and history of the island.
The Tasmania Symphony – The Legend of Moinee is a five-movement work lasting forty minutes. It’s
effectively a symphony with cello though not a cello symphony. The solo instrument represents the
Aboriginal Moinee, thrown down to the land from heaven, with the orchestra taking on a variety of roles.
Thus they are involved in some terse and tense hunting motifs as well as more quietly reflective music.
The slow cello lament – perhaps representing Moinee’s capture – is reflective and keen. Some of Kay’s
writing may remind one of Vaughan Williams and Hovhaness, and especially so in the second movement,
Love Voice of the Moinee. But Kay summons up some rough-hewn colours for Creating the Land –
plenty of toil and cello sawing and the smell of churning soil. The heart of the Symphony is Land of Moinee
which has drum rolls, sinuous ostinati, bells, chattering birds – Ravel-cum-Messiaen perhaps – plenty of
solo voicings and burgeoning life force. The Postlude again evokes VW-Hovhaness modal nobility and
the final wispy ascent of the spirit is a fine touch with which to end.

There is an Island is a lighter work written in 1977. It’s a cantata for children’s choir and orchestra
to a text by the English-born but Tasmanian-settled poet Clive Sansom (1910-1981). In nine movements
it charts the story of the Tasmanian Aboriginals and the early settlers. Whether declaimed or sung
this is an eminently workable piece, excellently realised. There are quotations of national anthems (French)
and flag wavers (Rule! Britannia), roistering ballads, and folk songs such as Over The Hills and Far Away
and She Moved Thro’ The Fair. They speak of the ravages of nostalgia and separation, war, and of the
challenges of a new land, and end with hope for reconciliation and for the future. Kay uses simple –
but not simplistic – means to depict battles and the whoop of nauticalia. Touches of Grainger maybe
from time to time."
Musicweb

Source: ABC Classics CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 177 MB

Download Link - https://mega.co.nz/#!E9tmBbQb!UnND-k5nUFB2786rIc1hUlZz-s1QIN0jUo-o7yIHuXs

Enjoy! Don't share! Buy the original! :)

bishtyboshty

10-11-2013, 11:05 AM

Does anyone have Don Kay's Hotay ?.

Sorry, I just couldn't resist it... lol.

gpdlt2000

10-11-2013, 11:15 AM

How wonderfully exotic: Ketelbey, Luigini and Kay from Down Under!
Thanks as always, wimpel!

wimpel69

10-12-2013, 08:43 AM

No.438

Du Mingxin (Chinese: 杜鸣心; pinyin: D� M�ngxīn; born 1928) is a Chinese composer known for
his work on ballets, concertos and a symphonic Beijing Opera. His youthful studies include a spell at the
famous Yucai School in Chongqing. He moved to Shanghai in 1948, where he performed as a pianist.
He attended the Tchaikovsky Music Conservatory in Moscow from 1954-58, before joining the Beijing
Central Conservatory.

A lively overture and an epic program symphony by Chinese composer Du Mingxin, best remembered
for his contributions to the most famous Maoist propaganda ballet, The Red Detachment of Women
(posted earlier in this thread (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/4.html#post2194375)). The style is, broadly speaking, Socialist Realism with Chinese motives.
Straightfoward, beautifully orchestrated and entirely persuasive in its language.

Music Composed by Du Mingxin
Played by the Hong Kong Philharmonic Orchestra
Conducted by Kenneth Jean

Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 100 MB

Download Link - https://mega.co.nz/#!YsN1UQzY!AXQvpjOD0vRpJAOfGTYvZUpPQasQshZEbbNkXF6 WRHk

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streichorchester

10-13-2013, 04:17 AM

a question to wimpel or any readers..can anybody advise me music which is mysterious and mystical. I'm thinking along the lines of vaughan williams and Jerry goldsmiths v'ger music for Star Trek 1. thank you.
ps - i know hovhannes already
Most seem to agree that a lot of Goldsmith's Star Trek was inspired by Vaughan Williams. The V'ger music in particular seems to come from Vaughan Williams's score to Scott of the Antarctic (later turned into the Symphony No. 7)

---------- Post added at 11:17 PM ---------- Previous post was at 11:10 PM ----------

Hi. I'm looking for some new classical music with that old world vibe. By old world vibe I mean a similar type of sound to Grieg's Anitra's Dance from Peer Gynt, or Brahm's Hungarian Dances, Liadov's Village scene by the Inn. Any help would be greatly appreciated.
Have you heard Dvorak's Slavonic Dances or Bartok's Romanian Dances? Actually, Dvorak and Bartok have written a lot in the style of that old rustic European sound. Check out Dvorak's Serenade for Strings, especially this movement Dvorak - Serenade for strings, Op. 22, II. Tempo di valse (with score) - YouTube (http://www.youtube.com/watch?v=0CXl91_eCsg)

wimpel69

10-13-2013, 10:14 AM

No.439

Born in Milan, Italy, in 1954, Elisabetta Brusa started composing before she was 5
and created over 30 piano pieces and a string quintet (kept by memory through the years)
before starting Composition studies at the Conservatorio of Milan with Bruno Bettinelli,
teacher of Claudio Abbado, Riccardo Muti, Riccardo Chailly, Maurizio Pollini, and Uto Ughi.
She graduated with Azio Corghi in 1980 with a Diploma in Composition. From 1976 to 1981
she followed the composition courses at Dartington Hall, Great Britain, held by Sir Peter
Maxwell Davies, and from 1978 to 1985 she took periodic lessons from Hans Keller in London.

The composer reflects on her works:

"Firelights (1992-1993), for large orchestra, is a free fantasy inspired by various
masterpieces written throughout the centuries for festive events such as fireworks, dances,
mythological stories, chimerical and wild scenes and also phantasmagoric images and
atmospheres. The work is dedicated to the conductor Fabio Mastrangelo.

Adagio (1996), for string orchestra, is a freely structured composition in a single
movement inspired by well-known masterpieces such as those of Albinoni, Mahler (Adagietto),
Rodrigo and Barber. Independent of a pre-established form (sonata or suite), it originated
as an autonomous composition in which neo-tonal techniques are amalgamated with
contrapuntal techniques, and yet it follows a certain formal tradition and an expressive
style which have distinguished the numerous Adagios of the past.

Suite Grotesque (1986), for orchestra, consists of four free fantasy movements
connected to one another by a grotesque atmosphere full of unexpected timbral and
structural effects that create a phantasmagoric aura within a neo-tonal style. They vary
in character, however, and reflect typical movements of other established musical forms.
The first is a domineering and powerful Scherzo, the second a dark, sinister and
evanescent Adagio, the third an Andante pervaded by an insinuatingly gentle and
melodious atmosphere and the fourth is a vigorous and caricatural Finale. The first
and third movements have similar themes, as do the second and the fourth. This last
movement contains all the themes of the Suite, particularly in the final fugato, where
they are presented in quadruple counterpoint. They have the same tonal centre - E -
in common.

Favole (Fables) (1982-1983), for orchestra, is a work for young people and
the not so young, with a little philosophy, some cultural tradition and a pinch of
ironic humour, but above all a great deal of fantasy and liberty in the wake of the
literary texts that inspired them. The work was dedicated to my godson Matteo on
the occasion of his birth!"

Music Composed by Elisabetta Brusa
Played by the National Symphony Orchestra of Ukraine
Conducted by Fabio Mastrangelo

"Elisabetta Brusa studied at the Milan Conservatory graduating in 1980. Later she followed
composition courses at the Dartington Summer School of Music and at the Tanglewood Music
Centre. She also studied with Hans Keller whom she considers her "spiritual enlightener and mentor"
and to whose memory she dedicated her orchestral work Requiescat.

The earliest work here, Favole, completed in 1983, "is a work for young people, and the not so
young". It is based on several well-known fables by Aesop, Andersen, La Fontaine and Perrault. This
suite of seven short, neatly characterised movements is a good example of Brusa�s happy music
making and remarkable orchestral mastery. Colourfully scored and superbly crafted music it is in
turn serious and humorous, tender and mildly ironic, tuneful and mildly dissonant. This is the sort
of work that could and should be as popular with young (and not so young) audiences as the
celebrated Peter and the Wolf or L�Histoire de Babar.

Much of the same could be said of the Suite Grotesque of 1986, though the music is appropriately
more ironic and whimsical. Firelights and Wedding Song are somewhat lighter in mood, and the
former is again a brilliant orchestral showpiece in much the same vein as Stravinsky�s Fireworks.

Both Adagio for strings completed in 1996 and Requiescat of 1994 are altogether more serious
in intent. The beautiful Adagio is overtly a near-cousin of Barber�s ubiquitous similarly titled piece.
The writing for strings is again remarkably assured. As already mentioned, Requiescat is
dedicated to the memory of Hans Keller. This is a deeply-felt, often moving elegy (it ends with
a treble voice softly singing the words Requiescat in pace); and, no doubt, the major work here.

Elisabetta Brusa�s music, which was new to me, is fairly traditional, colourfully scored, mildly
dissonant, in a freely tonal manner. As such, it is quite accessible, often entertaining and often
quite attractive. No great masterpieces here, maybe, but honest and sincere music making that
repays repeated hearings, especially in fine performances and recording such as these."
Hubert Culot, Musicweb International

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR) DDD Stereo
File Size: 175 MB (incl. booklet)

Download Link - https://mega.co.nz/#!g8UnyTRB!c4z7sBs_ce7a7isHu-9A5mbu_jYejfP4-grRiMqZEIs

Enjoy! Don't share! Buy the original! :)

wimpel69

10-14-2013, 08:17 AM

No.440

Born in New York City on 11 December 1908, Elliott Carter began to be seriously interested in music
in high school and was encouraged at that time by Charles Ives. With the explorations of tempo relationships
and texture that characterize his music, Carter is recognized as one of the prime innovators of 20th-century
music. The challenges of works such as the Variations for Orchestra, Symphony of Three Orchestras,
and the concertos and string quartets are richly rewarding. In 1960, Carter was awarded his first Pulitzer
Prize for his visionary contributions to the string quartet tradition. Stravinsky considered the orchestral
works that soon followed, Double Concerto for harpsichord, piano and two chamber orchestras (1961)
and Piano Concerto (1967), to be "masterpieces".

Elliott Carter has been the recipient of the highest honors a composer can receive: the Gold Medal for
Music awarded by the National Institute of Arts and Letters, the National Medal of Arts, membership in
the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and honorary
degrees from many universities. Hailed by Aaron Copland as "one of America's most distinguished creative
artists in any field," Carter has received two Pulitzer Prizes and commissions from many prestigious
organizations. He died in 2012 at the ripe old age of 103.

Commissioned by George Balanchine�s Ballet Society, The Minotaur is an exploration of the
neo-classical style that marked the last traditional narrative Carter composed. It is joined on this album
by settings of two poems by Robert Frost and the Piano Sonata, together illuminating the
composer�s oft-overlooked early works; the details of these early pieces are at once complex, immediately
graspable, and immensely powerful. Says Daphne Carr:

"Let the Ives-inspired thorns of Carter - endless tumults of timbre, complex polyrhythms, spasms of
motifs - only just brush against your skin with this early work. This ballet hints at the great composer's
future heights while giving the ears of lesser mortals (read: most everyone) a chance to catch a breath."

Music Composed by Elliott Carter
Played by the New York Chamber Symphony of the 92nd Y
With Jan DeGaetani (mezzo-soprano, Two Frost Poems)
And Gilbert Kalish (poems) & Paul Jacobs (Sonata) (pianos)
Conducted by Gerard Schwarz

"Like most innovators, Carter did not reach his mature language overnight, and alongside
his formulation of the style that would make him world famous came works like The Minotaur,
premiered in 1947. Originally intended to be choreographed by Ballanchine, it was ultimately
staged by his assistant, John Taras. The ballet had two performances and then remained
unheard in its complete form until 1988, when the present recording was preceded by two
concert performances. While Carter the dramatist has mostly been evident in the scenarios
created for the later instrumental music, he has written comparatively little for the stage.
The Minotaur is the second of his two published ballet scores. His only opera, the astonishing
What Next?, due to appear shortly from ECM, was premiered after the composer was ninety.
Listening carefully, we realize that The Minotaur contains clues of the composer he was
about to become, but the clues are really only obvious because we know where he was
heading. On its own, the music has a great deal of the neo-Classic Stravinsky, with open-
air harmonies that perhaps stamp the work as American along with a certain harmonic
daring appropriate to a composer who was, after all, a couple of generations younger
than the Russian. The performance by Gerard Schwarz remains unique in the catalog,
and captures what is unique in the language with unerring precision (in his earlier guise
of trumpeter, Schwartz was the beneficiary of important parts in Carter�s scores for the
New York Philharmonic, the Concerto for Orchestra and Symphony for Three Orchestras).
The two tiny Frost settings (of three) are witty and surprisingly rare, given their immense
charm. The performances by the late Jan DeGaetani make one regret that she did not
go on to include the third."
Fanfare

Source: Nonesuch CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 142 MB

Download Link - https://mega.co.nz/#!E0sx0BZS!VdyQsmn3u80PU1uJCrcyYk6HK9sPsfn5dqjnOzK D4E4

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And don't forget your friendly uploader! ;)

wimpel69

10-14-2013, 04:03 PM

No.441

This is the second disc of Humperdinck's fairy/folk-tale-inspired music in this thread, the only
overlapping item being the suite from Sleeping Beauty.

The present reputation of the German composer Engelbert Humperdinck (1854-1921) rests largely
on his fairy-tale opera H�nsel und Gretel, based on a well known story retold by the Brothers Grimm
and first staged in Weimar in 1893. This, whatever its faults, remains in popular operatic repertoire,
with the rather less frequently heard melodrama of 1897, K�nigskinder, revised as a fairy-tale opera
for performance in New York in 1910.

Humperdinck wrote ten stage-works, as well as incidental music for plays staged principally in Berlin.
The M�rchenoper Dornr�schen (Sleeping Beauty), based on the story by Perrault, was staged first
at the City Theatre in Frankfurt on 12th November, 1902. The Tonbilder derived from it start with an
evocative Prelude. The Ballade, opened by flutes and clarinets, leads to the third of the pictures,
Wandering, as the handsome Prince seeks his way through the forest to the Castle, entangled in thorn-
bushes that have grown over a hundred years to cover it. Festive Music brings a happy ending, as the
Prince breaks the spell that has held the Princess, her parents and the court for so long.

Incidental music for a staging of Schlegel's translation of Shakespeare's The Merchant of Venice was
written in 1905 for the Berlin Deutsches Theater, with which Max Reinhardt was newly associated. On such a
night (In solcher Nacht) accompanies the scene between Lorenzo and his beloved Jessica, daughter of Shylock,
who have eloped to Belmont, and there look down on the idyllic scene before them. They are joined by
Portia herself and her maid Nerissa, and the extract closes with Portia's words "The moon sleeps with
Endymion and will not be waked" (Still! Luna schl�ft jetzt beim Endymion und will nicht aufgewecket sein.)

Humperdinck wrote his Moorish Rhapsody in 1898 and it was first performed at the Leeds Festival in that
year. The Elegy at Sunset (Elegie bei Sonnenuntergang), set at Tarifa, is gently evocative, something of a
Moorish atmosphere created by the use of the cor anglais. More overt melodic reference is made to North
Africa in Tangiers, where the scene is a cheerful Moorish coffee-house, musically not entirely remote from
Germany, the jollity brought to a close by the bassoon. The Rhapsody ends with a ride in the desert, at Tetuan,
the world of Sheherazade now more overtly suggested by the turns of melody.

Die Marketenderin (The Canteen Woman) is a Spieloper, first staged at the City Theatre in Cologne
in 1914. The Prelude starts with the ominous sounds of drums, softly accompanying double basses,
followed by cellos, in a theme of tragic implication, in music that soon moves to a more cheerful mood,
ending with military optimism.

Music Composed by Engelbert Humperdinck
Played by the Slovak Radio Symphony Orchestra
Conducted by Martin Fischer-Dieskau

Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 159 MB (incl. cover, booklet)

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wimpel69

10-15-2013, 08:15 AM

No.442

Enrique Granados (1867-1916) was born in L�rida on 27th July 1867. During his childhood
he spent some years in the Canary Islands, a period that he always fondly remembered as a lost
paradise. His leaning towards music became apparent at an early age, but he owed his main
academic training to Joan Baptista Pujol. Felipe Pedrell, one of the founding fathers of contemporary
Spanish music, took an interest in the boy when he heard him play in a competition. In 1886
Granados had to earn his living as a caf� pianist, but in 1887 he moved to Paris, where he
undertook further study with B�riot. He met the pianist Ricardo Vi�es, with whom he gave
various duo concerts, and also fell under the conservative influences of the Schola Cantorum.
Some, like Collet, maintain that the Danzas espa�olas (Spanish Dances) date from his stay in Paris.

It has not been possible to establish absolutely the date of composition of the Danzas espa�olas
para piano. Granados himself claimed to have written them in 1883, which would make them
a work of extreme youth. The other possibility is that he edited them in Paris in 1888, or at least
that there they took on their definitive form, since the first performance was given in Barcelona in
1890 by the composer. Whatever the case, the Danzas represent the most obviously nationalist
music of Granados, a notable example of the influence of Pedrell�s principles. The popular
inspiration is, however, dressed in completely romantic musical language. Granados is not
here harmonizing folk motifs, since his themes are original, although the connection with popular
tradition may be evident. The Danzas are probably not an expression of great music, but are
written with elegance and finesse and had a great effect in their time.

In view of the popularity of the dances various musicians have attempted the partial
orchestration of the collection, among others Garc�a Fari� and Lamote de Grignon; the
orchestration used for the present recording is by the composer, violinist and
conductor Rafael Ferrer.

Music Composed by Enrique Granados
Played by the Barcelona Symphony and Catalonia National Orchestra
Conducted by Salvador Brotons

"This overtly nationalistic music, using original tunes, has encouraged various composers to
orchestrate them, of which this set by Rafael Ferrer is colourful and effective. The flutes and oscillating
strings in No. 2 have a haunting atmosphere, and the delicacy of writing in the central sections
of No. 5, flanked with its strong, brooding theme, is imaginative also. If, in its orchestral format,
this is hardly the most subtle music, it is all colourful and enjoyable. The recording is vivid and
bright, matching the performance, and this inexpensive CD is worth its modest price."
Penguin Classical Guide

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 149 MB (incl. cover, booklet)

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Firestars004

10-15-2013, 11:40 AM

Thanks for all the suggestions and the music :)

wimpel69

10-15-2013, 02:24 PM

No.443

Ernest Bloch came to America from Switzerland in 1916 and became a citizen eight years later.
As most immigrant composers do sooner or later, he conceived a musical response to his new home;
in his case it was sooner -1926 - and the feelings American history aroused in him were perhaps somewhat
undigested. America, an Epic Rhapsody is not frequently revived. Both the comparative neglect and
the occasional flickers of interest (Leopold Stokowski's, for instance) were easy to understand when the
Waterloo Festival Orchestra played the work on its Independence Day concert under Gerard Schwarz.

The piece is in three substantial movements, headed ''1620,'' ''1861-1865'' and ''1926.'' Bloch used the
themes of his adopted country with a persuasively American exuberance and, it might be argued, with
something of an American indiscrimination. It is a piece that veers from the touching to the embarrassing,
depending no doubt in part on the listener's frame of mind or aesthetic stance. I love ''The Old Folks at Home,''
but I was not sure how to react Saturday to hearing it developed as a triumphal symphonic theme in full
panoply. This is not like Ives, whose borrowings from the vernacular most often carried a vernacular effect
and were couched in progressive or upsetting musical contexts rather than comforting familiarities.

Bloch's idiom and manner here are apt to provoke the comment ''movie music,'' which is not quite fair
but not misleading either. It is especially hard to hear American Indians represented by the kind of falling
minor thirds and drumbeats that Hollywood used for them without a reaction of condescension.
(And did George Bernard Shaw, I wonder, ever have the occasion to hear Bloch's paean? ''Pop Goes the
Weasel'' had been, decades earlier, Shaw's favorite metaphor for musical simplemindedness. Bloch's must
surely be the only serious composition to incorporate it - and without a blush or a smirk, at that.) The
saving grace is that Bloch was a consummate craftsman; the rhapsody is colorfully and expertly scored,
it moves with confidence, its original thematic ideas are coherent, and its climaxes are surely built. All of
that kept one's interest alive, and could be enjoyed even as one gradually concluded that the work still
belongs, for now, on the shelf.

This recording includes a speech by Bloch at the end in which he explains what motivated him
to compose his paean to America.

Music Composed by Ernest Bloch
Played by The Symphony of the Air
With The American Concert Choir
Conducted by Leopold Stokowski

"Bloch’s America may not be one of his greatest pieces, but then none of his
“geographical works” (Israel, that Swiss thing) belongs in that category. Like the
country itself, America the “musical” is big, ungainly, and lots of fun. It ends with
an audience-participation sing-along, for those who are so inclined. Stokowski did
it for Vanguard, and Naxos has another very good version featuring Dalia Atlas.
Take your pick."
Classics Today

Source: Vanguard CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 120 MB

Download Link - https://mega.co.nz/#!YJY0VQxQ!Wvz_NiiiaFqkfL8Ro394EGYip8Q8GfF77vHZ-aC8oWA

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wimpel69

10-16-2013, 08:47 AM

No.443

The Sinfonietta in B major, op.5, is the first large-scale orchestral work written
by the 20th-century Austria composer Erich Wolfgang Korngold. Korngold began
sketching the work in the spring of 1912 (about a year after his childhood mentor, Gustav
Mahler, died), just before his 15th birthday and finished the sketches in August 1912.
The orchestration of it dragged on for another year, until September 1913. The Sinfonietta
was premiered in Vienna on 30 November 1913 under the direction of Felix Weingartner
(to whom the work is dedicated, in thanks to his support of Korngold), and was a sensational
success, resulting in further performances all over Europe and America.

The 1919 Symphonic Overture "Sursum Corda" (Latin for "Raise thy hearts") is
particularly interesting for film music fans since its main thematic material was later used by
Korngold for his epochal film score The Adventures of Robin Hood (1938).

Music Composed by Erich Wolfgang Korngold
Played by the BBC Philharmonic Orchestra
Conducted by Matthias Bamert

"This 1995 Chandos release features two impressive works from the early years of Erich
Wolfgang Korngold's career, when he was regarded as a Wunderkind rather like his
namesake, Wolfgang Amadeus Mozart. The symphonic overture, Sursum Corda, Op. 13,
written in 1919 when the composer was 22, is a fantastically adventurous work in the
mold of Richard Strauss' tone poems; yet surprisingly, it proved to be a bit ahead of its
time and a failure with audiences. However, it ended up being used extensively in Korngold's
1938 score for Warner Brothers' The Adventures of Robin Hood, which won an Academy
Award. This brilliant piece is well matched on this CD by an earlier composition, the
ambitious Sinfonietta in B flat major, Op. 5, which Korngold composed between 1911
and 1912 and which demonstrates his astonishing precocity in orchestration, harmonic
modulations, and absorption of the finer points of symphonic structure. Recorded in
1994, these performances by Matthias Bamert and the BBC Philharmonic are enjoyable
for their bright colors, smooth execution, rich textures, and abundant energy."
All Music

Source: Chandos CD (my rip!)
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File Size: 150 MB (incl. cover & booklet)

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***

No.444

Ernest John Moeran belongs to the generation of British composers that flourished in the
first half of the twentieth century. He was born in 1894 into a family of Anglo-Irish origin
and was sent to school at Uppingham, where Joachim was an occasional visitor. His studies
at the Royal College of Music were interrupted by the war, in which he was seriously wounded,
and his health and later stability seem to have been seriously affected by his injuries, when
a piece of shrapnel lodged in his brain. He resumed his studies at the Royal College under
John Ireland after a brief period of work as a schoolmaster at Uppingham. Ireland remained
a strong influence on his composition, as was Delius and, it might be supposed, his friend
Peter Warlock. Other influences may be found in the landscape and folk-song of his native
Norfolk and in those of the country of his forebears, Ireland, where he died in 1950. His
earlier work included songs and chamber music that earned him favourable attention,
while the 1930s brought a change of direction, notably in his First Symphony, a work
suggesting the influence of Sibelius that given its first performance in January 1938, after
a prolonged period of gestation. In 1945 he married the cellist Peers Coetmore, for
whom he wrote his Cello Concerto, followed by other works for the instrument.

The three rhapsodies featured on this album, along with the tone poem In the
Mountain Country, are all deeply influenced by the English countryside.

Music Composed by Ernest John Moeran
Played by the Ulster Orchestra
With Margaret Fingerhut (piano)
Conducted by Vernon Handley

"The earliest work here is the Harty-dedicated In the Mountain Country with its mood of earnest
reflection subtly hinting at a countryman's ecstasy. Those subtle drum-rolls recall Ireland's
Forgotten Rite. This is the only recording of Rhapsody No. 1 (as also with the previous item).
It is the first of three Rhapsodies - the last a virtual concerto for piano and orchestra -
heard on Chandos in the hands of Margaret Fingerhut. The First Rhapsody is dedicated
to John Ireland whose Mai-Dun is recalled in a mood of catastrophe at 4.37. This is self-
evidently the work of the composer of the G Minor symphony - still best heard on Lyrita.
The Second Rhapsody has been long familiar from the Boult recording on Lyrita. Some of
us cannot get out of our heads that it belong with the Overture for a Masque simply because
it shared an LP side with that work on the Boult's Lyrita LP. It has an expansively romantic
theme which first appears at 1:55 but also is not short of vigour. This is a unique
collection performed with apposite sensitivity."
Musicweb

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 121 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!AkVHVQ6a!Ux8yMwt3H4OMngQ0DyRhUhmtWOVSw4xph3RfdUO 17NA

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wimpel69

10-17-2013, 08:29 AM

No.445

Ernesto Halffter Escriche (1905�1989) was a Spanish composer and conductor. He was the brother of Rodolfo Halffter.
Halffter was part of the Grupo de los Ocho (English: Group of Eight), which formed a sub-set of the Generation of '27.
At the age of thirteen, he started to compose music for the piano. A critic sent a copy of Halffter's string trio Homenajes
to Manuel de Falla, beginning a long relationship that included composition lessons from Falla. His Sinfonietta is one
of his earliest and best works; its neoclassicism shows the influence of Domenico Scarlatti. Later, he became more nationalistic
with Rapsodia portuguesa for piano and orchestra, composed in 1938, during the Spanish Civil War. In 1934 he
became director and conductor of the Seville Conservatory of Music but, married to the Portuguese pianist Alice C�mara
Santos, chose to live in Lisbon during this period up to 1954. His only pupil was the Finnish composer Ann-Elise Hannikainen,
who also became his life-companion during his later life. In 1974, the Dal� Theatre and Museum in Figueras, Spain, was
opened. Halffter was a personal friend of Salvador Dal�, and was asked to write a piece of music to celebrate the event.
The two short, programmatic Symphonic Sketches of 1922-25 are also examples of Halffter's early, traditional work.

Music Composed by Ernesto Halffter
Played by the Radio-Sinfonie-Orchester Frankfurt
With Suh Juh-Hee (piano)
Conducted by Tang Muhai

"Ernesto Halffter (1905-1989) studied with Manuel de Falla, and absorbed a great deal from his master. Nights
in the Gardens of Portugal, which Halffter could have entitled the first of these pieces, is very similar to Falla's work,
including the use of piano obbligato. And the opening of the Sinfonietta will sound maddeningly familiar to anyone
who knows Falla's Harpsichord Concerto. If you don't mind second-hand Falla, though, these are entertaining
pieces, and in the case of the Sinfonietta the neoclassical wittiness is particularly attractive. The German
performances have plenty of Spanish tang to them, and the recorded sound sparkles."
Leslie Gerber

Source: CPO CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 140 MB

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And don't forget your friendly uploader! ;)

wimpel69

10-17-2013, 07:16 PM

No.446

Ernst Krenek (1900-1991) was one of the most prolific musical figures of his time. Born
with the century in 1900, he lived until 1991 and was active as a composer for more than seven
decades. During that time he played a part in many of the century’s significant artistic movements,
from atonality to neoclassicism and from jazz-influenced writing to total serialism, with turns to
Schubertian lyricism and avant-garde electronic music at various points. In addition to his
astonishing productivity as a composer (his work list includes 242 compositions), he was also a
prolific writer and critic as well as an avid educator. Virtually the only figure of his time to have
had both superstar popular success (with his opera Jonny spielt auf) and credibility as a major
modernist, the experience of exile was particularly difficult for Krenek, who continued to be
productive until the very end of his life without ever recovering his earlier stature.

Music Composed and Conducted by Ernst Krenek
Played by the NDR Sinfonieorchester
With Gerti Herzog & Horst Goebel (pianos)

Source: EMI Classics CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Mono
File Size: 205 MB (incl. complete artwork & booklet)

Download Link (re-rip!) - https://mega.co.nz/#!UMQFxISA!GkugfFvMSH7dVyVqrxkX5FudRb0H-nxz_mddeNg6EC4
Please note that some works need to be played without pause!

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wimpel69

10-18-2013, 08:14 AM

No.447

In the 1920s, Ernst Toch (1887-1964) was considered one of the major forces in contemporary German,
and therefore European, music - second only, if at all, to Paul Hindemith. With the Nazi regime taking over,
Toch fled to the United States and worked in Hollywood for a number of years, though he was not as successful
as other expatriates in working for films (his most notable single credit is probably Peter Ibbetson of 1935).
There are but a few actual credits of his, the rest of his work for the silver screen is uncredited.

Toch continued his career as a concert composer in the US, finding success again towards the final decade and a half
of his life. He received a number of commissions, among them the Notturno, op.77 on this album, written for
The Louisville Orchestra, who play it here under Robert Whitney. Of his symphonies, it is perhaps the cogent,
tightly argued "Jephta" (actually a tone poem of sorts), aka Symphony No.5, that is most respected today.
It is also the most frequently recorded.

The Miniature Overture of 1932 is a charming, witty exercise in a Weill-esque style, while the
short suite Peter Pan is not as whimsical and slight as one would expect.

Music Composed by Ernst Toch
Played by The Louisville Orchestra
Conducted by Robert Whitney & Jorge Mester

"Toch was a Viennese whose musical gifts were to thrive in the same milieu as Klimt,
Berg, Rilke, Adorno, Schoernberg and Freud. He served - as did Wittgenstein - in the Austrian
army during the Great War. He embraced a measure dissonance but it is a loose embrace
admitting of a shifting amicable congress between melody and dissonance. He fled his homeland
in 1933 and via a two year stay in London ended up in America. He wrote for Hollywood but had
no big breakthroughs and the serious commissions were sparse.

The Miniature Overture is one of those work of the 1930s that has a foot planted firmly in the
1920s. It is scored sparsely and scathingly for wind ensemble. This is caustic music with a vitriolic
edge, cheery but sardonic - the equivalent of Grosz's drawings of Berlin nightlife although written
in Hollywood.

For the composer of the Pinocchio overture it is no surprise to encounter his tripartite Peter Pan.
However the Barrie character has been tacked on as an afterthought. Pan was not in Toch's
mind when he wrote the piece on a Koussevitsky commission at the MacDowell Colony. Now we
are back to the orchestral milieu. There is a laughing even guffawing and hiccuping allegro giocoso.
Then comes a fragmented and wispy Molto tranquillo. To conclude comes a chromium and
quicksilver, flighty and restless Allegro vivo with pawky brass commentary for contrast. Toch's
caustic and edgy style carries over from the Miniature Overture. Do not expect dreamy impressionism.

The Notturno was also written at the MacDowell Colony. Its mood is linked with the Molto tranquillo
of the Peter Pan Fairy Tale. Evanescence and the night are suggested. There is less here of the
acidic and more of that elusive and evasive mood between nostalgia and mystery. The orchestration
is jewelled and carefully weighted. The long tense lyrical violin lines reminded me of William Alwyn
(Lyra Angelica, Symphonies 1, 4 and 5) and of the grander Hindemith (Nobilissima Visione,
Sinfonia Serena, Harmonie der Welt and Mathis der Maler).

The Symphony No. 5 is also known as Jephta - Rhapsodic Poem. The recording was made in
stereo in 1965 two years after it had been written and the year after Toch's death. It is the most
recent recording here. This is a single movement symphony in Toch's serious vein - an extension
and supercharging of the atmosphere in Notturno with a more marked dramatic activity. Even so
the chamber textures and solos which are so much part of Toch's orchestral apparatus are fully
present. The feminine chamber treatment contrasts with the vitriolic-dip of the trumpet and a
chuckling figure - something of a Toch DNA strand - related to the allegro giocoso of the Peter
Pan piece but which somehow does not suggest laughter."
Musicweb

Source: Louisville First Edition CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 105 MB

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***

No.448

Sir Eugene Goossens (1893-1962) was one of the most prominent of the younger British composers who
emerged in the years following World War I. At first regarded as part of modern music, his works are now firmly set
in the romantic tradition which audiences today find attractive and which accounts for the increasing number of recordings.
Like Mahler, Bernstein and Boulez, Goossens was known throughout his life as both conductor and composer. He
was a member of a distinguished musical dynasty and his siblings included his brother Leon, the oboist, and Marie
and Sidonie, both harpists. Both his father and grandfather, Eugene I and Eugene II, were conductors.

In 1906 Goossens returned to England, attending the Liverpool College of Music where he gained a scholarship
to the Royal College of Music in London, studying violin, piano, theory and composition � the latter with Sir Charles
Stanford. Goossens began his career as a violinist in Sir Henry Wood�s Queen�s Hall Orchestra. In 1916 he became
associated with Sir Thomas Beecham and the opera seasons he promoted and Goossens quickly gained the reputation
of being able to master difficult scores with remarkable rapidity.

Goossens conducted for Diaghilev�s famous Ballets Russes and for Covent Garden and in 1921 presented a landmark
series of concerts of new music with his own orchestra, including the first London concert performance of
Stravinsky�s The Rite of Spring. In 1923 Goossens was invited to America to become conductor of the newly
formed Rochester Symphony Orchestra and in 1931 he became Music Director of the Cincinnati Symphony Orchestra.
From 1947 to 1956 he worked in Australia as Resident Conductor of the Sydney Symphony Orchestra and Director of
the New South Wales Conservatorium. In 1951 he published his autobiography, Overtures and Beginners and in
1993 Carol Rosen�s study, The Goossens: a Musical Century, deals substantially with him and his work. Goossens
was knighted in 1955 and his last years were spent in London.

This post only includes the 3rd CD of this Goossens box, covering The Eternal Rhythm, Variations on a
Chinese Theme ad the programmatic suite Kaleidoscope.

Music Composed by Eugene Goossens
Played by the Melbourne Symphony Orchestra
Conducted by Vernon Handley

"Divertimento�s Dance Prelude (first of three movements) is initially light-hearted but becomes quite
serious and emphatic. Towards the end we have a major romantic climax. The Scherzo and Folk tune
central movement betrays the influence of Arthur Bliss and drifts into Szymanowski territory at moments.
The following Folk Tune is one of Goossens� most uncomplicated pastoral sketches. It is a gem of a piece and
is eloquently treated here. The final Ballet Flamenco has some hard-faced castanets, woodblocks and side
drum. The piece was inspired by the dancing of flamenco dancer, Carmen Amaya. Goossens conducted
the orchestra when she danced de Falla�s Ritual Fire Dance in Cincinnati in 1944. This can be added to
the pictorial literature of Hispanic evocations which stretch from El Salon Mexico to Rhapsodie Espagnole.
Vernon Handley�s performance and the wonderful recording accorded by ABC�s engineers completely
outpace the Gaspare Chiarelli-conducted version once available on a Unicorn LP (RHS348).

The Variations on a Chinese Theme wind us back nearly fifty years. An innocent little theme of Chinese
dip and lilt is put through its paces. The fifth, seventh and eighth variations hark back to Brahms while
the sixth is much more modern in approach. The ninth is Dvoř�kian; the tenth like Tchaikovsky. The
eleventh could easily have been a Vaughan Williams frolic out of The Wasps. The 12th is an uncomplicated
serenade. The next variation is closer to the uncertain world and implicit threat of the music of Frank
Bridge. This later vaporises and the music drifts into an impressionistic grand valse. The last variation
begins in the mildly scary world of Tchaikovsky�s Nutcracker but soon resolves into a proto-Arnoldian
English dance.

The Eternal Rhythm is from a year later but already Goossens is showing more individuality and there
are far more hallmarks of his developed style. Goossens conducted the premiere at the Queen�s Hall
on 19 October 1920. Sinuous clarinet melodies wind in and out through an orchestral mist worthy of
the opening of Herrmann�s music for Citizen Kane. At 5.30 a Scriabinesque trumpet cries out to the
heavens as, in 1939, he was to do with the whole of the expanded trumpet choir in the finale of his
First Symphony. At 10.04 the twist in the notes is remarkable and intriguingly unsettling: French
impressionism meets Russian mysticism; Jan�ček meets Debussy. Bax must have learnt from this
voluptuous music as well. It is all well handled here although the awed trumpets faltered once or
twice. At 17.50 there is a further misty passage which seems to predict the darker moments in
Bax�s Second Symphony.

The final ten minute Kaleidoscope is an orchestral jeu d�esprit which may well be known to many
in its solo piano version. It is a varied collection seemingly out of a child�s colouring book and
music box; akin to Ma M�re L�Oye but with Stravinskian interpolations. Appropriately it opens
with Good Morning and closes with � you�ve guessed it � Goodnight. The moon floats high in a
Disneyesque night sky."
Musicweb

Source: ABC Classics (CD 3 only(!), my rip!)
Forat: mp3, 320k/s (CBR), DDD Stereo
File Size: 175 MB

Download Link - https://mega.co.nz/#!d1cgESRZ!aGfeUkgowS8e5IHAe52RPWTfiK4xdPXKP7c1U13 9sc8

Enjoy! Don't share! Buy the original(s)! :)

As mentioned before, requests for specific composers or works are always welcome, as long as they're
made in a polite manner (instead of someone just throwing me a title, as has occurred before - which,
actualy, made me think of stopping making posts altogether). You can do this i the thread, or better
yet, via personal message.

bohuslav

10-18-2013, 04:57 PM

what treasuries! Your the best! endless thanks............................................ .................................................. .......

wimpel69

10-19-2013, 09:10 AM

No.449

Born in B�tasz�k, Hungary, in 1894, Eugene Z�dor demonstrated an early affinity for music
(exhibiting great keyboard virtuosity) and at the age of sixteen went to study with Richard Heuberger
in Vienna. A year later he moved to Leipzig, where he was a pupil of Max Reger. After completing his
doctoral degree at the University of M�nster, he returned to Vienna, where he taught at the New Vienna
Conservatory through the 1920s. While there, he composed (among other works) a symphony and two
operas (both produced by the Budapest Royal Opera). He left the conservatory in 1928 to devote himself
full-time to composition and never ceased writing music until his death in 1977. In Hollywood, Z�dor
worked as orchestrator for his compatriot Mikl�s R�zsa, a fact never prominently mentioned by the successful
younger composer. He died in 1977.

Z�dor described his style as �exactly between La Traviata and Lulu�. Although some of his works are
overtly �Hungarian� in style, for the most part he composed in a cosmopolitan but conservative twentieth-
century idiom, firmly grounded in tradition, that is strongly tonal and highly contrapuntal. This album
features the richly varied Oboe Concerto and Divertimento for Strings (his most-performed
piece) and the composer�s own favourite, Studies for Orchestra, which, despite its great profusion
of ideas and melodic lines, has a remarkable unity and consistency.

Music Composed by Eugene Z�dor
Played by the Budapest Symphony Orchestra MAV
With L�szlo Hadady (oboe)
Conducted by Mariusz Smolij

"These works have a 20th century flair of richness and formality, yet they teeter with melodic and
atonal edging. The music is eclectic: solo flute�s introductory bars of the �Elegie� brings to mind
Frederick Delius along with occasional tinctures of Debussy, Puccini and Zemlinsky as the composition
progresses, but this is contrasted with more enlightening qualities in the conclusive �Dance.� The
Divertimento for Strings, probably the most-performed of all pieces within Z�dor�s fecund catalogue,
has foundations of the Hungarian man�s past: Bart�kian impressions run strongly through each of
the three movements.

Z�dor�s Studies for Orchestra is comprised of eight separate musical dialogues. The sections are so
varied that it almost translates into a modernistic Mussorgsky Pictures at an Exhibition. Portions are
frequently acrid, but at the same time, they demonstrate Eugene Z�dor�s fascinating exercise into
what the human mind can create using a potpourri of instruments and unexpected techniques.
The coloring is a patchwork of experimentation. One example: whimsical jazz winds its way into
the sixth movement (�Song: Allegretto�) that moves into a weighted dirge-like �Crescendo-
Decrescendo: Moderato.� Saved for last, this Studies for Orchestra is highly complex, sophisticated
and not for the faint at heart�clever and uneasy."

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 164 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!51dk0IAC!MCa0VEOsSvItfbX4pCUZEQrruqoRrd7aH2zVgem VkqM

Enjoy! Don't share! Buy the original! :)

mik-91

10-19-2013, 06:36 PM

any chance to share album: viennese nights by willi boskovsky ?

wimpel69

10-20-2013, 11:05 AM

An album of Viennese waltzes?

No.450

Ferdinand Rudolph von Grof� (1892-1972) was born into a musical family. His maternal
grandfather, Bernard Bierlich, was first-desk cellist with the Metropolitan Opera Orchestra.
His mother was also a cellist, his father a singing actor, and when grandfather Bierlich moved
to Los Angeles, he became first cellist of the Los Angeles Philharmonic, where Grof�'s uncle
Julius was already concertmaster. Young Ferdinand was taken to Los Angeles shortly after
he was born. He made quick progress in learning to read music and play piano.

Grof� was an indifferent student, always spending time learning new band instruments.
He ran away from home after his stepfather refused to let him quit school and worked at unskilled
jobs, writing popular songs at night. These brought him to the attention of The Elks
(an American benevolent association), who commissioned him to write a special song for their
1909 convention; the song gained some popularity. Soon Grof� joined his grandfather and
uncle in the Philharmonic, as a violist. In his spare time he played in dance halls, sometimes
billing himself as "Professor Grof�." He founded his own jazz band in San Francisco and
wrote arrangements for it.

In 1919 bandleader Paul Whiteman heard one of these arrangements. Grof� accepted a job
as pianist and arranger, and immediately started taking orchestration lessons from Pietro
Floridia. His very first arrangement for Whiteman was a success: "Whispering" became a
million-selling hit. When the Whiteman band relocated to New York, Grof� went with them.
His orchestral ideas laid the foundation for what became the big-band sound. In 1923 Whiteman
conceived a concert to be given at Aeolian Hall in New York. "An Experiment in Modern Music"
presented a number of jazz-style classically composed pieces played by the Whiteman Band,
many scored by Grof�. Among them was George Gershwin's Rhapsody in Blue, in Grof�'s
orchestration. The event made Grof� nearly as famous as Gershwin, and Grof�'s symphonic
version of the work has become the one best known to audiences.

Grof� began to widen his ambitions as a composer. He wrote the Mississippi Suite and, a
few years later, the Grand Canyon Suite for the Whiteman orchestra, later enlarging them for
symphony. In 1931 he resigned from the Whiteman organization and became conductor of the Capitol
Theater orchestra in New York, hosted a network radio program, and was appointed to teach
orchestration at the Juilliard School in 1939. During World War II he tirelessly conducted service
bands and USO shows.

After the war he continued to write generally light music with a jazzy American flavor. A piano
concerto was his most ambitious composition in a pure classical idiom. He also tried to follow
up on the Mississippi and Grand Canyon suites with innumerable musical portraits
of the American scene, including the three featured on this album: Hollywood Suite,
Hudson River Suite & Death Valley Suite.

Music Composed by Ferde Grof�
Played by the Bournemouth Symphony Orchestra
Conducted by William Stromberg

"Richard Strauss once famously remarked: “I may not be a first rate composer, but I am a
very good second rate composer.” The same might be said of Ferde Grof�. He’s not going to
win any medals for formal ingenuity, expressive depth, or contrapuntal mastery, but he knew
how to orchestrate, he could turn out a good tune, and, like Gershwin’s, his particular take
on symphonic jazz remains irresistibly attractive. What once may have sounded cheap and
glitzy now has period charm, and we can only hope that this second Naxos disc devoted to
his symphonic suites won’t be the last.

There’s some great stuff here. The opening Hollywood Suite contains a dazzling movement
called “Carpenters and Electricians” and a delightfully toe-tapping “Production Number”.
The Hudson River Suite offers evocative nature sounds and some authentic dog barks in
“Rip Van Winkle”, and concludes with a calamitous, Ivesian tribute to New York City.
The Death Valley Suite features a vivid portrait of a wagon train, and like the more famous
Grand Canyon Suite ends with violent weather (in this case a sandstorm). William
Stromberg leads the Bournemouth Symphony in totally enjoyable performances, vividly
recorded, with some particularly brilliant work from the brass section. If you like the
Grand Canyon Suite, you’ll be pleased to know that there’s a lot more where that
came from, and it’s no less worthy of your attention."
Classics Today

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 135 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!g8UwAAKB!GC2GER80SZ0XVrLripxPwVL8Y7xOovxTO76Hj88 2KeI

Enjoy! Don't share! Buy the original! :)

***

No.451

This is the second album of music by Florencio Asenjo in this thread, the first featured
A Thousand and One Nights and Three Images of Don Quijote (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/11.html#post2220756), respectively.

The Batrachomyomachia or “The Battle of the Frogs and the Mice,” is an anonymous ancient Greek
parody of the Iliad. The Trojans are represented by the frogs, the Greeks by the mice, with the crabs being
allied to the frogs winning the battle for the latter. The music is meant to illustrate the story in the spirit of
Paul Dukas’ The Sorcerer’s Apprentice and Albert Roussel’s The Spider’s Feast.

The Palm-of-the-Hand Tales consists of incidental music to ten of Yasunari Kawabata’s narratives from
his Palm-of-the-Hand Stories. These stories are very brief indeed, and they have a surrealistic, intense content,
each to be taken as complete by itself. Kawabata writes like a painter and these stories show it.

Boccaccio’s Decameron and Margaret of Navarre’s Heptameron show the influence of what was known
of The Thousand and One Nights at the time. Following these two works, Giambattista Basile wrote his
Pentameron using folktales and becoming the source of very famous stories used later by Perrault and
the Grimm brothers. The tales selected here to frame incidental musical episodes into Basile’s Pentameron
are: 1. The Cat Cinderella; 2. The Old Woman Discovered; 3. The Large Louse, the Mouse, and the Cricket;
4. Pride Punished; 5. End of the Tale of Tales.

Music Composed by Florencio Asenjo
Played by the Slovak National Symphony Orchestra
Conducted by Kirk Trevor

"Genuinely novel in an age where it's been said that all the great themes have been used up and turned
into theme parks, the three pieces by Argentine-American composer Florencio Asenjo recorded here are
generally similar in style. They're tonal, or at least not particularly dissonant, and they're written for
conventional orchestral instruments. Each is based on a work of literature, which it follows closely, in the
time-honored manner of program music. So what's the novelty? Asenjo's music follows a unique principle
that he names maximalism, although what he means by the word is very different from the way serial
composers have used it as a pejorative contrast to "minimalism." Asenjo's maximalism entails, as far as
possible, an avoidance of repetition, but that doesn't mean his works have a pastiche-like effect. Instead
he derives each new theme or passage of music from the preceding one, much as the second theme of a
Classical sonata forms a contrast with the first but also follows naturally from it. The themes are often
linked by a short motive or some other common element, and each work or section might be described
as a chain of musical statements successively linked to one another but never repeating or circling back
to a starting point. The tonality is almost irrelevant. The conception is original, and this album may
present Asenjo's work in the best light of the various recordings of his music that have appeared: the
literary program interacts with his style in a very intriguing way. Each of these pieces -- based on an
ancient Greek satirical poem called the "Batrachomyomachia," a set of short stories by Japanese
writer Yasunari Kawabata, and tales from the Pentameron of Italian Renaissance writer Giambattista
Basile -- has its own quite detailed character to which Asenjo's fixed procedure is tailored. The result is
music with an uncanny narrative sense that's not quite like anything else out there, sympathetically
interpreted by the Slovak National Symphony Orchestra under Kirk Trevor. Strongly recommended."
All Music

Kirk Trevor

Source: Albany Records CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 139 MB (incl. booklet)

Download Link - https://mega.co.nz/#!J51w3Zxb!Jflg0ACCuj0RNIB850NGWwpciBwcrkwodFAcuZo IHzo

Enjoy! Don't share! Buy the original!

gururu

10-21-2013, 12:56 AM

Thanks for this wimpel, but I'm afraid to report that a number of tracks are cutting-off prematurely.

wimpel69

10-21-2013, 08:37 AM

I'll look into it.

No.452

About The Mystic Trumpeter of 1904, Frederick Converse related that he recast
Whitman's Leaves of Grass into five contrasting sections, omitting the fourth stanza. As a tone
poem the music follows the new literary scheme in a sequence of five musical events without
pause The following has been excerpted from the poem:

1) Mystery and Peace (Moderato molto e tranquillo): Hark, some wild trumpeter; some strange
musician, hovering unseen in ail; vibrates capricious tunes to-night I hear thee trumpeter,
listening alert I catch thy notes, now pouring, whirling like a tempest round me�.thou freest,
launchest me, floating and basking upon heaven's lake.

2) Love (Poco pi� moto, arnoroso): Blow again trumpeter! And for thy theme, take now the
enclosing theme of all, the solvent and the setting - Love, that is pulse of all, the sustenance
and the pang, the heart of man and woman all for love, no other theme but love - knitting,
enclosing, all-diffusing love.

3) War and Struggle (Allegro con molto fuoco): Blow again trumpeter - conjure war's alarums
Swift to thy spell a shuddering hum like distant thunder rolls - Lo, where the arm 'd men hasten
-Lo, mid the clouds of dust the glint of bayonets, I see the grime-faced cannoneers, I mark the
rosy flash amid the smoke, I hear the cracking of the guns;

4) Humiliation (Adagio lamentoso): O trumpeter, methinks I am myself the instrument thou
playest, thou melt'st my heart, my brain - thou movest, drawest, changest them at will;
And now thy sullen notes send darkness through me...I feel the measureless shame and
humiliation of my race�Utter defeat upon me weighs�Yet 'mid the ruins Pride colossal stands
unshaken... resolution to the last.

5) Joy (Poco largamente, Grazioso, Allegro molto): Now trumpeter for thy close, vouchsafe
a higher strain than any yet, sing to my soul, renew its languishing faith and hope,
rouse up my slow belief, give me some vision of the future, give me for once its
prophecy and joy...O glad, exulting, culminating song!� Joy! joy! all over joy!

Flivver Ten Million was inspired in part by the success of another graphic in sound,
Pacific 231, by Arthur Honegger, who in 1924 used orchestral sound to 'paint' an
image of a great steam locomotive. Converse followed in 1927 with a score titled in
full. Flivver Ten Million: A Joyous Epic Inspired by the Familiar Legend "The Ten
Millionth Ford is Now Serving Its Owner." The term 'flivver' is old American slang that
was appropriated by the Ford Motor Company as a nickname for its inexpensive,
production-line automobiles. About the piece Converse noted. "I set about it for my
own amusement. I wondered what Mark Twain would have done with such a theme
if he had been a musician. He who wishes to express American life or experience
must include the saving grace of humor.

Quite early in his career, Converse wrote two work, based on the exquisite poem
Endymion by John Keats (1795-1821). Both were set in the lyrical form of the
orchestral romance, the first completed in 1900 and titled Festival of Pan, Op.9.
This was followed in the spring of 1901 with Endymion's Narrative, Op.10.
About the latter Converse wrote that the idea for the piece derived from a scene
in Keats' poem at the point where Endymion is withdrawn from the festival by his
anxious sister Peona, who leads him to a secluded place. There she divines the
source of her brother's sorrow and soothes him with sisterly affection. Converse
describes Endymion's despondency as "The struggle of a mind possessed by an idea
beyond the common view, and yet bound by affection and devotion to conditions
which confine and stifle its surging, internal impulses - one of the most painful
spiritual struggles to which a man is subject, whether it be found in the life of an
artist, a patriot or a martyr".

Music Composed by Frederick Converse
Played by the Buffalo Philharmonic Orchestra
Conducted by JoAnn Falletta

"Here�s a trivia question for you: What musical work begins with an evocation of sunrise over
Detroit? Answer: Frederick Shepherd Converse�s Flivver Ten Million, a humorous answer to
Honegger�s Pacific 231 as portrayed through the adventures of a Ford automobile. After
the dawn sequence, the factory gets to work and out comes our hero, the ten millionth
Ford, and he sets out on his journeys. There�s a sexy love scene (making out with a
Chevy?) and a wild joy ride that culminates in a collision, and after a moment of
introspection (and, we suspect, some time in the repair shop) Flivver takes off again,
good as new. Along the way, Converse calls on a host of special effects: taxi horns,
anvils, wind machine, ratchets. It�s all over in 12 riotous minutes and JoAnn Falletta
leads a clearly energized Buffalo Philharmonic in a knockout performance that alone
is worth the price of the disc.

This isn�t the time or place to go into the question of how �great� a composer Converse
was, but there�s no question that he had tremendous talent and a great gift for
orchestral narrative. The Mystic Trumpeter (of Whitman fame) takes a few minutes
to get going, but once it does, watch out! The battle music gives Tchaikovsky�s
Romeo and Juliet a good run for its money. And speaking of Tchaikovsky, check out
the last few minutes of Endymion�s Narrative, where Converse screws up the tension
of his lyrical, principal theme in a manner that the great Russian would have been
proud to call his own. Okay, so this may not be the most original or thought-provoking
music in the world, but who in his right mind would sneer at a few more Tchaikovsky-
style tone poems that are just about as good as the originals? And make no mistake;
Converse�s musical style did evolve over time. Flivver Ten Million, composed in 1927,
shows significant advances in harmony, rhythm, and orchestration (albeit in a
humorous vein) when compared to the other two works, both of which date from
the first decade of the 20th century.

Throughout these works, Converse demonstrates an impressive command of the
long melodic line, a keen dramatic sense, and a sure feeling for form. Better still,
Falletta and the orchestra play marvelously, holding absolutely nothing back and
taking those very fully scored climaxes from one peak of excitement to the next.
And yet there�s sensitivity aplenty, whether in the delicate harp-accompanied
interludes in Endymion�s Narrative or the gentle trumpet fanfares that open
The Mystic Trumpeter. I can hardly imagine these pieces better played or
conducted, and Naxos has contrived to produce a bold, vivid recording with
terrific top-to-bottom transparency of texture and an aptly vast dynamic range.
Certainly, this stands among the finest entries in Naxos� American music series
to date, and markedly improves on the only available competition: the Louisville
Orchestra�s decent but less-than-spectacular versions of Endymion and Flivver.
Let�s hope Naxos pauses for a moment before moving on, to further mine this
particularly fruitful lode. Remember, Converse also wrote five symphonies�"
Classics Today

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 126 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!J4MhlbZB!fdxsSV44du12METywi6kMibN1PNFfuqmHbToL5P TrQQ

Enjoy! Don't share! Buy the original! :)

wimpel69

10-21-2013, 10:32 AM

I checked the KRENEK, and there was a problem with the original FLAC rip. Luckily, I had ripped it again for another forum in FLAC, so I used this one for a new conversion.

It's ok now, but please be aware that in the Brazilian Sinfonietta, one track segues into another on two occasions, so the tracks must be played without pause in order to avoid breaks.

As a perk, the new upload includes the complete artwork & booklet, it is now 205 MB. You can fin it in the original post, or here:

https://mega.co.nz/#!UMQFxISA!GkugfFvMSH7dVyVqrxkX5FudRb0H-nxz_mddeNg6EC4

Teddyb3ar

10-22-2013, 08:02 AM

Love Grofe and Converse. Those were one of the greatest comps. I discovered watching a vid. in YTB. Sometimes you can't imagine you're going to discover something so marvelous there, haha.

Thanks as always Wimp!

wimpel69

10-22-2013, 06:16 PM

This thread is now over a year old. Distressing how quickly time passes ...

No.453

Frank Bridge's (1879-1941) Dance Rhapsody and Dance Poem are separated by
only five years. The Rhapsody is given a grand gait with phrases and treatments recalling his
own Summer, Elgar's Cockaigne, Julius Harison in his Troubadour Suite, Tchaikovsky
and even the pomp and circumstance Bliss of the 1930s. The gong that ends the first segment of the
Rhapsody - a sumptuous grandly confident piece - is stunningly recorded. The Dance Poem
is more subtle, more airily scored and leaning towards There is a Willow rather than the frank romanticism
of Summer. It is in six sections although here tracked as one - The Dancer, Allurement; Abandon, Tenderness,
Problem and Disillusionment. It is evidence that the Great War may have accelerated and intensified a trend
away from grand romanticism rather than being the fons et origo of Bridge�s dissonance.

The Two Poems are from the depths of the Great War. While both pieces carry pastoral-spiritual
superscriptions from Richard Jefferies one can sense the dark tinge in the horizon's clouds. This is not an
uncomplicated untroubled ecstatic mirage although there are some gloriously ecstatic moments which hark
back to Summer. One thinks of warm evocations of the countryside such as Suk's Summer and
Schoeck's Sommernacht in the case of The Open Air but an elfin irrepressible energy bristles in
the unstoppable scherzo that is The Story of My Heart � once recorded by the composer. This might
almost be a harbinger of the great upward swing of Enter Spring. It is a delightful piece complete with
its echoes of Chabrier (Espa�a), Ravel and de Falla (El Amor Brujo). Not to be missed.

The Overture "Rebus" dates from the year before Bridge's death when another war was already
playing out. It's his last completed work and is meant to describe how rumour spreads.

Bridge was working on a Symphony for Strings on the day of his death. All that survives is a meaty
single Allegro Moderato. The final page of full score was incomplete and the movement was brought
to fruition by Anthony Pople. It's fairly gaunt but not as forbidding as the Fourth Quartet. Like Rebus
the music is full of intrigue but is fascinatingly reminiscent of Hindemith and Rawsthorne.

Music Composed by Frank Bridge
Played by the London Philharmonic Orchestra
Conducted by Nicholas Braithwaite

"This disc has five pieces by English composer Frank Bridge -- three of them early, two of them late,
three of them late Romantic -- early Impressionist, two of them mordant Modernist and proudly Internationalist,
none of them popular and all of them rarely recorded, except, of course, by English labels. That last bit
doesn't matter in the least. This is unquestionably great music: brilliantly conceived, strongly executed,
and powerfully individualistic. Performed with polish, passion, and deep dedication by Nicholas Braithwaite
and the London Philharmonic Orchestra, the early works here -- the Dance Rhapsody from 1908, the
Dance Poem from 1913, and the Two Poems ("The Open Air" and "The Story of my Heart") from 1960 --
are lush but lucid, warm but cool, and evocative but edgy, while the two late works -- the Overture
"Rebus" from 1940 and the Allegro Moderato for string orchestra from 1941, the year of Bridge's death --
are lucid but austere, cool but hot, and edgy but lyrical. Superbly recorded in clear, bright, direct, and
honest sound by Lyrita in 1979, this disc belongs in every collection of the English modernists --
Vaughan Williams, Holst, Walton, Tippett, and, of course, Britten, Bridge's most famous pupil."
All Music

Source: Lyrita CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 162 MB

Download Link - https://mega.co.nz/#!xFwgAICa!SeqErmBFy6p13e1cVHIHnxoyPFkRk7bCMe3tqha ltAo

Enjoy! Don't share! Buy the original! :)

Teddyb3ar

10-23-2013, 08:11 AM

Thanks for the Bridge Wimpel, its also one of my favs!

wimpel69

10-23-2013, 08:42 AM

No.454

Trained as a violinist and as a composer at the Vienna Conservatory, Franz Schreker (1878-1934)
belongs to that group of composers whose careers were eclipsed by the events of 1933 in Germany. Schreker
enjoyed very considerable success as a composer of opera, in a style that couples the late Romantic
with an element of musical collage, presenting scenes where different layers of music are juxtaposed
or superimposed, all with a mastery of orchestral colour. Schreker won early success with Der Geburtstag der
Infantin (�The Birthday of the Infanta� - available above in this thread (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/5.html#post2198585)!), a ballet based on the story
by Oscar Wilde. Der ferne Klang (�The Distant Sound�), an opera staged first at Frankfurt in 1912,
has more of Debussy than Wagner about it, dealing with the mystical pursuit by the artist for the distant
sound that he has heard. Der ferne Klang influenced Alban Berg, who made a vocal score of the
work. Of other operas, Die Gezeichneten (�The Stigmatized�) and Der Schatzgr�ber
(�The Treasure-Hunter�) are particularly effective, if more conventional than Der ferne Klang.
An expanded concert version of the overture to Die Gezeichneten (Prelude to a Drama) is featured
on this album.

Schreker wrote a relatively small amount of purely orchestral music, of which the Chamber Symphony for
23 Solo Instruments is the most ambitious - its sparse textures contrasting effectively with the overripe
hyper-romanticism of his operas.

Music Composed by Franz Schreker
Played by the Radio-Symphonieorchester Berlin
Conducted by Michael Gielen & Karl Anton Rickenbacher

"The Prelude to a Drama, which was first performed on 8 February 1914 by the
Vienna Philharmonic Orchestra under Felix Weingartner, was written in the autumn of
1913, ahead of the completion of the opera itself. It is in ternary form, the outer sections
of which make use of music from the studio scene and from the Act III pantomime which
accompanies Carlotta�s abduction. The central section (omitted in the version used
as the prelude to the opera itself ) consists of the Act III interlude. The enormous
orchestra is used with the utmost virtuosity."

Source: Koch Schwann CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 134 MB

Download Link - https://mega.co.nz/#!tocyFSbD!LBAVCxdAV_3pJYHd2MxN5l-vUUEuKyHjvm9sJ7PGIjc

Enjoy! Don't share! Buy the original! :)
And don't forget your friendly uploader! ;)

wimpel69

10-23-2013, 02:59 PM

No.455

Film composer Franz Waxman (1906-1967), in addition to creating such timeless movie scores as Rebecca
and The Bride of Frankenstein, was also a superb composer of original concert music, particularly in
the final two decades of his career. Waxman's 1959 oratorio Joshua, here recorded for the first time
on Deutsche Grammophon, is based on a libretto written by British playwright James Forsyth, whose
mixture of verse of narration has its own special, euphonious qualities. The story, as elucidated from the
Bible by Forsyth, moves forward very well and is over before you know it.

Joshua isn't what you would think it to be, based on what you might be familiar with in terms of
twentieth century treatments of Old Testament subjects by Jewish composers. In such milieu, one
immediately thinks of Arnold Schoenberg and the antiseptic tonal language of his opera Moses and Aron.
While there is a tiny bit of that influence here, there isn't much of it. One might also think of Kurt Weill with
his pithy, insouciant cabaret style all blown out of proportion and straining at the seams, as it is in Weill's opera
The Eternal Road. Again, there's a tiny bit of that stringency found in Joshua, too, but not much.
A standard movie score analogy, too, is out of place here -- Joshua is not a movie score grafted to a libretto
and sung live, nor is it an opera. Joshua is an oratorio, and a very effective one. Joshua is less like a movie
score and more like a movie for your ears; it probably works as well for that purpose in the concert hall
as it does on this recording. Once you start listening to Joshua, you will want to hear the whole thing,
so the main challenge is finding the time to hear it all in one sitting.

Music Composed by Franz Waxman
Played by the Prague Philharmonia
With Maximilian Schell (narrator), Rod Gilfry (baritone) & Ann Hallenberg (mezzo-soprano)
And with the Prague Philharmonic Choir
Conducted by James Sedares

"This is a most compelling work, with some beautifully written vocal writing - both for the soloists and
the choir - and brilliant orchestral contributions. The narration is highly effective, never, for all its drama,
overly histrionic, and the arias are equally as telling. Rahab's aria, "I Know Your God is Lord on High", is
especially haunting Britten would, surely, have owned it - and its melodic reprise by the aging Joshua "I am
Old" is deeply affecting. This performance under James Sedares is magnificent. The soloists are superb,
the mezzo Ann Hallenberg riveting, the choral singing is splendour itself, and the orchestral playing is
virtuoso in the extreme. With superb recording quality, this is a very exciting release."
Record Review

Source: Deutsche Grammophon CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 176 MB

Download Link - https://mega.co.nz/#!FMQWUKrD!Pgr5mGkVG3kCfgkspkpTYSb-b6dSBpV-CERC5cUrEVE

Enjoy! Don't share! Buy the original! :)

wimpel69

10-24-2013, 07:14 AM

No.456

George Antheil (1900-1959) was born in Trenton, New Jersey, of Polish parentage. He was
much more than the self-inflicted wound of 'Bad Boy of Music' would suggest.

The stamping energy of de Falla's Three-Cornered Hat runs through Antheil's ballet
Capitol of the Worldneck and neck with a 'World Fair' nonchalance, the feline elegance of
Copland, Chabrier-style Hispanics, sweet string music, jazziness, a touch of Ravel's Rhapsodie
Espagnole, even a hint of Scarmolin. The work is sassily presented without being suffocatingly
brash. This is the complete version and its only recording.

The Symphony No.5 ("Joyous") is in three movements, the first of which is an essay in hectic
'machine age' activity with a Russian 'edge'. Amongst this you can pick out Waxman's Ride to Dubno
and even some Khachaturyan as the music sprints along at a wiry allegro. The adagio molto is alive
with a deep tenderness speaking of vulnerable bloodied humanity. Amid music comparable with
Barber's Adagio are hints of Shenandoah. The finale must have been influenced by Shostakovich's
Eighth Symphony. The music snarls and bares its teeth before evolving into some extremely companionable
geniality among gruff Arnoldian episodes for the brass.

Archipelago is a 'postcard' collage with much in common with Capital of the World: pell-mell
impressions of Gershwin - a companion to Candide and all those sparkling Gershwin overtures. This one
struts along as if promenading some Cuban sea-front all dilapidated and peeling paint, breakers crashing
over the concrete parade - that touch of Hollywood!

Music Composed by George Antheil
Played by the Slovak State Philharmonic Orchestra
Conducted by Barry Kolman

Source: Centaur CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 141 MB

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***

No.457

The original staging of George Frederick McKay�s Dance Symphony Epoch is one of a
collegial effort by youthful faculty members and enthusiastic players and dancers
comprising the performing groups of orchestra, dance and voice; together with specialists in
stage design and costume at the University of Washington, Seattle, in the early years
of the 1930s. This one-hour work in four distinct symphonic movements is a poignant memento
from the Pacific Coast of America, when the nation was gradually emerging from the depths
of the Great Depression. McKay stated in a radio interview near the premiere of the Dance
Symphony that it was written to express the scenario conceived by John Ashby Conway, joining with
the spirit of American history as penned by the poets Edgar Allan Poe, Sidney Lanier, Walt Whitman
and Carl Sandburg. The four movements of Epoch do not correspond to specific works of poetry,
but rather move the audience through an artistic portrayal of the historic periods inhabited by the
poets, capturing their creative essence.

Music Composed by George Frederick McKay
Played by the University of Kentucky Symphony Orchestra and Choir
Conducted by John Nardolillo

"This is one interesting release! McKay�s Epoch is a four-movement symphonic ballet
dating from 1935, a sort of American equivalent to Ravel�s Daphnis and Chloe, or Novak�s
Nikotina. It�s very entertaining. The first movement, �Symbolic Portrait�, contains an
atmospheric evocation of Poe�s The Pit and the Pendulum. The second movement, �Pastoral�,
includes some lovely writing for wordless female choir. If these first two movements
perhaps lack a little in contrast (save for the Poe episode), then the third movement,
�Westward!�, and the finale, �Machine Age Blues�, more than make amends. It would
be great to see this piece choreographed, as originally intended, but the music has more
than enough character to sustain listening independently of the staging.

The performance sounds remarkably accomplished for theoretically amateur performances.
I have often remarked that the evidence of increasing technical standards isn�t to be found
in our major orchestras, which always attracted the best players, but rather in the second tier,
youth, and school groups, who often deliver thoroughly professional results. John Nardolillo
directs a confident, colorful interpretation and gets his players to respond with evident
enthusiasm. The University of Kentucky Women�s Choir also sounds very smooth and
aptly ethereal in the second movement. The engineering perhaps could be a touch richer
and more tactile, but it�s perfectly fine. Impressive."
Classics Today

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 147 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!FoVxmCpZ!TsXnbwlMpjDd-eAdD4g7S3q2OjFwvcds2hw7bjvEKpo

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gpdlt2000

10-24-2013, 08:46 AM

McKay is certainly a find!
Thanks, wimpel!

wimpel69

10-25-2013, 08:35 AM

No.458

This is the second album with tone poems by George Templeton Strong after Die Nacht and Le Roi Arthur (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/18.html#post2260933)
as part of this blog.

Strong’s own approach to Friedrich de la Motte Fouqu�'s famous romantic novella Undine (which
sparked several operas) is in the form of an extended, programmatic symphonic poem in the romantic style,
and was written in 1882-3 and revised in 1939 at the request of Ernest Ansermet, who gave its new premi�re
in Geneva on 24th March, 1940, with his Orchestre de la Suisse Romande. The original premi�re had taken
place at Steinway Hall, New York, on 30th March, 1885, with an orchestra conducted by Frank van der
Stucken. American critics did not fully appreciate this youthful work. While working at his revision, which
turned out to be nothing else but a shortening of some passages, the composer realised that he had
forgotten it totally and that it had been written before he had studied enough harmony or even any
counterpoint at all. After having attended Ansermet’s performance, he felt that "the water-nymph Ondine
(now given a French name) was more familiar with dark beer than with her natural element". As a 23-
year-old student in Weimar he had submitted his symphonic poem to Franz Liszt for examination, after
having dedicated it to him. The old composer gave Strong a piano performance at sight, and finally
wrote on the top of the manuscript his thanks, judging this composition "ausgezeichnet". The musical
programme of Undine conforms to the tragic, sometimes complicated plot of the original novella.

Strong’s activities as a watercolour painter may have inspired the title of the three suites,
D’un cahier d’images (From a Notebook of Sketches), which were orchestrated in the early 1940s,
but based on piano duets of the early 1890s. These orchestrations often involved considerable melodic
and harmonic changes and reflect an old composer’s nostalgia and smiling detachment from his early
work. The pieces were extracted from collections entitled Two Marches, Three Village Scenes, Three
Pieces in an Old-Fashioned Style and Three Pieces for Piano Four Hands. Excerpts from the first and
third suites, performed by the Orchestre de la Suisse Romande conducted by Ernest Ansermet, were
first broadcast in 1941. On 12th January, 1942, the complete Suite No.1 figured in a concert by
the same artists and it seems that Ansermet was never persuaded to perform complete versions
of the two remaining sets. Therefore, the present premi�re recording is, at the same time, a
complete world premi�re performance.

Music Composed by George Templeton Strong
Played by the Moscow Symphony Orchestra
Conducted by Adriano

"Like many a 19th century American composer, George Templeton Strong (1856-1948) received
his musical training in Europe. However, Strong had little success in his native country (unlike
his contemporary Edward MacDowell), and returned to the continent, spending the rest of his life
in Switzerland. Given Strong’s background and training, it’s hardly surprising that his music
displays the obvious influence of 19th-century European composers. The gloomy opening chords
of his early (1883, revised 1939) symphonic poem Ondine bring to mind Tchaikovsky’s Fifth
Symphony; but this somber atmosphere (which returns at the close of this 25-minute work) is
soon dispelled by the swashbuckling, Wagnerian flourishes that dominate much of the material.
Indeed, the motivic construction, dramatic sequencing, and orchestration make the piece sound
like a sort of “Flying Dutchman meets Siegfried” overture. However, no matter the pedigree, Ondine
is thoroughly enjoyable in its own right. The Moscow Symphony, under conductor Adriano, offers
polished and enthusiastic playing, especially from the brass (though I can’t help thinking that
an orchestra such as the Chicago Symphony would make a meal of this piece).

From a Notebook of Sketches (1941) is an orchestration of three piano suites originally composed
by Strong in the 1890s. Suite No. 1 evokes the magical worlds of Mendelssohn and Berlioz, while
Suite No. 2 “Athens” simulates archaic dance through its use of folk coloring in the manner of
Dvor�k and Grieg. No. 3 draws on fairy tale subjects (Jack and the Beanstalk, Cinderella) for its
first two movements. The finale (“Oriental Procession”), although apparently Strong’s last orchestral
work, nonetheless suggests the 19th-century “oriental” styling of Saint-Sa�ns’ Samson et Dalila.
Adriano proves a sensitive interpreter of these delicate and colorful pieces, drawing refined playing
from his orchestra. The wide-ranging recording captures the full dynamic impact of Ondine and
the subtle shadings of the Suites."
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/p9s9_zpsb4c1fecf.gif

The elusive Adriano.

Source: Naxos CD (my rip!)
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File Size: 161 MB (incl. cover, booklet)

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wimpel69

10-25-2013, 05:41 PM

No.459

A second sampling George Chadwick's tone poems here, after
Cleopatra, the Sinfonietta, etc (^http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/20.html#post2268804).

Although George Chadwick began the Symphonic Sketches in 1895, the work was not
completed until 1904. Comprising four movements entitled �Jubilee�, �No�l�, �Hobgoblin�
and �A Vagrom Ballad� respectively, it is, in effect, the composer�s Fourth Symphony,
although it departs from his earlier three symphonies in a number of important ways.
Each movement of this work displays traits that became characteristic of the composer�s
later style, traits that were only hinted at in his earlier symphonies. These include syncopated
rhythms, increased use of folk-style melodies, more colourful orchestration (mainly through
greater employment of winds and percussion), more sophisticated formal structures, and an
undeniable exuberance. These �sketches�, which rank among Chadwick�s most delightful
creations, are also important because of their somewhat programmatic content.

Chadwick was finishing his studies with Josef Rheinberger in Munich when the Harvard
Musical Association, far back home, performed his Rip Van Winkle in December 1879.
The title character, an old New Yorker who falls asleep for twenty years, seems to be
portrayed in the wide-ranging cello melody that opens the overture. The material that
follows has an American ring to it, but Chadwick sets a scene rather than detailing a
scenario. One can hear echoes of a barnyard dance, but the musical technique is impeccable.

Two years after Chadwick returned to Boston, he began a series of overtures named
after the Muses, which he developed over the next two decades. Thalia, celebrating the Muse
of comedy, was the first, and it delighted the critics. Melpomene, representing the Muse of
tragedy, and first performed in 1887, departed from the American strain that had marked some
of Chadwick�s other recent works. The harmonies are chromatic, and there is an unambiguous
reference to the �Tristan� chord near the beginning.

If Chadwick eschewed musical storytelling in his three overtures dedicated to the Muses
(Euterpe, in 1903, completed the set) he embraced it in his symphonic ballad Tam O�Shanter.
According to Chadwick�s biographer Victor Fell Yellin, Tam is best understood as a �cultural statement�
as well as the most detailed tone poem the composer ever wrote. �It was a reaffirmation of an
ethnicity based on and supporting common American�British values during a period of chaotic
change in the United States,� he writes. �The piece represents not only the work of the most
identifiably American composer to date, but also an English-speaking tradition that transcendes
geographical boundaries.�

Music Composed by George W. Chadwick
Played by the Detroit Symphony Orchestra
Conducted by Neeme J�rvi

"This collection gathers Neeme J�rvi�s previously released George Chadwick recordings on
one disc. Though Chadwick aimed to distinguish himself as a uniquely American composer,
his symphonic poems nonetheless reflect the influence of similar works by then-prominent
Europeans. Melpomene, for instance, owes much to Tchaikovsky in its dramatic sweep and
emotionally intense melodies, while Dvor�k�s nature-painting style can be discerned in Rip
Van Winkle, and even more so in the joyously frenzied Jubilee from the Symphonic
Sketches, which replicates the Czech composer�s Carnival overture. However, Chadwick
moves away from continental influences in Tam O�Shanter, which is steeped in the folk
coloring of its Scottish subject.

Nevertheless, Chadwick�s skillfully constructed and handsomely orchestrated music is all
his own, and it exudes a vitality that�s quite affecting. J�rvi offers compelling interpretations
and gets the Detroit Symphony players to muster more enthusiasm and panache than
they display on some of their standard-repertoire recordings. Chandos presents it all in
spacious, clear, and nicely reverberant sound. If you�re new to Chadwick�s music, be
prepared for a treat."
Classics Today

Source: Chandos CD (my rip!)
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File Size: 170 MB (incl. cover, booklet)

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wimpel69

10-26-2013, 09:19 AM

No.460

Between 1924 and 1926, the young Georges Auric wrote two ballets for Diaghilev: Les Facheux
("The Tormentors"), and La Pastorale. Both works are regarded as his most important compositions
for the ballet. For Les Facheux, the sets, costumes and curtains were designed by the famous painter
Georges Braque. The ballet's scenario tells of a young man who pursues his lover but is held again and again
by various tormentors preventing him from explaining his affection. The libretto is by Boris Kochno with an
assist from Moli�re. La Pastorale was produced in 1926 choreographed by George Balanchine. It would be
Auric's third and final ballet for Diaghilev. The ballet's story revolves around the shooting of a film in the country
and the tensions between villagers and film people.

Neither work has been previously recorded, so these exceptional performances mark their recorded premiere!
Georges Auric was a prolific composer, but above all he was famous for his cinematic collaborations with Jean
Cocteau in addition to composing scores for nearly 150 other films. With these two ballets, we have been
provided a glimpse into the early days of the later famous film music composer Georges Auric.

Music Composed by Georges Auric
Played by Deutsche Radiophilharmonie Saarbr�cken Kaiserslautern
Conducted by Christoph Poppen

"Continuing its series of ballet scores written for Diaghilev’s Ballets Russes, H�nssler has
turned from the more common scores of Stravinsky, Debussy, Poulenc, Prokofiev, Falla, and
Ravel to the far more esoteric music of Georges Auric. The notes make it clear that these
scores were not as popular as the one that came between them, Les Matelots (1925), but
no matter. Auric was a fascinating and original composer, and both scores exude a richness
of invention characteristic of him—something like a cross between Satie and Poulenc.

It’s a shame that, as annotator and series producer John Neumeier puts it, modern ballet
reviews focus very little on the music whereas reviews of the Ballets Russes de Monte Carlo
spent a great deal of time discussing it, but at what other time were there so many new
and challenging scores being presented to the public? Excepting such adaptations of non-
ballet music for dance purposes as the Weber-Berlioz Invitation to the Dance (for La Spectre
de la Rose ) and Strauss’s Till Eulenspiegel, the Ballets Russes was all about controversial,
non-traditional ballet music and choreography. The more formulaic, predictable style of
Petipa and his colleagues went out the window. A dynamic and oftimes objectivist
presentation of ballet was the driving force of Diaghilev and his troupe, and so it was
only in the occasional forays into equally controversial ballet productions by Balanchine
in later years that the music was mentioned at all. We have, sadly, since gone back into
our little box, or comfort zone, of ballet, where only the daring of some bizarre and
eccentric choreographer excites any new interest. The scores we dance to nowadays,
with a few exceptions, are not daring.

Auric’s Les F�cheux, adapted from Moli�re’s com�die-ballet by librettist Boris Kochno,
was given to Bronislava Nijinska, Vaclav Nijinsky’s sister, to choreograph. Kochno
made heavy weather of the costumes, which were exceedingly heavy with long wigs,
which made the dancers suffer, and Nijinska choreographed the ballet without consulting
Kochno at all, modifying the mannered poses she saw in old prints and patterns of
movement from the period of Louis XIV. Two years after the premiere, Diaghilev revived
the ballet with entirely new choreography by L�onide Massine, which worked much
better. It’s a pity, because Auric’s score—modern and bearing little or no resemblance
to 18th-century scores—is colorful and imaginative, a continuous 28-minute ballet
of stunning color and musical invention.

La Pastorale (1926) also paired Massine and Kochno, using sets painted by young
Pedro Pruna, introduced to Jean Cocteau by Picasso and recommended to Diaghilev.
For some reason Massine backed out of the project, forcing Diaghilev to take on a 22-
year-old refugee dancer-choreographer named George Balanchine. From this very first
ballet Balanchine was innovative and controversial, adding certain acrobatic steps
from the circus, which confused and riled the purists in the audience. Again, Auric’s
score took a back seat to controversy, but again it was marvelous and original, this
time broken into a prelude and 12 scenes. Bright sonorities and humorous rhythms
combine with musical ideas that constantly push the tonal center to its edges or
beyond. It’s truly a crime that Auric is not better known than he is."
Fanfare

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File Size: 181 MB (incl. covers, booklet)

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***

No.461

Gerald Finzi is no Ralph Vaughan Williams but he often comes quite close. In this disc, the
twentieth century English composer sounds enough like Vaughan Williams to be mistaken for him in a
misty sonority. Try the opening A Severn Rhapsody, with its evocative pastoral opening; or try
the Romance for string orchestra, with its lush scoring for divided strings; or try The Fall of
the Leaf, with its tenderly nostalgic mood. This is not to say that Finzi doesn't have his own voice:
his part writing is much smoother, his harmonies are much clearer, and his tone is much suaver than
Vaughan Williams. But it is to say that anyone who loves Vaughan Williams will love Finzi. At his best in the
intensely moving Eclogue for piano and string orchestra, Finzi creates the kind of music that speaks
directly to the heart of all those who cherish twentieth century English music.

Music Composed by Gerald Finzi
Played by the London Philharmonic & New Philharmonia Orchestras
With Peter Katin (piano) and Rodney Friend (violin)
Conducted by Sir Adrian Boult & Vernon Handley

"Boult does no wrong for me in this selection. He even manages to instil some coherence into
the diffuse and not-entirely-satisfactory A Severn Rhapsody, an early work in which Finzi had not
reconciled himself fully to rhapsodic writing. Despite the diffuseness of his inspiration, and the over-
insistent lure of Butterworth as an inspiration, Boult charts an assured path. Was there a more
bookish English composer than Finzi, quoting Lamb and the Elizabethans with equal facility and
perception? Nocturne (New Year Music) is darker than one might have anticipated though ever-present
sadness is the key. Note how wonderfully well the string and wind answering phrases are gauged,
and so too that vocalised stamp as it evolves and mutates. Few can have judged the stalking
pizzicato figures as well as Boult or the triumphant Festive end of the piece – magnificently done,
like raised voices sung in praise, crowned by brass – before the return of those moments of
reflection and sadness.

The Three Soliloquies for small orchestra from the Suite Love’s Labours Lost are light and
graciously done. The Adagio is the most characteristically Finziesque in its melodic contours but
the suite shows as a whole how usefully he wrote for lighter forces and in lighter style. Then
there comes a string of beautifully crafted works. Rodney Friend can be heard in the Romance, a
second cousin of the Introit, which soon enough follows in the programme, though its serene,
untroubled and effortless unfolding is somewhat different to the better-known work. The Introit
itself is splendidly done and Friend proves himself a fine soloist. He can’t dislodge my preference
for Boult’s live performance with Gerald Jarvis but I’m not sure anyone can – this might be a
minority view but I love that performance.

And so on it goes. The Prelude has grave twists in harmony and is sombrely reflective whilst Boult
fashions The Fall of the Leaf – another study in passing time – with as much care as to its reflective,
philosophic moments as to its lyric charge. Then to end we have the unsurpassable – I’ll risk it –
Katin performances of the Eclogue and the Grand Fantasia. The former sounds like a Ravel
slow movement, the whole thing memorably done. And the Grand Fantasia is heard in this
performance by the man who premiered it in 1954. It’s not an easy piece to get to grips with but
once you do you will relish the slightly hokey Stokowski-Henry Woodisms and the strange brief
hallucinatory appearance of Copland in the Fantasia."
Musicweb

Source: Lyrita CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 180 MB

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And don't forget your friendly uploader! ;)

laohu

10-26-2013, 10:29 PM

thanks for n.� 443, Korngold, and Ernest Bloch, wimpel69!

Akashi San

10-26-2013, 10:36 PM

Wimpel - Massive, massive thanks for the last two discs and your continued effort in making colorful classical work available. :D

Spun

11-01-2013, 04:21 PM

Wow, Thank you so much wimpel. This thread is brilliant, great initiative and innovation. Thank you for all the hard work and dedication. You should know that this is highly appreciated. I'm going to spend a lot of time exploring this thread.

wimpel69

11-04-2013, 09:32 AM

Thanks for the praise, guys. Can't hear that enough. ;)

No.462

Like the other two early, unnumbered so-called symphonies (the Sinfonia degli eroi of 1905
and the Sinfonie [sic] del silenzio e de la morte of 1909-10), the Sinfonia del mare is
really more in the nature of a symphonic poem, though it has no known detailed extra musical story
line. The one further verbal clue to the music's descriptive intentions, apart from the title (which of
course means "Sea Symphony"), is a laconic jotting in pencil on the composer's manuscript score:
the single word "NAVIGANDO". A few features of the music itself -the triumphant, re-echoing
fanfare-like motif that appears just over three quarters of the way through, or the solemnly funereal
central part of the slow epilogue -may perhaps reflect a more detailed unrevealed narrative. But
on the whole the work (which is cast in a single long movement that starts and finishes in slow
tempo but contains much animated, even turbulent music on the way) has the air, quite simply,
of an evocation of the sea, both in its calmer and in its more agitated moods.

The Third and Fourth numbered symphonies both have declared (if limited) extra musical
associations; yet to describe either of them as a symphonic poem would be exaggerated, especially
as they do at least share certain external characteristics with more conventional symphonies. Each of
them is in four movements, with a slow movement in second and a scherzo in third place; yet the
internal processes running through the movements may sometimes perplex those with preconceived
ideas about "symphonic argument". As Ernest Ansermet once admirably expressed it, "these
symphonies are not thematic but 'motivic': that is to say Malipiero uses melodic motifs like everyone
else [...] they generate other motifs, they reappear, but they do not carry the musical discourse -
they are, rather, carried byit". Free non-thematic passages and unpredictable incidents are just as
important for this music's impact as thematic processes as such; and only rarely do movements
end in the keys in which they began.

Writing about the Third Symphony (subtitled "de/le campane" ("of the bells"], 1944-5),
Malipiero has explained that the work was "connected to a terrible date, 8 September 1943" when
"the bells of St. Mark's Cathedral did not ring for peace but to announce new torments, new
suffering". In a letter to the Swiss music critic Aloys Mooser he elaborated this idea, declaring that
"the Germans had invaded Italy. I heard the sound of their steps, of their heavy boots announcing
death and martyrdom. The bells cancelled all that: they created a special state of mind. Here is my
Third Symphony written atone of the most terrible times: end of the year 1944 and beginning
of the year 1945! Have you every heard, from the lagoons, Venice all vibrating with bells? She
becomes a huge musical instrument."

The known extra musical associations of the Fourth Symphony (1946) are summed up in
its subtitle "in memoriam": the work is dedicated to the memory of Natalie Koussevitzky.
Here the first movement features a two-bar "refrain" (for trombones, tuba and bassoon) which
three times interposes itself into the music's flow like some rough and knobbly obstacle. The
marvellous slow movement (surely the most beautiful in any Malipiero symphony) puts the same
refrain to new uses -notably at the end, in a mysterious transformation for cor anglais and muted
trumpets. Notice also the gentle yet remarkably effective tautening of the rhythm of this
movement's own first melody, when it returns in what can almost be described as a recapitulation
in the traditional sense: the initial version's quietly insistent dotted rhythms have now become
double-dotted. The scherzo, though less spectacularly colourful than that of the Third Symphony,
is full of energy and includes a further modified version of the first movement's refrain. The finale
is more episodic, being a miscellaneous set of variations on a cor anglais melody salvaged
from Malipiero's early, repudiated one-act opera Canossa (1911-12). Here too, however, the
recurrent refrain puts in a soft, distant-sounding further appearance at the very end.

Music Composed by Gian Francesco Malipiero
Played by the Moscow Symphony Orchestra
Conducted by Antonio de Almeida

"The Sinfonia del Mare is as beautiful an evocation of the sea as has ever been written,
and it is all the more remarkable in that Malipiero wrote it unaware of Debussy's La Mer. The
two numbered symphonies show Malipiero's magical ability to conjure Arcadian dreams in the
world of sound, though the dream in No. 4 is a sad one, in memoriam for Natalie Koussevitzky.
Malipiero was a unique genius with a very distinct style: If Debussy had been an Italian and
had studied with Leos Janacek, he might have sounded something like this."
InsideCatholic

Source: Naxos/Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 167 MB (incl. cover, booklet)

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wimpel69

11-05-2013, 09:20 AM

No.463

Gian Carlo Menotti composed the ballet Sebastian to his own libretto in 1944. The choreography
of the original production was considered unsuccessful, but with restagings later it became a success. Sebastian
is a Moorish slave, secretly in love with a courtesan. She, in her turn, shares love with the Prince of their
Italian kingdom. The prince's sisters, desiring to end the affair, steal the courtesan's veil, which allows them
to work black magic on her, which they can do with a life-sized wax figure covered with the veil; firing arrows
into it will kill her. Sebastian learns of the plot, substitutes himself for the wax figure, and is shot with the
arrows. The sacrifice breaks their spell over the courtesan, and she is reunited with her beloved. Menotti's
music is ardent and romantic, sort of an Italian Prokofiev in style and sound. It is very listenable, a fine score
of its type. This is a suite in seven movements drawn from the score.

Samuel Barber on his suite Souvenirs: ""In 1952 I was writing some duets for one piano
to play with a friend, and Lincoln Kirstein [general director of the New York City Ballet] suggested that I
orchestrate them for a ballet. The suite consists of a waltz, schottische, pas de deux, two-step,
hesitation-tango, and galop. One might imagine a divertissement in a setting reminiscent of the
Palm Court of the Hotel Plaza in New York, the year about 1914 - epoch of the first tangos; 'Souvenirs' -
remembered with affection." The sequence of ballet scenes correspond to the six parts of the suite.

Music by Gian Carlo Menotti & Samuel Barber
Played by the New Zealand Symphony Orchestra
Conducted by Andrew Schenck

"Samuel Barber was born in 1910 to a distinguished and well-to-do Irish-American family in
Pennsylvania. His father was a doctor and his mother a pianist. He began composing music
seriously in his late teens, and it was during his musical studies at the Curtis Institute that he
met Gian Carlo Menotti, who became his lover, partner and musical collaborator. �Johnny�
and Sam were soon inseparable. While a student at Philadelphia�s Curtis Institute, Menotti
spent much of his time at the Barber family home in West Chester, Pennsylvania. After
graduation, the two men bought a house together in Mount Kisco, New York, which they
named "Capricorn" and shared for over forty years. Capricorn boasted two independent
studios, one for each composer, connected by a central room for living and entertaining.
The surrounding grounds were secluded and beautifully landscaped.

Menotti, who lived to the age of 95, always had an eye and taste for much younger men.
Well into his eighties, he had a handsome, young driver in Charleston, SC, for the
duration of the Spoleto Festival (founded by Menotti). When the driver was replaced one
year by someone less blessed by pulchritude, Menotti threw a fit, insisting that the
former driver be found immediately. Francis Phelan (b. 1938) was an actor and figure
skater who appeared as a mime in several of Menotti�s operas. The two developed a physical
relationship, and in 1974, Menotti legally adopted Phelan (known as �Chip�) as his son.
Phelan took the last name of Menotti. Phelan was 36 at the time; Menotti was 63. In a
perverse twist, both men went on to marry women, and both were nearly impossible
to work with as directors of international music festivals."
Gayinfluence.Blogspot

Menotti (right) and Barber (center) with Aaron Copland

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***

No.464

As well as a number, some symphonies also have a title, often simply to distinguish them from the mass
and without any clear connection with the content. Haydn's London Symphony, for example, so called because
it happened to be composed in that city. This is not the case with The Gothic Symphony, the Symphony
No.1 in A minor, by Godfried Devreese. Here the adjective is more than a commercial label. It is
the central image, the framework of the musical architecture. It is Gothic in its upward soaring, in its absence of
constricting wal1s and the appearance in their stead of many and ample windows, through which musical
impressions come streaming in like sunlight. It has the lightness and delicacy of the Ile-de-France, where
this style of architecture originated.

This Gothic concept is also reflected in its composer, in Godfried Devreese. Not in the sense of religious flirtation,
of sanctimonious dabbling with incense and medieval-clerical costume parties, but purely architecturally. We
see it a1so in the architects and the builders of those cathedrals. They were artists and craftsmen, because art
is craftsmanship. That is why they paid such attention to details, even to those which were never seen,
hidden behind the crenellations, or very high, invisible from the ground. They were perfectionists, honest
craftsman, miniaturists on a large scale, bursting with aesthetic sense.

The Poeme H�roique is one of Godfried Devreese's first major compositions. He composed it in 1923,
basing it, as is indicated on the score, on "a legend recounted by Marguerite van de Wiele", an aunt of his by
marriage. Nobody knows the precise content of this legend, but that is also unnecessary, because it is extremely
visual. You can fill it in yourself, as long as you include a hero. Thanks to a brief but delightful violin solo, you
can even envisage a golden- haired princess. In this composition Devreese has drawn upon the memories of
his travels abroad, but otherwise, his impressionism is w hat he absorbed in France barely eight years before.
In French compositions, impressionism and the musical idea combine organically. In Devreese, the poetic idea
is paramount. It only becomes music later.

Devreese dedicated his In Memoriam to Willem Mengelberg, from whom he had learned an incredible
amount. Originally, In Memoriam was the second movement of a sonata for violin and piano, composed in 1924.
He orchestrated it during his time at the Concertgebouw in Amsterdam. "Orchestration terminee le 10 ao�t 1928"
is written at the end of the manuscript. So it is not an In Memoriam written on the occasion of Mengelberg's
death in 1951; although it could have been one, as the finest tribute he could offer to his great
conducting example.

Music Composed by Godfried Devreese
Played by the Moscow Symphony Orchestra
Conducted by Fr�d�ric Devreese

"The Belgian violinist Godfried Devreese was a pupil of Ysa�e and C�sar Thomson. He led the Kurhaus Orchestra
in The Hague and was a member of the Concertgebouw Orchestra in Amsterdam, also working as a conductor in
Antwerp and Brussels. He spent some 29 years as director of the Malines Conservatory, establishing the city as an
important musical centre. The compositions of Devreese, romantic in general style, include concertos, symphonies
and a wide variety of works. His reputation as a composer has remained largely limited to his own country."

Source: Marco Polo CD (my rip!)
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File Size: 153 MB (incl. cover, booklet)

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bohuslav

11-05-2013, 04:57 PM

unbelievable, your collection must be enormous!
the last posted recordings i own myself, need more time to hear all this fantastic music...endless thanks for your inspiration!

wimpel69

11-05-2013, 05:55 PM

I've been collecting classical CDs for about 25 years now, and own an 8,000+ collection (most of it music written between 1800 and today, with a strong emphasis on British and American works).

wimpel69

11-05-2013, 07:29 PM

No.465

This is an album that lovers of fantasy film scores should appreciate!

With The Snow Queen (Lumikuningatar), the Finnish National Ballet scored a hit. This success was
due not only to Andersen's wonderful story and its brilliant staging but also to the music of composer
Tuomas Kantelinen. He says he wanted "to write music that is melodic, beautiful and accessible, as
its principal function is to put viewers of all ages into a cheerful Christmas mood. It is a deliberate nod
towards the tradition of Christmas ballets for the whole family, such as Nutcracker. I had a great deal of fun
creating character dance pastiches that illustrate the conceptions that people have of the musical styles of
various countries." The principal characters are Kerttu and Kai, who are good friends. Kerttu finds the
missing piece of the Snow Queen's mirror, and the Snow Queen kidnaps Kai to get it back. Kerttu wanders
far and yonder in search of Kai and finally ends up at the frozen castle of the Snow Queen.

Finland's internationally most successful movie music composer Tuomas Kantelinen has written the music
for more than 30 films since the mid-1990s, including Puhdistus (Purge, directed by Antti Jokinen),
�ideist� parhain (Mother of Mine, Klaus H�r�), Mindhunters (Renny Harlin) and Mongol (Serge Bodrov).
Kantelinen has received several awards at home and abroad for his film scores, including the Finnish
Jussi Award for Lunastus (The Redemption, 1997) and Rukaj�rven tie (Ambush, 1999).

Music Composed and Conducted by Tuomas Kantelinen
Played by the Finnish National Opera Orchestra

"The Snow Queen (Danish: Snedronningen) is a fairy tale by Hans Christian Andersen (1805�1875).
The tale was first published in 1845, and centers on the struggle between good and evil as experienced
by a little boy and girl, Kai and Gerda. The story is one of Andersen's longest, and one of his most highly
acclaimed stories by readers and critics. It is regularly included in selected tales and collections of his
work and is frequently reprinted in illustrated storybook editions for children. The tale has been
adapted in various media including Disney's most-recent animated film and television drama."

Source: Ondine CD (my rip!)
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File Size: 169 MB (incl. covers & booklet)

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Petros

11-05-2013, 07:58 PM

Great!
Thank you Wimpel!

bohuslav

11-05-2013, 09:23 PM

I've been collecting classical CDs for about 25 years now, and own an 8,000+ collection (most of it music written between 1800 and today, with a strong emphasis on British and American works).

;O) since 1983 i collect cds, before that records are my thing...no idea how many that is, but so there are shelves in all about 100 meters length.

mostly orchestral and piano, some crossover and filmmusic, little chamber, or vocal works and operas...small amount jazz.
1400-till now.
popular music...hmm...owned only by my wife ;O)

ralleo1980

11-06-2013, 02:54 AM

Hello friend wimpel69:

I was asking to me if you have from Godfried Devreese - Variation and Themes, and Trombolene??? Thank you very much for your attention.

Leonardo

wimpel69

11-07-2013, 09:27 AM

I got Devreese's ballet "Tombel�ne", on a disc with his Violin Concerto.

No.466

The Edwardian period, and indeed the late 1890s, is fascinating for the student of British music.
It saw the first appearance of what we now know as an extended repertoire of distinctively English
music (even though the composers of much of it were in fact Irish or Scottish and some of the
landscape that inspired them was on the Welsh border!). The big name as far as we are concerned
was, of course, Elgar. But at a time when provincial centres of music were of major importance,
Granville Bantock (1868-1946), associated with Birmingham from 1900 to 1934, was
regarded by some as comparable with Elgar. It was Neville Cardus, no less, who wrote: ‘Those
of us who were then “young” and “modern” regarded Bantock as of much more importance than
Elgar … Bantock was definitely “contemporary”.’ Indeed it was Elgar himself who referred to
Bantock as ‘having the most fertile musical brain of our time’.

Dante and Beatrice was originally written (as Tone Poem No.2) in the summer
of 1901 and performed at New Brighton and also in Birmingham at a Halford Concert. A
commentator on the first version, which is now lost, pointed out that when Bantock revised it
(the new score is dated 31 July 1910), little alteration was made in the music apart from the
blending of the sections into a continuous fabric. The early version was in six sections, and it
may be helpful to have the titles as a guide to the main episodes in the later version. These
were: ‘Dante’, ‘Strife of Guelphs and Ghibellines’, ‘Beatrice’, ‘Dante’s vision of Hell, Purgatory
and Heaven’, ‘Dante’s exile’, and ‘Death’. In the revision of 1910 recorded here, Bantock
styles his score a ‘psychological study’ intending to evoke states of mind rather than describe
individual episodes in detail.

In the 1930s he undertook examining tours overseas for Trinity College of Music and it was
while on one of these that he wrote the The Cyprian Goddess, his third symphony,
which he subtitled ‘Aphrodite in Cyprus’. Written while crossing the Pacific, the manuscript
full score is dated ‘12 January 1939 Pacific Ocean. Suva (Fiji)’. Bantock’s love affair with
languages led him to study not only Latin and Greek, but also Persian. The Pagan
Symphony had taken its cue from the second book of Horace’s Odes, and the
opening of Ode XIX concerning Bacchus. Aphrodite is, of course, the Goddess of Love,
whom he had invoked so memorably before in the Sappho Songs for contralto and
orchestra. Now in The Cyprian Goddess he prefaces the score with the two
Latin verses of Ode XXX in the first book, as well as a photograph of the statue of
the Venus de Milo from the Louvre. The music plays continuously, but consists of a
variety of contrasting sections, and the feeling of a story or succession of images is
striking. Why Bantock was never commissioned to compose for the films when he
writes so cinematographically is a mystery. Bantock gives us no detailed programme,
but from time to time he writes a classical quotation (in English translation) above the
score, thus indicating the major milestones, and effectively marking four movements,
each of several sections.

It seems highly probable that Bantock was thrilled by the early success of Elgar's
Enigma Variations, and then he impulsively set out to write his own variations,
albeit based Pauline-like on his wife Helena's moods rather than on his various friends
which Elgar had done. The Helena Variations was his first orchestral work in his
mature style. Could it be that in emulating Elgar by ending in high spirits it was not
only Helena he was celebrating in the Finale. First performed in Antwerp on 21
February 1900 where Bantock had been asked to conduct a concert of British music,
the Variations received their first British performance, conducted by the composer,
on 25 March in the Philharmonic Hall Liverpool.

Music Composed by Sir Granville Bantock
Played by the Royal Philharmonic Orchestra
Conducted by Vernon Handley

"Granville Bantock was a bearded, cigar toting, larger than life artist who might drop you
a line in Latin and who studied Ancient Greek and Persian as an agreeable pastime. He
seems pretty remote from our contemporary ideas of the creative aesthete. With his
smoking jacket on, no doubt wearing a cap complete with tassle, he composed massive
pieces like these three offerings on this magnificent CD in his Morris wallpapered Victorian
study. The Cyprian Goddess or Symphony No 3 was inspired by at least two sources
relating to the same subject: some Latin verse Odes of Horace referring to Aphrodite
and the sculpture of the Venus de Milo in the Louvre; thus he was thinking of both Greek
and Latin versions of the goddess of love, born on the beautiful island of Cyprus. One
wonders if Horace's request for Aphrodite to 'quit the favoured Cyprus and come'
somehow echoed with Bantock's own love of the exotic and the consequent conflict
this must have had with his daily life in his more prosaic homeland. The Helena Variations
are a fascinating set of variations, as inventive as Elgar's 'Enigma' Variations in their
way, in which his skill as an orchestral craftsman are displayed to the full. Dante and
Beatrice is a tone poem covering much of the same ideas as Liszt's Dante Symphony.
Using a rich Richard Strauss size orchestra (but never his technique!), Bantock paints
a huge canvas, to my mind bringing the Lisztian tone poem to its fullest and most
eloquent flowering. In order to do this, Bantock is secure in all departments, form,
balance and restraint, the classical characteristics which mark him as different to the
more self-absorbed romantic, Richard Strauss or the doom laden Mahler. Bantock
would never have composed music about his home or sex life nor would he have
written a Symphony of a Thousand! He was too practical a musician for that, managing
local amateur and semi-professional ensembles in the depths of the north of England.
No gesamskunstwerk for him. The orchestral effects throughout are delightful, the
melodic invention everflowing and Handley, here on his best form, doesn't overplay
the dynamics of tempo or crescendi or diminuendi. He unwraps a rich tapestry that
shows how an English composer could produce work that was as good, if not better
than the more feted continentals. Wonderful stuff!"
Amazon Reviewer

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gpdlt2000

11-07-2013, 11:43 AM

Bantock is a great orchestrator!

wimpel69

11-07-2013, 01:14 PM

No.467

Gideon Fagan was born at Somerset West in the Cape Province of South Africa in 1904. He lived
in England for twenty-seven years before returning to his native country. The Karoo Symphony was
commissioned by the South African Broadcasting Corporation and completed by Fagan in 1976. Each
movement seeks to reflect different aspects of the vast, desert-like but beautiful interior of the Cape
Province known as the Great Karoo. In the first movement, a slow tempo is maintained throughout,
expressive of the peacefulness and calm one experiences in the Karoo. The second movement, the
Scherzo, performed in a "hushed" style, seeks to describe the "fauna and phantoms", the little creatures
of the bush which are mostly unseen, and "phantoms" which are commonly associated with the Karoo.
The scene fades away as the busy creatures relax into a state of repose. The third movement, described
as Calamity, reflects the tragedy of heavy storms breaking a protracted drought and causing large-scale
destruction as well as loss of life and livelihood. The idea of Karoo storms is carried into the fourth
movement which reflects the drama of the typically severe storm with its torrential rain, thunder
and lightning and high winds. But the rain also brings new life to the parched land and for miles
around the wilderness is transformed into a garden of wild flowers. Like the previous three movements,
the fourth movement fades away into silence, the silence of the Karoo which the composer found
"eloquent, inspiring and beyond all, all-absorbing�"

Michael Moerane, choral conductor, pianist and composer, taught music in various parts of the
Transkei and Lesotho while studying through the University of South Africa, becoming the first black
African to obtain a degree in music at a South African university. According to the composer, in a
note prefaced to the score, Fatse Le Heso (My Country) is based on thematic material derived
from freely-adapted African songs: a warrior's song, a reaper's song, a free transformation of a cradle-
song and a hymn which supplies the harmonic structure.

Henry Lissant-Collins was born in Liverpool in 1880 and emigrated to South Africa in 1902. A
versatile musician, being a composer as well as a performer on five instruments, he also pursued a
career in journalism, as music critic and newspaper editor. Fuquoi in the Sugar Cane has become
one of the 'Classics' in the South African orchestral repertoire, having been played on many occasions
by various South African orchestras over the past fifty years. "Fuquoi" is evidently Lissant-Collins'
English version of the Zulu U-Fookwe, which is the Burchell's coucal, a rather shy bird, which likes to
nest in dense shrubbery. Fuquoi in the Sugar Cane is a model of sensitive scoring, an atmospheric
tone-painting which reveals the influence of Delius.

Music by Gideo Fagan, Michael Moerane & Henry Lissant-Collins
Played by the National Symphony Orchestra of the South African Broadcasting Corporation
Conducted by Peter Marchbank

"The first work, Theo Wendt's "Four South African Folk Tunes", I found to be rather slight.
"Fuquoi in the Sugar Cane", written by Henry Lissant-Collins (born 1880 in Liverpool), is an
interesting rhapsodic character-sketch of the Burchell's Coucal, a shy bird which likes to
nest in dense shrubbery. The twelve-minute tone poem "My Country" was written by Michael
Mosoeu Moerane (1909-1981) who holds the distinction of being the first indigenous African
to obtain a university degree in music in South Africa. The major work on the disc is a four-
movement "Karoo Symphony" by Gideon Fagan, which is a musical description of a very arid
area of South Africa. The first movement "Elevating Solitude" depicts the stark nature of the area,
"Fauna and Phantoms" is about the wildlife, "Calamity" describes the great damage that can
be done by storms, and the last movement "Storm Begets a Dream Garden" is about the after
effects of the storms, when the rain that has fallen brings the flora of the area to life.
The performances are good and the recording reasonable, in a fairly warm acoustic."
Amazon Reviewer

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File Size: 149 MB (incl. booklet)

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wimpel69

11-09-2013, 09:58 AM

No.468

Henri Lazarof was born in Sofia, Bulgaria on 12th April, 1932, and began his musical studies
at the age of six. He graduated from the Sofia Academy in 1948 and studied at the New Jerusalem
Academy of Music from 1949 to 1952 and with Goffredo Petrassi at the Accademia di Santa Cecilia
in Rome from 1955 to 1957. In 1957 he moved to the United States and studied at Brandeis University
on a full scholarship with Arthur Berger and Harold Shapero. He received his Master of Fine Arts degree
in 1959. In 1959 Lazarof moved to California, where he still lives, and took a position as teacher of
French language and literature at UCLA. Three years later he joined the University�s Music Department
and eventually rose to the rank of Emeritus Professor. In 1963 he organized the Festival of Contemporary
Music, which featured music and lectures by Luciano Berio, Karlheinz Stockhausen and Leonard Stein.
His international reputation received a boost in 1966 when he was awarded the first International Prize
of Milan for Structures Sonores.

For many years Lazarof had been quite taken with the artwork of the great Russian painter, Wassily
Kandinsky, the seminal figure in the evolution of abstract art. After an initially negative reaction to the
non-representational quality of French impressionist painters at an exhibition in 1895, Kandinsky came
far to exceed Monet and his colleagues in transcending the boundaries of realism. The child of musical
parents, Kandinsky learned the piano and cello while young and had a profound feel for music. He once
said that colour is the keyboard, the eyes the harmonies, the soul the piano with many strings. Like
Scriabin, he posited a strong connection between colour and musical harmony, associating tone with
timbre, hue with pitch, and so forth. He claimed to see colour when he heard music.

Kandinsky�s beautifully crafted abstract paintings manifest a rhythmic vibrancy that reflects his sense
of a musical-visual nexus. Perhaps it is that musical quality of his art that reinforced Lazarof�s
connection to Kandinsky�s works. A spur to the composer�s decision to translate his resonance to the
artist came from pianist Alexis Weissenberg, who encouraged Lazarof to compose a �large orchestral
work, a kind of fresco�. With the support of Gerard Schwarz and the Seattle Symphony, which
commissioned Tableaux, Lazarof travelled to Paris, Munich and New York City, where he
viewed hundreds of Kandinsky�s painting. The resultant orchestral score is a bold, multi-hued
tapestry of stunning instrumental colours, with textures ranging from the spare and intimate to
the richly layered and voluminous.

Lazarof composed Icarus, a concerto for orchestra, in 1984, in response to a commission
from the Houston Symphony Orchestra. Wishing to connect the work to the city where it would
receive its first performance, the composer thought of the NASA space flight program, which is
centered in Houston. The ambition, achievements and occasional tragic setbacks of NASA�s efforts
led to thoughts of the mythical Icarus, who took flight on wings fashioned by his father, but
perished after flying too close to the sun. Icarus is not, however, a piece of programmatic or
descriptive music. Rather, its three movements convey something of both the ages-old desire
to escape the confines of our earth and the danger inherent in that desire.

In 1985 Lazarof composed Poema as a wedding gift for Gerard Schwarz and his wife, Jody.
Cast in a single movement, the piece begins with an introductory passage featuring ringing
chords and evocative sonorities that grow out of them. The main portion of the piece begins
with a trumpet (the instrument Gerard Schwarz played so masterfully before turning full-time
to conducting), which initiates a series of rhapsodic phrases that pass among several instruments.
Soon more powerful massed sonorities begin to punctuate the melodic lines, and the music
assumes an urgently dramatic character, several warmly romantic episodes notwithstanding.
At length Lazarof recalls the material of the introduction, thereby returning the music to its
point of origin.

Music Composed by Henri Lazarof
Played by The Seattle Symphony
With Garrick Ohlsson (piano)
Conducted by Gerard Schwarz

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***

No.469

Essential for any collection of twentieth century English music, this disc contains the four
extant orchestral works of George Butterworth - his Two English Idylls, The Banks
of Green Willow, and A "Shropshire Lad" Rhapsody -- in performances by Adrian Boult and
the London Philharmonic Orchestra of such complete conviction and deep affection that they might
well be dubbed definitive. Boult attended the premiere of A "Shropshire Lad" Rhapsody in 1913 and
gave the premiere of The Banks of Green Willow the following year at his first public appearance as
a professional conductor, and his understanding of and sympathy for Butterworth's achingly sensual and
poignantly nostalgic music is absolute and unwavering. Anyone who wants to know where Vaughan
Williams came from and what Delius might have been should hear this music in these performances.

And that's just the first 23 minutes. After Butterworth comes Peter Warlock's half-contented, half-sad
An Old Song from 1917 and Patrick Hadley's robustly passionate One Morning in Spring from
1942 followed by a set of four short orchestral pieces by Herbert Howells. The earliest - the moving
Elegy for viola, string quartet, and string orchestra from 1916 written for a friend's death in the Great War -
invokes the solemn sound world of Vaughan Williams' Tallis Fantasia. Next, the rambunctious Merry-Eye
from 1920 has the joie de vivre of a man on his honeymoon -- which, in fact, Howells was. The atmospheric Procession
from 1922 has a crescendo-decrescendo structure recalling Borodin's In the Steppes of Central Asia. The festive
Music for a Prince from 1948 written for the birth of Prince Charles has the good cheer of an Englishman
celebrating the monarchy honeymoon -- which, in fact, Howells was. In every work from Butterworth through
Howells, Boult and the London Philharmonic & New Philharmonia give the music their all.

Music by George Butterworth, Patrick Hadley, Peter Warlock & Herbert Howells
Played by the London Philharmonic & New Philharmonia Orchestras
Conducted by Sir Adrian Boult

Sir Adrian Boult.

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bohuslav

11-09-2013, 04:23 PM

even more fantastic recordings, endless thanks!
boult is one of my favorite conductors, not only for british composers.

wimpel69

11-10-2013, 11:26 AM

No.470

The Jewish creative orientation of composer and organist Herman Berlinski (1910�2001) represents
a fertile synthesis. His Jewish roots and family traditions were fundamentally eastern European, but he also
acquired and adopted the cultural perspectives�and especially musical affinities�of German Jewry; his
Paris studies added 20th-century French as well as international influences; and eventually he emerged
as a thoroughly American composer and an ardent advocate of artistic innovations in the American Synagogue.

From the World of My Father is Berlinski's reconstruction from memory of some of the music he wrote
and directed for PIAT, the �migr� Yiddish theatrical troupe in Paris between 1933 and 1940, during his sojourn
there as a refugee from Nazism. From the World of My Father displays a side of Berlinski's musical
persona not generally associated with his work as a whole. Its transparently conservative, conventionally
melodic, and nostalgic perspectives may even surprise those familiar only with the later works that brought
him his major recognition. It draws liberally on perceived sounds, inflections, modalities, and idioms of the
melos associated in popular imagination with prewar eastern European Jewish life among the Yiddish-
speaking populace.

A shofar can be made from the horn of any legally permitted, i.e., "kosher," animal, except for an ox or a cow -
because of the association with the golden calf incident in the Bible. The ram's horn, however, is preferred for
the Jewish holiday of Rosh Hashana because of the connection with the biblical story of the binding of Isaac
(akedat yitzhak) and Abraham's substitution of a ram for the sacrifice�the assigned Torah reading for the first
day of Rosh Hashana and the theme of an important part of its liturgy. The shofar blasts are partly a
recollection of that patriarchal demonstration of faith and obedience. Like most of his liturgical music, Berlinski's
Shofar Service was created for the Reform format. On the other hand, Berlinski deliberately designed
his piece in order to reintroduce the authentic shofar to many Reform congregations for whom it may have
been a new experience; and he specifically employed the traditional shofar calls, even if he recast them
within his more classical stylization.

Symphonic Visions for Orchestra (1949) is an elaborately scored semi-programmatic tone poem
inspired by individual biblical images, passages, and sentiments. The biblical quotations are intended as mood
indicators, and the movements are scored to evoke both the emotions of those quotations and their applicable
historical or narrative contexts. Critics have observed the influence of Mahler in the work's orchestral power
and harmonic richness, at the same time intuiting an admittedly amorphous "Hebraic character."
In that connection, comparisons have also been drawn to Ernest Bloch's biblical evocations.

Music Composed by Herman Berlinski
Played by The Seattle Symphony & Barcelona National Orchestras
And the BBC Singers and soloists
Conducted by Gerard Schwarz & Avner Itay

"There are passages in Berlinski's work of such aching beauty that if you are not moved to
tears you are made of sterner stuff than I am."
Jerry Dubins, Fanfare

"[From the World of My Father is]...a work of colourful, touching personality....Symphonic
Visions for Orchestra shows Berlinski's mastery of mood and instrumental shading."
Donald Rosenberg, Gramophone

Gerard Schwarz at the Berlinski sessions.

Source: Naxos "Milken Archive" CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 159 MB (incl. booklet)

Download Link - https://mega.co.nz/#!go9xkJIS!GbreGDB6ShVAMOfjoDYRM0YH3ypHtmkmUq26cNY 4eMA

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***

No.471

This is the third album of music by Igor Markevitch (1912-1983) in the course of this thread,
and it features his abandoned ballat L'Envol d'Icare, which he later reworked into a tone poem.
The earlier posts also showcase ballets, R�bus and Le Nouvel Age.

It is undoubtedly more than coincidental that at nineteen Markevitch should have turned to the Icarus
myth for his first truly individual work, L�Envol d�Icare, a score which he continued to re-work in various
forms for more than a decade. Icarus, who flew too close to the sun and fell to earth embodies a vivid image
of the fate of the young composer, swept along by the frenetic Paris of the 1930s. Indeed, the most striking
passage of Icare is the lengthy, hypnotic, ecstatic-obsessive �Death� that concludes the work, occupying
nearly one third of its duration.

The series of large-scale works that followed over the following brief eight years is a succession of masterpieces
in constantly changing languages. R�bus and Le Nouvel �ge both embody a Prokofiev-like grittiness married
to that motoric �moto perpetuo� quality that so typifies the music of Albert Roussel, but in a more pointed
harmonic framework, and continuing the exploration of multiple simultaneous polyrhythms that are Markevitch�s
trademark. L�Envol d�Icare remains the singular work among his masterpieces, whether for its ascetic, pointillistic
scoring; its visionary use of quarter-tone tuning, harmonically so precisely calculated; its brilliant exploitation of
complex rhythmic simultaneities; or the sheer unique sound-world that it evokes from the orchestra. Above all, for
the poise and emotional charge of its hypnotic �Death�.

The achievement of Igor Markevitch bridges important gaps in our understanding of the period between the wars.
His language is aggressively individual. Not neo-classical, it has classical restraint and a poise that is almost frigidly
disciplined. In an �sthetic distant from the transmuted romanticism that propels the music of Berg and Schoenberg,
he initiated an exploration of dissonance (through polytonality) that the perspective of the 1990s can readily
identify as a fertile harmonic path. Dissatisfied with what he seems to have perceived as the indulgent prettiness
of impressionism, he sought a purity and detachment of style which were rare in this interbellum period of excess.
Thus the most singular features of the startlingly original Flight of Icarus, are above all, its use of quarter-tone
scordature in one flute, two solo violins and two solo cellos within the orchestra; and the pervasive presence of
complex polyrhythms. It is not hard to imagine that the microtonal retunings resulted in some way from the
�oriental� experience of the opium pipe, though Markevitch is at pains to describe that �certain chords could not
be perceived in an exact manner�.

When, after an interval of nearly forty years, Markevitch heard Cantique d' Amour again towards the end
of his life, he gently rebuked it for having too much "magic" and for sounding "too good". This short composition,
orchestrated with a luxuriant vocabulary worthy of Ravel, feather-bedded with harmony redolent of Scriabin, is
unique in his output. Its rich language was , soon rejected for the astringent, almost violently energetic classicism
of Le Nouvel Age as he prepared to enter his own New Age, an age of performing the music of others,
untrammelled by the burden of his own creativity.

Music Composed by Igor Markevitch
Played by the Arnhem Philharmonic Orchestra
Conducted by Christopher Lyndon-Gee

"Why Igor Markevitch, one of the most distinguished conductors of the 20th century, should have so assiduously
ignored his own works is one of music�s great mysteries. He had spent his formative years in Switzerland studying
the piano with his father, and as a precociously gifted teenage composer captured the attention of influential
musicians, including the ballet impresario, Dyagilev. Then at age of twenty-nine he suffered a severe and never
understood illness, and on his recovery moved to a life as a touring conductor and renounced the success his works
had enjoyed, never again composing. This complete cycle of his orchestral works are the first time they have ever
�apart from one brief work�appeared on disc. This third volume covers the period 1930 to 1936, and though we
find passages incorporating an element of atonality, he was using tonality as the basic ingredient. The earliest work,
the Concerto Grosso, comes from his eighteenth year, and I find a greater influence of Stravinsky than most
commentators. Abstract in concept, it is in the form of two fast movements surrounding a slow and rather severe
andante. L�Envol d�Icare (The Flight of Icarus), was his most highly regarded work, and was first planned for use
as a ballet. It toys with quarter-tones and the unconventional use of instruments, the resulting colours being
fascinating, though for those just coming to Markevitch, the Cantique d�Amour (Hymn of Love) is an ideal starting
point, its mysterious quality coming from a mix of Ravel and Debussy. The Arnhem Philharmonic Orchestra, under
the advocacy of the conductor, Christopher Lyndon-Gee, are totally persuasive and hide so convincingly the fact
that the music must have been previously unknown to them. The disc was first issued on Marco Polo as world
premi�re recordings and are in a reliable studio sound."
David's Review Corner

Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 132 MB (incl. booklet)

Download Link - https://mega.co.nz/#!ZkEgzCqR!L3VVUA9EQq6WeeinJGHNvEvkdS9YXUayptlUE0J pJ-Q

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gpdlt2000

11-10-2013, 12:10 PM

Great Berlinski and terrific Markevitch!
Hats off, wimpel!

wimpel69

11-10-2013, 06:19 PM

No.472

The Execution of Stepan Razin, Dmitri Shostakovich�s symphonic poem for baritone,
mixed chorus and orchestra, is an intentionally ambiguous work that operates on two levels. Its
manifest content, to use Freud�s term, relates to the seventeenth-century Cossack rebel who led
an unsuccessful revolt against Tsar Alexis I, father of Peter the Great. Captured, tortured and eventually
beheaded in 1671, Razin became a posthumous folk-hero, a symbol of the downtrodden and
disenfranchised individual standing up to entrenched, brutal power. As a son of the Revolution,
Shostakovich composed this cantata-like work to celebrate the life of Razin and by extension, all
ordinary people who fought the great ongoing battle against repression. At the same time, the latent
content (to continue with Freud�s phraseology) points tellingly toward Soviet repression personified
by Stalin and his minions. Though Stalin had been dead for more than a decade when Shostakovich
composed this work in 1964, Stepan Razin made party loyalists squirm since it could be taken
as both a celebration of revolutionary fervour and a condemnation, not of Soviet Realism, but of Soviet
reality. Adding to the apparatchiks� discomfort, the text for Stepan Razin came courtesy of Yevgeny
Yevtushenko, who had already denounced Russian anti-Semitism in Babi Yar, which Shostakovich
had used in his Symphony No. 13. The baritone soloist in Stepan Razin serves as both narrator and
the eponymous Cossack leader.

One of Shostakovich�s last orchestral works, composed fourteen years after Stalin�s death in March
1953, was the tone poem October, Op. 131, which received its premi�re in October 1967. It was
not the first time the composer had commemorated the October Revolution: both the Second and
Twelfth Symphonies bore musical witness to that signal event in Russian/Soviet history. The 1967 score,
commemorating the Golden Anniversary of that iconic event, is a short tone poem.

Shostakovich composed his rarely heard Five Fragments (1935) as experimental �practice runs� for
his Fourth Symphony. They are brief aphoristic utterances in a spare style redolent of Schoenberg,
Berg and Webern. The first two Fragments are rhythmically quirky and tersely �modernistic.� No. 3 is slow
and pensive, with long-held notes high in the violins. Short though it is (though it is the longest movement
at a little under four minutes), it is strangely affecting, both sad and tender. No. 4 begins with bassoon
soon joined in counterpoint by clarinet, then oboe, followed by the arrival of strings in the final minute.
The edgy fifth number opens with snare drum and violin, recalling the life/death battle between the
devil and the hapless soldier in Stravinsky�s L�Histoire du soldat.

Music Composed by Dmitri Shostakovich
Played by The Seattle Symphony and Chorale
With Charles Robert Austin (bass)
Conducted by Gerard Schwarz

"The Execution of Stepan Razin is a sort of sequel to the 13th Symphony, in that it sets a poem by
Yevtushenko and even shares some thematic elements. It really is a magnificent work, and at half
an hour, a major statement. Shostakovich put all of his considerable skill as a composer of film music
into making the accompaniments as colorful as possible, while the choral writing and passages for
bass solo are thrilling. Why it�s not better known remains a mystery: it deserves to be as popular
as Prokofiev�s Alexander Nevsky or Rachmaninov�s The Bells.

This is a very exciting performance, with fine work from the chorus and a terrific orchestral
contribution making for climaxes of terrifying impact. Bass soloist Charles Robert Austin lacks the
last degree of Russian depth to his tone, and he has a tendency to shout in order to compensate
for the lack of weight, but he gets through the part with his honor intact. If you don�t know this
spectacular piece, here at last is an easy and inexpensive way to hear it.

I enjoyed the couplings too, though they are not significant Shostakovich. October is a typical piece
of Socialist Realism close in tone to the 12th Symphony, but it�s very exciting and effectively
written, and only the obligatory triumphant ending, which Shostakovich makes no attempt to
reconcile with the tone of the rest of the piece, lets it down a bit. Once again, the performance
has the necessary grit and drive.

The Four Fragments bear a slight relationship to the music of the Fourth Symphony (the goofy
waltz in the finale, especially), but are so, well, fragmentary that I wonder why they are played at
all. In last analysis, they remain a curiosity and little more, but I can�t argue with including them
to round out a program nicely organized as �sequels and prequels� to various symphonies. Very
fine sound, with a big, rich bass response that suits the music well, seals the deal. Essential for
Shostakovich fans."
Classics Today

"The Execution of Stepan Razin" by Sergei Kirillov.

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 123 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!IEBH0AyY!JjULCg74zTgr2OQ8S2O6CVPDs8R29uubd_6UGXh 6VWc

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laohu

11-11-2013, 05:01 AM

Keep them going wimpel69 :)

wimpel69

11-11-2013, 09:43 AM

No.473

Ingvar Natanael Lidholm (*1921) is a Swedish composer. Ingvar Lidholm was born in J�nk�ping.
He was a pupil of Hilding Rosenberg from 1943 to 1945, becoming a viola player with the Royal Swedish
Opera Orchestra. Having been awarded the Jenny Lind Fellowship for 1946�7, he travelled to France,
Switzerland and Italy. He was musical director of the "�rebro Orchestral Society" from 1947 to 1956.

Lidholm was a member of Karl-Birger Blomdahl's controversial radical "Monday Group". His early style
was influenced by Igor Stravinsky, B�la Bart�k and Paul Hindemith. Later he became atonal, and sometimes
serial. He taught composition at the Kungliga Musikh�gskolan i Stockholm (Royal Swedish Music College)
from 1956 to 1965. He wrote Poesis (1963) for the 50th anniversary of the Stockholm Philharmonic,
which was a far more radical piece than they had expected. This work was his last to use the 12-tone
serial technique. After that, he turned away from this complex style and adopted a simpler, hymn-like
approach. He was still experimenting with electronic music in 1971.

Between Poesis and Greetings from an Old World there was a gap when he wrote no
orchestral music. He quotes from a song by Heinrich Isaac in the latter. Similarly, in Kontakion
he uses Russian Orthodox choral music. Somewhat like Benjamin Britten his music is a kind of bridge
between early music, and the avant-garde.

Music Composed by Ingvar Lidholm
Played by the Royal Stockholm Philharmonic Orchestra
Conducted by Gennady Rozhdestvensky

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 151 MB (incl. cover, booklet)

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***

No.474

Irving Fine was born in Boston, Mass., on 3 December 1914 and first studied piano; he was
an admired pianist throughout his career, and was particularly esteemed by colleagues for his
sight-reading ability. Fine went to Harvard University, attending the composition and theory classes
of Edward Burlingame Hill and Walter Piston; he received his BA in 1937 and his MA a year later;
at Harvard he also studied choral conducting with Archibald T. Davidson and, at Tanglewood,
orchestral conducting with Serge Koussevitzy. In 1938-39 he attended Nadia Boulanger�s
composition classes at Fontainebleau.

Fine�s music initially shows the impress of Stravinsky�s neo-classicism, but a more Romantic elemen
t combined with Fine�s essential lyricism from around 1950 onwards, most notably in the Notturno
for strings and harp of 1950-51 and the Serious Song (subtitled "A Lament for String Orchestra")
of 1955. An interest in the twelve-tone system began to colour his music during the 1950s, but Fine
never went all the way towards serialism; instead, it allowed him to accommodate a higher degree of
dissonance in his music without compromising its textural clarity. All these influences combined in his
final and most important work, the Symphony of 1962 (an opera and a violin concerto were
unfinished at the time of his death). The Symphony has a powerful onward thrust, animated by
jagged, driving rhythms and bold, confident gestures. Fine conducted its premiere less than two weeks
before he died.

Music Composed by Irving Fine
Played by the Moscow Radio Symphony Orchestra
Conducted by Joel Spiegelman

"Irving Fine, a composer roughly contemporary with Bernstein and who died young,
made his career in Boston and taught for many years at Harvard and Brandeis. He didn't
write much and probably destroyed more than he published. Music of exquisite workmanship,
however, survives. Unlike Barber, Bernstein, or Copland, he never had a hit, but like Walter
Piston and Roger Sessions, he became a "composer's composer." To some degree, it's an
unfortunate label, because it calls up in people's minds the evil bogeyman of the Academic
Composer, out to destroy the Good, the Beautiful, and the True (in favor of the Bad and
the Ugly) in music forever. Fine's music, however, is bright and beautiful, rhythmically
exciting, argumentatively attractive and focused, and glittering in its colors. If you like
Stravinsky's P�trouchka or "Dumbarton Oaks" Concerto, you should have no trouble at all
with Fine. Nevertheless, although Fine got much from Stravinsky, there's very often a
personal element, deriving from American pop and jazz � highly sublimated, often just a
turn of melody � that give his works a bigger, more open emotional quality than Stravinsky
normally delivers.

Around Fine's death in the 1960s, the Boston Symphony Orchestra released a recording
of Leinsdorf conducting the Toccata Concertante and A Serious Song and of the composer
conducting his own Symphony. This turned me on to Fine. As it happens, Fine also wrote
some of the best American choral music � The Hour-Glass Suite (on poems by Ben
Jonson), The Choral New Yorker, and a series of pieces on lyrics from Alice in Wonderland
and Through the Looking-Glass � all of which I got to sing. The lack of any extraneous
or unnecessary note marks his music, as does directness of expression � the mark not
only of a great miniaturist, but of a composer with something to say. Much of Fine's output
is in miniatures, but by the end of his brief life he had expanded the stage for his ideas.
There's nothing miniature about the Symphony � a big, noble, passionate work that
deserves a larger audience. It seemed to take Fine a long time to move from one to
the other, however � under normal circumstances, a reasonable expectation � but
Fine died young, just after he had, I think, really found himself. A violin concerto and
an opera remained unfinished.

"Blue Towers" � in Paul Moor's great phrase, "Fine's finer version of a college football
pi�ce d'occasion" � immediately winning, with no condescension in craft, breezes along
like an Isham Jones tune, full of big strides and open spaces within its three minutes.
Music for Orchestra began life as Music for Piano. Joel Spiegelman, the conductor,
orchestrated them. The little pieces are very Stravinskian indeed, borne out by the
dedication to Nadia Boulanger. Spiegelman's orchestration emphasizes this, with
colors coming from the "Dumbarton Oaks" part of the Stravinskian palette. Actually,
the scoring is very close to the orchestral music Fine was writing in Forties (when
he wrote the piano pieces). I congratulate Spiegelman on his ear and, paradoxically,
on his imagination. He has not given us a "one-color-fits all" or the standard box of
instrumental Crayolas, but an orchestration full of delightfsurprises. My favorite
movement consists of a set of variations, especially the first one, a gorgeously
singing andante, that shows, among other things, how Copland and Stravinsky
connect. The subsequent allegro canonic duet between flute and oboe both delights
and sets the blood racing.

Toccata Concertante represents the apex of the Stravinskian Fine, and (with Talma's
Toccata for Orchestra) it's one of the great masterpieces of neo-classicism, and not just
the American branch either. Throughout its 11 minutes, it shows a composer really
grappling with the problem of expanding the emotional range of neo-classicism while
exhibiting formidable logic and craft. The entire work grows from one very arresting idea.
It has nothing to apologize for, even in the company of Stravinsky's Symphony in
Three Movements and Symphony in C. It blazes, it smokes. I sometimes wonder how
Fine (and several other composers) could have refined their craft to this extent without
the support of Koussevitzky and the Boston Symphony. At any rate, I prefer the
performance of Leinsdorf and the Boston Symphony Orchestra (as far as I know, not
currently available) to that of Spiegelman and the Russians � more driving and sharply-
articulated, more brilliant in tone � although the high quality of the work comes
through in both.

Fine's Symphony represents his most extended work in the serial vein. I know that once
I mention "Schoenberg" or "serial," most people will just shut me off. But it's Schoenberg
with a difference. I'm convinced that it's not Schoenberg's atonality that puts people off,
but his rhythm and phrasing, derived from post-Tristan habits of melody and orchestration.
If you didn't know Fine's symphony were serial, I doubt it would occur to you. The thing
dances. The "Capriccio" second movement drives as much as the Toccata Concertante.
Throughout the symphony, the gestures are sharp and memorable, the rhythm clearly
defined, as opposed to the aural slough of boops and squeaks most people think of
when they think of atonality. It's Schoenberg with a difference. Fine hadn't wasted the
years spent with the ballet-master Stravinsky. What the change seems to do to Fine's
music is open it up emotionally, to make it more passionate by removing the little
ornamental hedgerows of neo-classical galanteries. The hardest movement is the "Ode"
finale, but it also plunges the deeps. The ideas appear with such definition, the listener
tends to retain them. Fine even manages to end nobly � something most serialists
find hard. I don't believe you need know anything about the dodecaphonic method of
composition to recognize and respond to the magnificence of this finale."
Classical CD Review

Irving Fine, 1914.

Source: Delos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 147 MB (incl. cover)

Download Link - https://mega.co.nz/#!5tlRXAbK!Qbl5lUF7fALqikYf3K2XrU46z-0fFo0A9FMAVPBXbD0

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wimpel69

11-11-2013, 11:37 AM

No.475

Boris Ivanovich Tishchenko (also: Tischenko, or Tischtschenko), Russian Бори́с Ива́нович Ти́щенко;
1939–2010) was a Russian and Soviet composer and pianist. He studied at the Leningrad Musical College
from 1954 to 1957. There he learnt composition under Galina Ustvolskaya and piano under Mikhelis.
Then from 1957 to 1963 he studied composition with Vadim Salmanov, Victor Voloshinov and Orest
Evlakhov, and piano with L. Logovinski at the Leningrad Conservatory. He took a postgraduate course
with the composer Dmitri Shostakovich from 1962 to 1965. He taught at the Leningrad Conservatory
from 1965, and became a professor there in 1986.

Tishchenko's music style and composing manner shows him to be a typical representative of the Leningrad
composers' school. He was very much influenced by music of his teachers Dmitri Shostakovich and Galina
Ustvolskaya, turning these influences in his own way. He tried to use some experimental and modernist
ideas like twelve-tone or aleatoric techniques, but was much more attached to the native traditions
of his homeland.

The symphony as a form is critical to Tischenko's ouput. The notes tell us that there are seven numbered
symphonies plus the French Symphony (after Anatole France), The Blockade Chronicle Symphony and
'the majestic cycle of Dante Symphonies.'. His second violin concerto is termed a 'violin symphony'.

Music Composed by Boris Tishchenko
Played by the Leningrad Philharmonic Orchestra
Conducted by Andrey Chistyakov & Edward Serov

"The First Symphony is in five movements - as is his sixth - and dates from his student years.
The work begins in an enchanted evocation of northern nights. It gradually aggregates tension to the point
of unbearable strain. In doing so it recalls the music for the Teuton Knights in Prokofiev's Alexander Nevsky.
The music then relaxes back into a sort of tense serenity underpinned by gong strokes. After that Moderato
comes a similarly lengthy Andante. This develops the aurora of ecstasy again with a strained intensity bearing
some spiritual relationship to Eduard Tubin's Sixth Symphony. It is macabre and tragic all at once. The braying
trumpets leave us in no doubt that this music is steeped in acidic grief. A softened sentimental element
comes with a soprano vocalise. The macabre returns for the feral blast of the short Presto with its
vituperative drum-kit cannonade. The succeeding Allegretto offers some slight relaxation - but not much.
The finale brings together a sense of awful apocalypse and trenchant triumph. This is expressed with an
awesome whirlwind of climactic emphasis.

The Blockade Chronicle Symphony shows the composer at full maturity with a massively inventive
palette of sounds. The music tracks through devastation as it is happening: falling buildings, wailing salvos of
assault-rockets, the sounds of haunted desolation. Redemptive elements include hints of the sort of orison-
hymnal drawn from Panufnik and an exhausted benediction. Strangely downward-sliding shrieks and soloistic
instrumental voices reach in despair out of the orchestral skein. The music rises to further protest and then
sinks again. A waltz ostinato emerges expressively, rather as it does in the final movement of Tischenko 6.
The brass call out in extraordinarily triumphant music. The scorch and inbuilt harshness of the brass writing
sounds a little like Jan�ček. Tischenko sustains the triumph with extraordinary tenacity across page after
page but then allows this to end and in saunters that waltz again. As Denisov writes, that waltz embodies
the past 'living in our memory and never surrendering to oblivion'."
Musicweb

Source: Northern Flowers CD (my rip!)
Format: mp3, 320k/s (CBR), ADD Stereo
File Size: 198 MB (incl. cover & booklet)

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wimpel69

11-12-2013, 09:30 AM

No.476

Eyebrows would have been raised at the Op�ra Comiquein 1937 at the notion of a ballet set in
Reading Gaol, not to mention at the author of the poem that inspired the ballet and the background
of his personal experiences as a convict. The way Jacques Ibert understood and transmitted
Oscar Wilde�'s humanitarian message with its moving account of the harsh prison atmosphere,
dominated by the story of a man who murdered his beloved, astonished and impressed that first
audience against all expectation. Ibert originally conceived La Ballade de la Ge�le de Reading
as a symphonic poem, writing the work between 1920 and 1922. The first performance took place
on 22nd October 1922 at the Paris Concerts Colonne, when it was conducted by Gabriel Piern�,
to whom it is dedicated. The sections of the piece correspond to those of Wilde's poem in
its French translation. Ibert's first symphonic work, though still influenced by Debussy, Ravel
and Dukas, is an extremely mature and powerful score, masterly in its orchestration.

The Trois Pi�ces d eBallet, Les Rencontres, was inspired less specifically than Elgar's
Enigma Variations of 25 years before. Ibert's mother, who was a music-lover and a sculptress,
kept an artistic salon at her house, where intellectuals and society friends would gather. Ibert
decided to portray some of these characteristic guests in music, at first in a set of five piano pieces
which he called Rencontres, written in 1921-22. Two years later he orchestrated them and entitled
a selection of three numbers Trois Pi�ces de Ballet. In the case of any stage performance,
choreography was left to the imagination of anyone who cared to stage the work, as Nijinska
did at the Paris Op�ra in 1925. The present recording makes use of the three-part concert suite.
Trois Pi�ces de Ballet foreshadows that colourful and witty mixture of neo-classicism and
the music-hall style of the 1920s of Ibert's maturity.

As its title reveals, F�erique (1924) brings us into a fairy world and is correspondingly
orchestrated. Impressionistic in mood, in common with much of Ibert's music of this period.
It contains a central section of scherzo-like character, rising to a climax at the recapitulation,
in which the original lyrical theme re-appears, culminating in a glowing and rhythmically
affirmative tutti. An exciting discovery among Ibert's early compositions, Chant de Folie
was inspired by the horrors of war which the composer had himself experienced as a young man.
It was completed in 1923-24 and dedicated to Sergey Koussevitzky. This short and dramatic
setting for mixed chorus and large symphony orchestra is based on an implacable and vigorous
marching rhythm. At first tonal, the harmonies thicken and increase in dissonance.

Ibert's music for Shakespeare's A Midsummer Night's Dream, an interesting discovery,
makes a worthy addition to the music for the play by Mendelssohn. The composer compiled the
Elizabethan Suite from his score for a Marseilles performance of the play in 1942. Four of
its movements are neo-classical adaptations of pieces by Elizabethan or post-Elizabethan English
composers, John Blow (Pr�lude), John Bull (Entr�e), Orlando Gibbons (Cort�ge) and Henry Purcell
(Final). An additional English theme, the sound of Big Ben, is humorously quoted in Dancerie.

Music Composed by Jacques Ibert
Played by the Slovak Radio Symphony Orchestra
With the Slovak Philharmonic Choir
Conducted by Adriano

"The Ballad of Reading Gaol"

I (Track 1)
He did not wear his scarlet coat,
For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed. (...)
And so he had to die. (...)
I never saw a man who looked
With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by. (...)
He only looked upon the sun.
And drank the morning air. (...)
For strange it was to see him pass
With a step so light and gay,
And strange it was to see him look
So wistfully at the day,
And strange it was to think that he
Had such a debt to pay.

II (Track 2)

That night the empty corridors
Were full of forms of Fear,
And up and down the iron town
Stole feet we could not hear,
And through the bars that hide the stars
White faces seemed to peer. (�K)
The hangman, with his little bag,
Went shuffling through the gloom. (...)
The grey cock crew, the red cock crew,
But never came the day:
And crooked shapes of Terror crouched,
In the corners where we lay:
And each evil sprite that walks by night
Before us seemed to play.
They glided past, they glided fast,
Like travellers through a mist:
They mocked the moon in a rigadoon
Of delicate turn and twist,
And with formal pace and loathsome grace
The phantoms kept their tryst. (...)
About, about, in ghostly rout
They trod a saraband:
And the damned grotesques made arabesques,
Like the wind upon the sand! (...)
But with flutes of Fear they filled the ear,
As their grisly masque they led,
And loud they sang, and loud they sang,
For they sang to wake the dead.

III (Track 3)

The morning wind went wandering round
The weeping prison-wall: (...)
With sudden shock the prison-clock
Smote on the shivering air,
And from all the gaol rose up a wail
Of impotent despair,
Like the sound that frightened marshes hear
From some leper in his lair. (�K)
We saw the greasy hempen rope
Hooked to the blackened beam,
And heard the prayer the hangman's snare
Strangled into a scream. (...)
They hanged him as a beast is hanged! (...)
But hurriedly they took him out,
And hid him in a hole.
The warders stripped him of his clothes,
And gave him to the flies. (...)
And there, till Christ call forth the dead,
In silence let him lie:
No need to waste the foolish tear,
Or heave the windy sigh:
The man had killed the thing he loved,
And so he had to die.

Source: Marco Polo CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 157 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!ththXb6C!JpfjV3Vl_ReCtCCtEfiLcweQa6pI_Q5AjnAk4kR faiA

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wimpel69

11-12-2013, 01:56 PM

No.477 (by request)

A pupil of C�sar Franck and of Widor, Charles Tournemire (1870-1939) continued the French
tradition of organist-composers. Much of his music is deeply rooted in his Catholic faith, in which he
found a refuge and solution to the horrors of contemporary materialism. The Russian associations
the Moscow Symphony may have been a key factor: in marked contrast to the earlier issues,
the orchestra here sound at home from the very first bar, and the jolly tintinnabulations of the
dance-like scherzo come off very well. Tournemire started the Third Symphony after a trip
to Russia in 1911. The CD cover details its title as "Moscow 1913", though both Grove and Joel
Marie Fauquet's notes omit "1913", merely the year of completion and not indicative of any
programme concerning pre-Great War Russia. As its title suggests, Symphony No.8 (1920-24;
Fauquet's notes give conflicting completion dates three years apart) had a baleful inspiration - the death
of the composer's wife in 1919. Tournemire became receptive to modern trends around this time, which
might explain the score's more elusive atmosphere and resonances of Debussy, Holst and Prokofiev.

Music Composed by Charles Tournemire
Played by the Moscow Symphony Orchestra
Conducted by Antonio de Almeida

"This release marks a lovely conclusion to this courageous survey of Tournemire's
symphonic oeuvre....we will remain deeply indebted for many years."
Fanfare

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File Size: 171 MB (incl. booklet)

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wimpel69

11-13-2013, 09:47 AM

No.478

http://i1084.photobucket.com/albums/j415/wimpel69/ct_disc-of-the-month_zps989dac5f.gif http://i1084.photobucket.com/albums/j415/wimpel69/Gram_ContempoComposition_zps290409b3.gif http://i1084.photobucket.com/albums/j415/wimpel69/Gram_Orchestral_zps4e56999c.gif

Hailed as one of the most successful woman composers of all time in The New Yorker magazine,
Joan Tower (*1938) was the first woman ever to receive the Grawemeyer Award in
Composition in 1990. She was inducted in 1998 into the American Academy of Arts and Letters,
and into the prestigious Academy of Arts and Sciences at Harvard University in the fall of 2004.
The same year, she was honored by Carnegie Hall with an all-Tower concert as part of their Making
Music Series. In 2006 she received an Honorary Doctorate from the New England Conservatory.
Since 1972 Tower has taught at Bard College where she is Asher Edelman Professor of Music. She
is Composer-in-Residence with the Orchestra of St. Luke's (since 1997) and the Deer Valley
Festival in Utah (since 1998), a position she also held with the Saint Louis Symphony Orchestra
(1985-1988) and the Norfolk Chamber Music Festival (1995-2003).

Imagine what would happen if the entire classical music world banded together. What sort of
power could they wield? In a project spearheaded by the American Symphony Orchestra
and Meet The Composer, and fueled by funding from Ford Motor Company Fund and the National
Endowment for the Arts, a group of 65 smaller budget American orchestras did just that in 2001.
This collective power was not about financial gain or political clout. These orchestras joined forces
to create something that was uniquely theirs, and in the process the largest commissioning
consortium in history was born. The result of their ground-breaking collaboration was a new
composition of pure Americana by Joan Tower, Made in America.

Tower was keenly aware that the work would be played by many different orchestras, often
comprised of part-time musicians of varying ability. She knew she should write a piece that
was satisfying to play and just challenging enough, but not impossible to execute for the
average player, and, since it would be heard across the country, it had to appeal to city-dwellers,
suburban music-lovers and rural residents alike. Tower succeeded in creating an accessible
composition that has broad appeal and yet is not trite or derivative. From its premiere by the
Glens Falls ( New York ) Symphony Orchestra on 2 October, 2005, up to Juneau ( Alaska )
Symphony's performance in June 2007, Made in America has been performed in all fifty
states and thus enjoyed unprecedented exposure for a brand-new composition.

Joan Tower on Tambor: "This fifteen-minute work features the percussion section,
whose members essentially have three functions inside the orchestra: to underscore the
different timbres and rhythms of other sections of the orchestra, to act as counterpoint to
the orchestra, and to serve as sectional soloists in several minor and major cadenzas
throughout the work. While I was writing this piece, the strong role of the percussion began
to influence the behavior of the rest of the orchestra to the point that the other instruments
began to act more and more like a percussion section themselves. In other words, the main
'action' of the work becomes more concerned with rhythm and color than with motives or
melodies (though these elements do make occasional appearances here and there)."
The title is the Spanish word for "percussion" (and not a reference to the actor Jeffrey Tambor).

Compositions featuring instruments of the orchestra hearken back to the seventeenth-century
concerto grosso, where groups of instruments were set apart from the ensemble in solo passages.
In the twentieth century, B�la Bart�k made bold use of this compositional technique with his
monumental Concerto for Orchestra. Joan Tower 's Concerto for Orchestra features the
instruments of the orchestra similarly, in solos, pairs and sections. Concerto for Orchestra requires
not only precision and virtuosity from the individual players, but also from the ensemble in its entirety.
The virtuoso sections are more than just window-dressing; they are an integral part of the music.
The work is in two continuous parts, beginning with layers of unisons punctuated by gossamer figures
in the upper winds. The first instrument to be featured is the French horn, for which Tower
composed a free cadenza. Later, there is an extended lyrical section in which the cello section is
featured alone. Toward the end of the first half of the piece, two trumpets are heard in a challenging
rapid interplay of motives. Part two is announced by an extended solo for first and second violin,
followed by English horn and tuba solos. A rising five-note chromatic line acts as connective tissue,
building to a climax five minutes before the end in which nearly the entire orchestra is
playing block chords.

Music Composed by Joan Tower
Played by the Nashville Symphony Orchestra
Conducted by Leonard Slatkin

"This album exemplifies Joan Tower’s far-reaching skills as a composer and her ability to
successfully reach a wide audience. The story of the composition “Made in America” is almost
as interesting as the work itself. Commissioned by a consortium of 65 orchestra (at least one
from each of the 50 states), “Made in America” has reached a more wide-spread audience in a
short span of time than many other modern compositions do in a decade. A sort of fantasia on
“America, the Beautiful,” “Made in America” was intentionally composed to appeal to a wise
cross-section of the American population. Also on the album is “Tambor”—an energetic and rousing
tour-de-force for the orchestra’s percussion section—and Tower’s two-part Concerto for Orchestra -
one of the few such compositions to live up to the level of Bartok’s pinnacle work of the same
name. Magnificent works deserve an equally stellar performance. Leonard Slatkin’s leadership
of the Nashville Orchestra rises to that expectation. The ensemble delivers a thoughtful and
insightful performance of Tower’s works. The percussion section in particular deserves kudos
after meeting the Rouse-like demands made of it in “Tambor.” Absolutely a worthwhile
representation of the best that American art music has to offer."
All Music

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 130 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!x9NEiDDA!V3mORE_Qf3xlWmfFOyhOPFcFhBBcOmsmNkPTvnO JguY

I accidentally uploaded the front and booklet of another Joan Tower album. These are the correct ones:
https://mega.co.nz/#!N9cTnA4L!Nkwe6C9xTuE5bk1FbnRUE1cgfV9PffnyUPJlXwC PTWw

Enjoy! Don't share! Buy the original! :)

wimpel69

11-13-2013, 06:21 PM

American composer Arnold Rosner, whose music I first uploaded as No.99 (http://forums.ffshrine.org/f92/wimpel69s-could-film-music-classical-corner-work-121898/6.html#post2205687)
of this thread (including the Sephardic Rhapsody, Concerto for Two Trumpets and Orchestra,
and suite from the opera The Tragedy of Jane), has died at the age of 68.

No.479

"Why would a composer of unmixed Jewish ancestry choose to set several Roman Catholic texts for chorus,
write instrumental fantasies based on Protestant hymns, or compose a full symphony in the design of a Mass
without singers�and then to dedicate that work to George McGovern, the candidate who suffered the most
devastating electoral defeat in the history of the American presidency? Now, some thirty-odd years later,
perhaps some explanation is in order. To start with, during the eighteenth century, music
history stepped both forward and back. The progress was in the tightening of form and structure, and in the
expansion of the orchestra; but the regression was in the language of harmony, especially harmonic progression.
The chief r�le of harmony became a subordinate reinforcement of a restricted and highly formulaic
notion of tonality. Prior to that, modal and chromatic activity, with its attendant richness, variety, and pathos
had reached a high plateau around 1600, as in the works of Victoria and Lassus. Indeed, one might argue that
Monteverdi�s 1610 Vespers reached a peak not attained again for centuries.

Symphony No.5 �Missa sine Cantoribus super Salve Regina�, is the most extended of my neo-modal
works. As the entire Salve Regina hymn is quite long, I have used mostly the first three phrases as cantus firmus
in all but the second movement of my piece. There I revert to a later phrase, treated in an almost dance-like
6/8 rhythm. The clearest statement of the fundamental chant melody is heard at the beginning of the fourth
movement. My work and Nicolas Flagello�s Missa Sinfonica are natural companions for presentation on a recording �
the idea of musicologist Walter Simmons."
Arnold Rosner (1945-2013, R.I.P.)

Music by Nicolas Flagello & Arnold Rosner
Played by the National Symphony Orchestra of Ukraine
Conducted by John McLaughlin Williams

"Flagello's Missa Sinfonica arcs from a sturdily Rubbra-like Kyrie with echoes of the aspirational
pilgrimage of Hanson's Sixth Symphony to a plunging and catchily playful Gloria soon lost in romantic
wonderment (4:26). The statuesque Credo is earnestly reflective, somewhat in the spirit of Vaughan
Williams but with a more overtly romantic sensibility. Then comes the sparkling Sanctus with its
rhythmic vigour paralleling that of the Gloria but with a curvaceous grand melodic underpinning that
bridges, with a natural continuity of pulse, to the Agnus Dei finale. This is romantic (3:20) but firm
as the roots of the mountain and enduringly memorable for its lyrical heft and clamantly grasped
majesty. The final fade recalls the confident abnegation of Vaughan Williams 5 and Rubbra 4.

Arnold Rosner's Fifth Symphony has practically the same movement structure and names. As we
know from the frugal catalogue of his works on record Rosner's music is serious, shot through with
light, borne up by melody and ever distant from triviality. The neo-modal accents cannot help but
become entangled in a redolence of Vaughan Williams - especially his Fifth Symphony, Pilgrims
Progress and Tallis Fantasia. Hovhaness is also within hailing distance. Try the start of the Credo
with its shades of the Armenian-American composer's various meditative-invocatory works for
solo brass instrument and orchestra. There is also a spirit of Tudor dance which no doubt links
with Rosner�s opera The Chronicle of Nine (1984). In the Agnus Dei the language bows in
endearment towards Nielsen (symphonies 5 and 3) and to Vaughan Williams (symphonies 5, 8, 9).
Its climax streams through the heavens, suffusing the firmament with an extended and
sustained orison. This work represents a peaceful blessing bestowed on a cruel world. This is in
contrast to the Flagello which keeps a Barber-like emotional turmoil in its tread. Rosner should
be treasured as much as Ronald Stevenson whose Ben Dorain has recently been premiered in
Glasgow. Let�s hope he is performed more often than has to date been Stevenson�s fate."
Musicweb

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 176 MB (incl. cover, booklet)

Download Link - https://mega.co.nz/#!VcxEzIqS!CGYfj3Y18rdeKgcEENhaNwu3WeEVDhGWE5ThuTG 0Dy0

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wimpel69

11-14-2013, 09:37 AM

No.480

Dutton Epoch's pioneering recording of the BBC Concert Orchestra conduicted
by Ronald Corp in several once popular works by John Foulds is a delightful discovery
for admirers of this composer's serious music and light music buffs alike. Most of this catchy
and engaging selection has never previously been recorded, and includes three substantial
orchestral suites (including the Keltic Suite with the "Keltic Lament" a popular piece in its day),
as well such entrancing numbers as the oriental nocturne An Arabian Night,
the miniature tone poem The Isles of Greece and the delightful Sicilian Aubade.

Music by John Foulds
Played by the BBC Concert Orchestra
Conducted by Ronald Corp

"The music of Manchester-born John Foulds has had a steady revival. It can be charted from
Malcolm Macdonald’s Triad press book and since the British Music Society first gave sponsorship
to Pearl for the Endellion recording of the Quartetto Intimo in the early 1980s. Lyrita and Warner
have done well by his orchestral music. The Proms have seen revival of a number of his works
including the Mantras and the Dynamic Triptych, both fantastically imaginative and revolutionary
scores. His enthusiasms for Celtic and Greek cultures are well enough known, paralleling those of
Granville Bantock. He later took a strong interest in Indian culture and his last years were spent
as Music Director of All-India Radio. Amongst his last and lost work is the Symphony of East and West.

Dutton and its select band of pilgrims now present a splendid collection of his lighter music. This
is not the experimental Foulds of Avatara, Intimo, Cello Sonata, Meditations, Dynamic Triptych,
Lyra Celtica or Mirage. But it's still beguiling. The wide-ranging romance of the Keltic Overture is
distinctive with its clan horn-calls, whirlwind grandiloquence and the odd jig thrown in to reflect
a union of Gaeldom across Scotland, Wales and Ireland. The three-movement Keltic Suite dates
from 19 years earlier and includes the swooning Keltic Lament here swayed with mastery by
cello principal Katharine Wood. As a suite it has a certain kinship in mood and ambition with
Gustave Charpentier's Impressions d'Italie. The Clans is brash, a shade bombastic and those flute
skirls suggest the bagpipes. A Lament is the very same Keltic Lament that made Foulds' name
in tens of different arrangements from seaside bandstand to salon, to front room to concert hall.
It stays just this side of sentimental and can be counted with the populistic side of Elgar, Harty
and Bantock. Indeed it would be surprising if Paxton who recorded lots of Bantock fantasy-exotica
'postcards' had not done the same for this adeptly shaped piece of misty-eyed Celticism. The
finale is redolent of Dvor�k in his Slavonic Dances and of Harty at his most ersatz Irish in
the Irish Symphony.

Sicilian Aubade again can be thought of as a sort of craftsmanly cross between Charpentier's
Impressions, Massenet's orchestral suites including the one from El Cid and Tchaikovsky's Capriccio
Italien. It is a sun-warmed mood piece, a relaxed serenade and nothing too profound. One of Foulds'
most captivating pieces, whether in the toweringly difficult piano solo or in the lissom and spring-
fresh orchestral version, is his April-England. That work is Op. 48 No.1. Isles of Greece is Op. 48
No. 2. It's an idyllic, wave-lapping picture with an undertow of emotion. This Mediterranean essay
would pair nicely with Bantock's Pagan Symphony, Nielsen's Helios and Sibelius's Oceanides.
Holiday Sketches is an early memento of holidays in Germany. It reflects the carefree innocence
of Elgar's Bavarian Dances and From the Bavarian Highlands. This was a time from before the Great
War when holidays in Germany among the aristocracy and upper middle classes were not unusual.
The Festival in Nuremberg movement is brash and whoopingly confident. Romany from Bohemia
adds some gypsy violin fire - here vouchsafed by Cynthia Fleming. In truth this is not the strongest
movement of the Sketches. Katharine Wood returns for the cello solo in Evening in the Odenwald.
All is at peace and the callow traveller gazes out over the still woodlands contentedly with his
arm around his light of love. Bells at Coblentz has the bells ringing out across the town in
celebration of some feast or saints day. There's even time for some wistful yet not languid banter
suggested by woodwind in flickering dialogue before those brazen Wagnerian farewells.

An Arabian Night delivers on the title with a sinuous sway and scimitar-moon images. The solo
cello again gives voice to the amorous and is joined by solo violin with the suggestion of exotic
tinkling and shivering percussion. The Suite Fantastique recycles incidental music Foulds wrote
for Sacha Guitry's play Debureau. He had already mined it for the flouncy overture Le Cabaret
which you can hear on Lyrita. There are four movements to the Suite. The first is Pierrette and
Pierrot. These fairytale lovers were the subject of several musical works around the turn of the
century. Bantock's impressionistic Pierrot of the Minute (Chandos and Hyperion) and Joseph
Holbrooke's little opera Pierrot and Pierrette are other examples. Foulds' sequence is graceful
yet shallow. They skate over the surface of the emotions - facile rather than probing or profound.
The whole sequence is a sort of floaty 1920s equivalent of the Britten-Rossini Matinees Musicales
or Soirees Musicales."

This disc is a splendid addition to the light music catalogue, enjoyable in general and
remarkable for The Isles of Greece.
Musicweb

Source: Dutton Epoch CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 155 MB

Download Link - https://mega.co.nz/#!l0VhSSiA!K6KFfVfpNX2mnMzlmHnXv1cC9oBBkbzu0tGKYMq UT0o

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Cristobalito2007

11-14-2013, 02:48 PM

Thank you for lots of these, especially enjoying Joan tower

wimpel69

11-15-2013, 09:53 AM

No.481

American Orchestral Works contains world-premiere recordings of music by
three generations of contemporary composers, some well established, others poised
for greatness. Featured are Barbara Kolb's propulsive All in Good Time (1993),
Aaron Jay Kernis's richly chromatic Sarabanda in Memoriam (2003), Michael
Hersch's powerful Ashes of Memory (1999), John Corigliano's celebratory
Midsummer Fanfare (2004), and John Harbison's masterfully crafted
Partita for Orchestra (2000).

Music by (see above)
Played by the Grant Park Orchestra
Conducted by Carlos Kalmar

"The idiomatic authority that Carlos Kalmar (the Uruguayan-born Austrian principal conductor
of the Grant Park Orchestra) brings to American music puts the comparatively half-hearted efforts
of many a native son to shame. For the last couple of years Cedille Records producer James
Ginsburg has been devising worthwhile American projects for Kalmar and his ensemble, and
this new CD is their latest, holding first recordings of six recent American symphonic scores.
It is a winner.

The most deeply affecting piece, to my ears, is Aaron Jay Kernis' "Sarabanda in Memoriam"
(2003), an arrangement for string orchestra of the slow movement from Kernis' 1997 String
Quartet No. 2. What was originally intended as music for private mourning became, after Sept.
11, a more public lamentation. Kernis' elegiac lyricism draws on rich string sonorities that
rise to a searing unison outburst at the climax of the piece.

The title of John Harbison's Partita for Orchestra (2000) has two connotations--partita means
"game" in Italian but it also refers to a Baroque suite of dance-inspired pieces. Accordingly, the
four sections of Harbison's concerto for orchestra play postmodern fun and games with
antique dance forms. The musical result is inventive, colorfully scored, formally clear-cut and
slyly engaging.

Sharing the disc are Barbara Kolb's "All in Good Time" (1994), which suggests the feel-good
Minimalism of Michael Torke in its patterning of repeated rhythmic material; and John Corigliano's
jubilant "Midsummer Fanfare," commissioned by the Grant Park Music Festival for its inaugural
season at Millennium Park in 2004.

I was less impressed by Michael Hersch's "Ashes of Memory" (1999), despite its deft, dark
scoring and bold rhetorical sweep. Those furious strings in canonic motion and agitated whoops
of brass will sound awfully familiar to anyone acquainted with the symphonies of Shostakovich,
especially the Eighth. Hersch is a gifted composer, but it's hard to discern an original creative
voice in this piece."
Chicago Tribune

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Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 173 MB (incl. booklet)

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wimpel69

11-16-2013, 10:08 AM

No.482

The Asrael Symphony for large orchestra in C minor of 1905�1906 was written by Josef Suk
in memory of his father-in-law and teacher, Anton�n Dvoř�k (died 1904), and his wife (Dvoř�k's daughter)
Otilie Sukov� (n�e Dvoř�kov�) (died 1905). Suk began to compose his funeral symphony at the beginning
of 1905, about eight months after Dvoř�k's death. The composition was titled after the Old Testament angel
of death Asrael. The work is in five movements; the sketches of three movements were finished less than
a half year later. On 6 July 1905, while Suk was in the middle of the work, his wife Otilie died. Although the
composition was to be also a celebration of Dvoř�k's life and work, the desolated composer rejected the
optimistic tone of the rest of the work. The complete score was finished on 4 October 1906. The work was
dedicated "to the exalted memory of Dvoř�k and Otilie". Suk dedicated the last two movements to Otilie.

The influence of Dvoř�k's composing style, apparent in previous Suk's work, is not noticeable in this
composition. Suk leads his musical language rather to the modern polyphonic and harmonic techniques.
The Asrael Symphony represents a significant milestone in the context of Suk's oeuvre. The composer's
bright and optimistic character of musical expression shifts to fundamental questions of human existence.
It is today considered Suk's finest work by far.

Music Composed by Josef Suk
Played by the Czech Philharmonic Orchestra
Conducted by Vaclav Neumann

"Asreal is the angel of death that took the wife of composer Josef Suk (1874-1935) and drove
him to write the concluding sections of this mystical, death-induced five-movement symphony that
was originally meant as a paean to Dvorak, who had recently died. Legendary Czech conductor
Vaclav Neumann leads the Czech Philharmonic here in a 1983 recording made in Prague's House of
Artists. Unlike the Rudolfinum, the House of Artists provides better recording acoustics and you
hear it in this recording, where every section of the wonderful Czech Philharmonic can be heard
clearly and with the balance Neumann always insisted upon in recordings.

This recording owes no apology to Talich or any other conductor, although it can be argued
Talich's relationship with the composer gave him a certain credibility. Neumann's direct style
works in this music and, as Third Ear admitted, the playing and recording is marvelous, certainly
better and more detailed than the 1954 Talich. Both conductors used the Czech Philharmonic,
with its unique central European sound, for their recordings."
Amazon Reviewer

Source: Supraphon CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 134 MB

Download Link - https://mega.co.nz/#!R5UwgIyI!O5j0BGrBFHGI2xXhV-XoHB6Q6XgTABUA0ILr0Txsd7M
"Asrael Symphony" Full Score (PDF) - https://mega.co.nz/#!QtsXWJJJ!dqFWRFeIEy2yBuyqEb8zLXR3xMBEYaf8pCAVBmp QXlc

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f@b

11-18-2013, 09:20 AM

No.277

Johan de Meij (*Voorburg, 1953) studied trombone and conducting at the Royal Conservatory of Music in
The Hague. He has earned international fame as a composer and arranger. His catalogue consists of original
compositions, symphonic transcriptions and arrangements of film scores and musicals. His Symphony No. 1,
The Lord of the Rings, based on Tolkien's best-selling novels of the same name, was his first composition
for wind orchestra. It received the prestigious Sudler Composition Award in 1989. In 2001, the orchestral
version was premiered by the Rotterdam Philharmonic Orchestra.

Cast in 5 movements, the Lord of the Rings Symphony is not so much concerned with the detailed
events of the Tolkien novel, but with its characters.

Music Composed by Johan de Meij
Played by the London Symphony Orchestra
Conducted by David Warble

"Johannes Abraham (Johan) de Meij (Dutch pronunciation: [ˈjohɑn dʏ ˈmɛi], born November 23, 1953,
Voorburg) is a Dutch conductor, trombonist, and composer, best known for his Symphony No. 1,
nicknamed "The Lord of the Rings" symphony.

De Meij's musical career started when he was fifteen years old at the concert band Harmonie Forum
Hadriani in Voorburg, the Netherlands. At that time he was a pupil of Anner Bylsma sr. and Piet van
Dijk for trombone and euphonium. In 1976 he was conscripted and joined the military band Trompetterkorps
der Cavalerie, Amersfoort. After he finished his conscription, in 1977, he became a euphonium player
with the Amsterdamse Politiekapel.

In 1978, de Meij started his studies at the Royal Conservatory in The Hague with Arthur Moore (trombone),
and with Rocus van Yperen and Jan van Ossenbruggen (conducting).

De Meij's engagement in the professional Haags Koper Ensemble, with wind instrument players from the
Radio-Philharmonisch Orkest, Utrechts Symphonie Orkest, and Residentie Orkest was an important step
in his career. This ensemble performed national concerts and also frequently on the radio. Not only did
de Meij play music in the ensemble, he also did administrative work and wrote special arrangements and
one composition.

Soon the arrangements that de Meij wrote for concert band were played not only by the Amsterdamse
Politiekapel but also by many concert bands and orchestras in the Netherlands and abroad. Consequently
he received various requests to make arrangements for concert bands. His first symphony, entitled
The Lord of the Rings, for concert band premiered in 1988 with the Groot Harmonieorkest van de
Belgische Gidsen conducted by Norbert Nozy. The CD by the military band Koninklijke Militaire Kapel
made the symphony famous. The symphony is based on themes from the novel by J.R.R. Tolkien;
it consists of five separate movements, each illustrating a personage or an important episode from
the book. In 1989 the symphony was awarded the Sudler Composition Award. Also an orchestral
version exists, which premiered in 2001."

Source: Disky CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 89 MB

Download Link (re-up) - https://mega.co.nz/#!JEI2FYSL!OX7txXDGQxNhzfaN0JHqXDIlspt3b2EXFaPE7K-Xqm8

Enjoy! Don't share! Buy the original! :)

That's a great share, never even heard of it, curious to listen, many thanks my friend! ;)

wimpel69

11-19-2013, 09:45 AM

No.483

James Charles Barnes (born September 9, 1949 (age 64) in Hobart, Oklahoma, U.S.) is an American composer.
Barnes studied composition and music theory at the University of Kansas, earning a Bachelor of Music in 1974, and
Master of Music in 1975. He studied conducting privately with Zuohuang Chen. Since 1977 he has been a professor
of theory and composition at the University of Kansas, where he teaches orchestration and composition.
Barnes is also a tubist and has performed with numerous professional organizations in the United States.
His numerous compositions are frequently played in America, Europe, Japan, Taiwan and Australia. The Japanese
concert band Tokyo Kosei Wind Orchestra has produced 3 CDs to date with works of James Barnes. He has twice
received the American Bandmasters Association Ostwald Award for contemporary wind band music.

This is a collection of cheerful Americana for concert band.

Music Composed by James Barnes
Played by the University of Texas at El Paso Wind Ensemble
Conducted by Ron Hufstader

Source: Mark Records (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 168 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!FtckyRgJ!LAkYLiMg3-6zR5Jdiy5jxi2Iyi1PpVnnsVHHSN9t3v4
Sorry, the first track has an error at about 25 seconds in. It could not be corrected.

Enjoy! Don't share! Buy the original! :)

wimpel69

11-20-2013, 09:26 AM

No.484

Josef Tal (was born Joseph Gruenthal on September 18, 1910 in Pinne (now Poland). Tal's teachers
at the Staatliche Akademische Hochschule fuer Musik in Berlin included Tiessen, Trapp, Hindemith,
Sachs, Kreutzer and Saal. He emigrated to Eretz Israel in 1934 and taught composition and piano
at the Jerusalem Academy of Music. He was Director of the Academy from 1948 until 1952. In 1965
he joined the faculty of Hebrew University and eventually became head of the musicology department.
Numerous among Tal's works were written on biblical subject or were influenced by the Bible or
were based on epic events in Jewish history. However, in style, Tal remained faithful to his European
background and was not affected by the trends which dominated most Israeli compositions in the
1940s and 1950s which, in the main, were based either on the folklore of the various Jewish
communities in Israel or on the Eastern musical traditions of the region (the maqam). By that time,
Tal was already deep into writing12-tone music and with the passing years, his use of the
dodecaphonic elements became less and less constrained. The many honours bestowed upon
him include a UNESCO grant for the study of electronic music, the State of Israel Prize (1971),
Art Prize of the City of Berlin (1975), the Wolff Prize, Israel (1983), Verdienstkreuz I Klasse,
Germany (1984), Commandeur de l'Ordre des Arts et des Lettres, France (1985), Johann
Wenzel Stamitz Prize, Germany (1995). He died in 2008.

The characteristic features of Tal's music are broad dramatic gestures and driving bursts of
energy generated, by various types of ostinato or sustained textural accumulations. Complex
rhythmic patterning is typical of the widely performed Second Symphony and of a number of
notable dance scores. Most of the works which Tal wrote around 1950 are characterized by
traditional components and frameworks, written in traditional techniques such as variations,
and atonal musical language. In the late 'forties and early 'fifties, when the Mediterranean
style was at its peak, Tal was a frequent borrower of Oriental-Jewish source material as the
basis for his compositions.

Music Composed by Josef Tal
Played by the Radio-Philharmonie Hannover des NDR
Conducted by Israel Yinon

"Josef Tal (b. 1910) composed his six symphonies over a 40-year span after he emigrated from
Germany to Israel in 1934. Of the three presented on this disc, Symphony No. 1 is the most
immediately accessible, with compelling thematic material and vividly atmospheric orchestration,
especially in the central Lento vivace, which sounds remarkably as if written by a darker, angrier
Ravel. The one-movement Symphony No. 2 launches with the sort of multi-layered and tersely
busy counterpoint associated with Martinu. But it’s not long before this is rudely interrupted by
the first of several imposing dissonant brass crescendos that form the guideposts for the rest
of the work. Tal’s Third, composed in a thorny harmonic language allied to a fragmentary,
episodic scheme, is the most forbidding of the three symphonies. Often the percussion writing
is reminiscent of Tippett, as is Tal’s sectioning of the orchestra into chamber-like groups.
Finally, Festive Vision is an arresting, quasi-rhapsodic piece built entirely from a simple do-re-
mi theme that the composer subjects to all manner of dramatic and sometimes
jarring permutations. Tal’s stimulating and thought-provoking music makes considerable
demands on the orchestra, to which the NDR Radiophilharmonie responds with admirable
acuity and virtuosity under Israel Yinon’s inspired direction."
Classics Today

Source: CPO CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 131 MB + 32 MB (booklet)

Download Link - https://mega.co.nz/#!g0VGmD5J!ETqk_k1JTAO2ur50psD2v0KAN1QlrcPtp8BWdNL 7Bnk
booklet link - https://mega.co.nz/#!IwdUGSjD!N1AIRE0kObcXcXeONiZu5j8xMdFxKelTNPbMW3B f40w

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Lukas70

11-20-2013, 11:10 AM

Excuse me, the booklet link of Josef Tal is the same of the cd.....maybe is an error?
Thanks a lot.

wimpel69

11-20-2013, 11:12 AM

Fixed.

vagabonds

11-21-2013, 02:23 PM

There is a world. I know, such breaking news. It is a world that has a life that's still alive. The god/father was Bernstein: his world (one of several swirling planets including his compositions, recordings, joy and pain caused, etc., etc.) here is of the conductors he raised better than other artists (and better than he treated his son Alex). Schermerhorn is gone and missed. Ozawa is still living with the aftermath of a horrid stomach cancer (very much like Abbado's). Tilson Thomas is wonderful, endearing, off drugs, missing his dog with a life (orchestras, collaborations, friendships, one Chuck Jones cartoon and more wonders) even great conductors would call great.

Marin Alsop is one more wonder. Yet more of a wonder to me (pretty much daily) is JoAnn Falletta. I am happy to say I can't compare her to anyone. All I can say is she is everything she conducts as she conducts it. Few people inhabit music with such feeling, such insight and (even when work is pretty dire) such joy.

This one is particularly good. Which also makes it very typical. What isn't typical of many great artists who care so for music and for life is what she is doing with the works of the unknown Marcel Tyberg. You can find her first recording of his works (featuring his third symphony) around the posting world.

As great as this typical wimpelwonder is, everything she's recorded (in London, in Buffalo -- former home of many great conductors including MTT with her as the longest running ever -- and now in Ulster) is something to cherish. Why? Listening to her can make us feel cherished always.

Thank you for this and for everything.

wimpel69

11-22-2013, 09:18 AM

Thank you.

No.485

Dutton Epoch’s pioneering Joseph Holbrooke series reaches its third volume, which couples
Amy Dickson in the Saxophone Concerto – the first British concerto for the instrument – with
the extended ballet Aucassin and Nicolette, the latter forgotten since its run at Golders Green Hippodrome
before the War. In both these sunny scores we forget the grim, operatic Holbrooke evoking dark Celtic legends
and revel in this tuneful music reminding us that Holbrooke enjoyed considerable success as a composer of
light music. Anton Dolin recalled that Holbrooke’s ballet long-remained one of the most popular items in the
repertoire of the Markova-Dolin Company: “It was a simple love story, delicately expressed and enchantingly
staged.” Here we have a score brimming with tuneful light-hearted numbers, critics at the time referring to
“one of the pleasantest things he has done” and “music of great melodic charm.” Holbrooke’s music is coupled
with Richard Rodney Bennett’s delightful Seven Country Dances, setting tunes from Playford’s Dancing Master
of 1651. Originally written for oboe and strings, in Richard Rodney Bennett’s previously unrecorded
saxophone version soloist Amy Dickson catches to perfection both aspects of the score: the boisterous
and the achingly melancholic. As conductor George Vass remarks: “Playford’s tunes are merely starting
points round which Bennett weaves ardent rhapsodies full of beautiful harmonies and rich textures –
immaculately crafted light music.”

As a filler, Dutton includes Richard Rodney Bennett's spirited Seven Country Dances.

Music by Joseph Holbrooke & Richard Rodney Benett
Played by the Royal Scottish National Orchestra
With Amy Dickson (saxophone)
Conducted by George Vass

"Amy Dickson demonstrated her affinity for lighter music in Smile , her debut album on RCA. She has a unique
sound on the soprano sax, slightly reedy and metallic with an expressive and superbly controlled vibrato
that she uses with great sensitivity. She plays alto saxophone, as scored, in the central Serenade movement
of the concerto and the first part of the third. Here too the sound is distinctive: focused and warm, more the
complexity of burnished brass than gold, and with a thrilling edge when projected. She can channel a bit of
harmonica, or oboe, or a dance-band jazz soloist, whatever it takes to fully characterize Holbrooke’s strange
but beguiling combination of French chanson, Impressionism, and flapper-era dance in his Saxophone
Concerto (1927). Again on soprano, she adopts a variety of textures and colors to complement the several
moods and styles of the nostalgic Seven Country Dances , Bennett’s virtuosic, folkish adaptation of tunes
from John Playford’s The English Dancing Master of 1651. She approaches these two solo works with just the
right touch, taking them at face value, and never suggesting that they are anything but works of substance,
which in her hands they become.

Holbrooke’s sixth ballet, Aucassin and Nicolette (1935), is the opening work in this program, a last
noteworthy success for a composer who was falling out of favor at the time it was written. The piece is
based on a 13th-century French story of the triumph of love over adversity, and was written for the Markova-
Dolin Ballet Company. It was performed more than 200 times during the two years that company toured.
The composer later produced a suite for reduced forces, but this is the earlier ballet score for full orchestra.
Richly melodic, by turns robust and delicate, always charming and entertaining, this is a most welcome
addition to Dutton’s growing catalog of works by forgotten English composers. "
Fanfare

Source: Dutton Epoch CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 363 MB (incl. covers & booklet)

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astrapot

11-22-2013, 10:10 AM

Wimpel, your thread is is a montrous masterpiece of work !!
thanks !!

(http://picturepush.com/public/13870613)
chapeau, mec !

wimpel69

11-23-2013, 10:38 AM

No.486

Remembered most vividly for his 1958 "space opera" Aniara, composer and educator Karl-Birger Blomdahl
(1916-1968) was a leader in the Monday Group, a gathering of Swedish composers who met regularly to discuss
contemporary music. Well trained, Blomdahl moved from a style rooted in traditional Scandinavian music to a
Hindemith-derived contemporary approach to composition, encompassing extended melismas, choral motives,
electronic music, and even elements of jazz.

During the 1940s, Blomdahl's participation in and eventual leadership of the Monday Group fed his growing
interest in contemporary music. Meeting in Blomdahl's apartment, the members -- composers, musicologists,
and players -- were intrigued by Paul Hindemith's compositional theories as outlined in his Unterweisung im
Tonsatz. Aside from compositional techniques, topics of interest ranged from instructional methodologies
to the popular media and its role in the country's musical life. The 1950s brought in new directions to Blomdahl's
music, one of them encircling mythology. With choreographer Birgit �kesson and poet Erik Lindegren, Blomdahl
composed two striking ballets, Sisyphos and Minotauros, in 1954 and 1958, respectively. At the same time,
he was writing Aniara, an opera set in space and described by the composer as "a revue of man in time and
space." Like the aforementioned ballets, Aniara represents the first phase of Blomdahl's mature period.
Blomdahl was director of music for Swedish Radio at the time of his death.

While his Symphony No.2 is testament to Blomdahl's extensive studies in Baroque music during his sojourn
at the Royal Swedish Academy of Music, the third, subtitled "Facettes" - is a work in one subdivided movement in
twelve-tone variation form; it dates from 1950 and is considered a major contribution to the repertoire.

Music Composed by Karl-Birger Blomdahl
Played by the Swedish Radio Symphony Orchestra
Conducted by Leif Segerstam

"This is really marvelous music. Karl-Birger Blomdahl (1916-1968) was at the forefront of Swedish
modernism in his time, but there is nothing forbidding about this music. The third symphony (1950)
has actually secured for itself a prominent place in Swedish music history and is performed (and even
recorded) with some regularity. It is indeed a masterpiece, a fast-moving, energetic, intense and
momentous twelve-tone variation work, utterly compelling, inventive and imaginative, both with
respect to form and with respect to its remarkable textures. It is a massive work of swirling colors
and churning energy, though with an appositely lyrical (though unsettling) slow section giving way
to a cumulatively powerful final section that ends in bleak serenity. Cast in one single arch, it is also
an exceptionally focused, tautly argued work - and despite its modern language it remains immediately
attractive.

Neither of the other two works quite reach the levels of the third, but they are still very fine works.
The first symphony (1943) is less original, displaying indebtedness to Honegger above all. Despite
some clumsy transitions, it works well overall and creates something of an impact. The second symphony
(1947) is somewhat more concentrated - not as original as the third, and with a somewhat meandering
first movement, but with an overall surging energy (and a deeply impressive slow movement) that
makes for a great listening experience.

The Swedish Radio Symphony Orchestra under Leif Segerstam provides utterly committed performances,
as strong on energy and momentum as they are on capturing the details and subtleties of the works.
The recording is well-defined, well-balanced, clear and powerful as well. In short, a magnificent release
that deserves all possible success."
Amazon Reviewer

Source: BIS CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 186 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!BwdCVT4K!Eou6kFrFVH0g5sRElmEEh12XtW9UNe5nSLOMnrk M4NE

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wimpel69

11-24-2013, 11:09 AM

No.487

Like West Side Story and many of his other works, Leonard Bernstein's Divertimento is made
up of an exuberant array of styles, from various types of American popular music to symphonic repertoire
from different historical periods. In this instance these references work as a series of reminiscences and
tributes, relating to the piece's composition for the centenary of the Boston Symphony Orchestra.

For the most part the work is lighthearted, and the composer's sense of fun is typified by his instruction
that the piccolo, and later the brass section, stand up for their solos in the finale, as if they were playing
in a brass band concert. This rousing conclusion to the work, "The BSO
Forever" is a pastiche of a march, the "Radetzky", which was played regularly at the Boston Pops
concerts which Bernstein attended. It follows directly on from the more somber "In Memoriam," where
the composer remembers Boston players and conductors who have passed away, with a short passage
for three flutes where the instruments play the same melodies at staggered intervals of time (a canon).

Like the march, the "Samba" and "Turkey Trot" movements are in the style and mood of the Pops
concerts, and the "Blues" movement draws on the popular music style which Bernstein had heard when
visiting Boston nightclubs in his youth. The "Mazurka" and "Waltz," on the other hand, refer to
Beethoven and Tchaikovsky, respectively; the "Mazurka" incorporates a quotation of the oboe cadenza
of the first movement of Beethoven's Fifth Symphony, while the "Waltz"--often singled out as a
particularly engaging part of this piece--is in the irregular time of 7/8, and is an homage to
Tchaikovsky, particularly the 5/4 waltz of his Sixth Symphony. The opening movement, "Sennets
and Tuckets," begins with celebratory fanfares, and its title is derived from a Shakespearian stage
direction for that type of flourish (Bernstein had originally planned to use the first movement material
as the basis for the whole work, but this scheme gave way in the face of the huge range of ideas
which later occurred to him).

[B]MASS (formally, "MASS: A Theatre Piece for Singers, Players, and Dancers") is a musical
theatre work with a text by Bernstein and additional lyrics by Stephen Schwartz. It was commissioned by
Jacqueline Kennedy on occasion of the opening of the John F. Kennedy Center for the Performing Arts
in Washington, D.C.. The work is based on the Tridentine Mass of the Roman Catholic Church. Bernstein
later extracted three purely orchestral movements (Three Meditations) from the work.

Music Composed and Conducted by Leonard Bernstein
Played by the Israel Philharmonic Orchestra

"The Israel Philharmonic Orchestra (abbreviation IPO; Hebrew: התזמורת הפילהרמונית הישראלית,
ha-Tizmoret ha-Filharmonit ha-Yisre'elit) is the leading symphony orchestra in Israel.
The then Palestine Symphony Orchestra was founded by violinist Bronisław Huberman in 1936,
at a time when many Jewish musicians were being fired from European orchestras. Its inaugural
concert took place in Tel Aviv on December 26, 1936, and was conducted by Arturo Toscanini.

Its director in the 1939-1945 period was Leo Kestenberg - like many of its members, a German
Jew forced out by the the Nazi rise to power. During the Second World War the orchestra
performed 140 times before Allied soldiers, including an 1942 performance for soldiers of the
Jewish Brigade at El Alamein. At the end of the war it performed in recently-liberated Belgium.
In 1958, the IPO was awarded the Israel Prize, in music, being the first year in which the Prize
was awarded to an organization.

The IPO enjoys frequent international tours, and has performed under some of the world's
greatest conductors, including Leonard Bernstein and Zubin Mehta, both of whom are prominent
in the orchestra's history. Bernstein maintained close ties with the orchestra from 1947, and
in 1988, the IPO bestowed on him the title of Laureate Conductor, which he retained until his
death in 1990. Mehta has served as the IPO's Music Advisor since 1968. The IPO did not have
a formal music director, but instead "music advisors", until 1977, when Mehta was appointed
the IPO's first Music Director. In 1981, his title was elevated to Music Director for Life.
Kurt Masur is the IPO's Honorary Guest Conductor, a title granted to him in 1992. Gianandrea
Noseda is Principal Guest Conductor, a role previously occupied by Yoel Levi."

Bernstein conducts the IPO in front of 5,000 soldiers.

Source: DGG CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 125 MB

Download Link - https://mega.co.nz/#!gFYGRYgL!QIyf1QFa8PDeAgBvz5HEeVPvEEMkdV-Wgoop6ab-NnM

Enjoy! Don't share! Buy the original! :)

Petros

11-24-2013, 11:21 AM

Thank you very much for Leonard Bernstein.

wimpel69

11-25-2013, 07:37 AM

No.488

Born in Barcelona on 22 September 1933, Leonardo Balada graduated from the Conservatorio del
Liceu of that city and The Juilliard School in 1960. He studied composition with Vincent Persichetti
and Aaron Copland, and conducting with Igor Markevitch. Since 1970 he has been teaching at
Carnegie Mellon University in Pittsburgh, Pennsylvania, where he is University Professor of Composition.
Balada has been commissioned by many outstanding organizations in the United States and Europe,
including the Aspen Festival, the San Diego Opera, Teatro Real of Madrid, the Pittsburgh, Cincinnati and
Hartford Symphonies, and National Endowment for the Arts. He has composed works for artists such
as Alicia de Larrocha, Lorin Maazel, Mariss Jansons, the American Brass Quintet, the Mir� String Quartet,
Andr�s Segovia, Narciso Yepes, Lucero Tena, �ngel Romero, Eliot Fisk, Andr�s Cardenes and has
collaborated with artists and writers including Salvador Dal� and Nobel Prize winner Camilo Jos� Cela.

Balada�s extensive list of works includes, in addition to chamber and symphonic compositions,
cantatas, two chamber operas and four full length ones: Zapata, Christopher Columbus,
its sequel Death of Columbus and Faustbal. Christopher Columbus had its premi�re in Barcelona
in 1989 with Jos� Carreras and Montserrat Caball� singing the leading r�les and attracted international
attention. The unique �avant-garde� techniques, dramatically as well as rhythmically imposing, which
Balada developed during the 1960s, set works such as Guernica (which was inspired by Picasso�s
mural and the composer�s own experiences of the Spanish Civil War) apart from composers of the time.
Later, in the seventies, he was credited as a pioneer in blending the modern with folkloric ideas and
mixing the new with the old in works such as Symphony No.4 and Homage to
Casals and Sarasate.

Music Composed by Leonardo Balada
Played by the Barcelona Symphony and Catalonia National Orchestra
Conducted by Salvador Mas Conde

"With its series of orchestral music of the Catalan composer Leonardo Balada (b. 1933)
Naxos demonstrates that this is a composer of importance. His mature style uniquely weaves
traditional melodic threads through material borne of post-12-tone European modernism.
Because some of the music functions more or less as we subconsciously expect, our ear
usually is able to find solid reference points. The results are sometimes hilarious, sometimes
frightening, but nearly always intriguing. The performances are also rendered with fluency
and wit by conductor Mas Conde; this orchestra plays very well and sounds like a superior,
well trained regional symphony.

Among the discs in the Naxos series, this one provides the best overview of the composer�s
career. Balada remained a conservative composer against his wishes (he was a �progressive�
in most other respects) because he never could find anything other than intellectual
sterility in the dominant 12-tone system. After composers such as Ligeti and Penderecki
found ways to be avant-garde without adopting the Schoenberg-Webern system, Balada,
in a virtually overnight style-change, wrote two pieces that applied these new techniques,
including a musical rendering of that paragon of progressive protest art, Picasso�s Guernica.
Here the composer portrays the fears he experienced as a young boy in Barcelona under
Fascist bombardment. The work uses a sonic palette built on blocks of sound, effectively
capturing the starkness of Picasso�s grey-and-black masterpiece.

After Guernica, the program moves on to a pair of works representing Balada�s next style
change, Homage to Sarasate and Homage to Casals. It was here that Balada began
using tonal melodies against an attractive harmonic accompaniment, with Sarasate�s
Spanish tunes in the first piece and Casals� concert version of the Catalan sardana in the
second. Although the �Lausanne� Symphony comes across as a rather flat, unsuccessful
reworking of his then-current orchestral technique, Images for Orchestra, from Balada�s
opera Zapata, returns to the composer�s best form, occasionally throwing Mexican
tunes (including �La Cucaracha�) into an almost Ivesian homage to the revolutionary
leader. In all, this is a strongly recommendable disc�and not just for the usual fans of
musical modernism."
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/p9s9_zps84ded66b.gif

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 166 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!9NZ3UDTb!YEmGZSL2aMsqPWWlcyKfbzRW705Sho4zR3ZnZSj vsgY

Enjoy! Don't share! Buy the original! :)

This is my final upload for at least a week.

Akashi San

11-26-2013, 02:30 AM

Man, that Holbrooke disc is so delicious; he would have made a good film composer without a doubt. The disc is 100% going to my Amazon holiday shopping list.

Big thanks for yet another stunner!

:)

Cristobalito2007

11-26-2013, 09:00 PM

hi there wimpel
thank you so much again for all the great music
please help with one of your uploads if possible
Merikanto (track 6) - sadly this track has some annoying cd clipping and jumping just as it gets going! :(
anyway of cleaning it up?
thank you again

Cristobalito2007

11-30-2013, 03:39 PM

thanks for Yasushi Akutagawa

wimpel69

12-02-2013, 09:23 AM

No.489

Lovro von Matacic (1899-1985), one of the greatest conductors of the 20th century,
started his career in 1919 as conductor of orchestras in Osijek, Novi Sad, Ljubljana, Belgrade,
Riga, and in Zagreb in 1932. From 1942-1945 he was conductor of the Vienna Opera. After 1945
he was imprisoned by the Yugoslav communist regime, and together with Croatian painter
Kristian Krekovic sentenced to confiscation of all movable and immovable property. In 1950's
he became organizer of Festivals in Dubrovnik and Split. In 1956 Matacic moved to Germany to
conduct East Berlin Opera and the famous Dresden Staatskapelle, then conducted at Bayreuth
in 1959, and from 1961 to 1966 was Gereralmuikdirektor in Frankfurt. From 1970 to 1980 he
was conductor and artistic director of the Zagreb Philharmonic Orchestra, and almost
simultaneously from 1973 to 1979 had the same role in the Monte Carlo Orchestra.

The Symphony of Confrontations is purely orchestral, cast in four movements, and is of
Mahlerian dimensions - although the musical style is more evocative of Bart�k, Shostakovich
and Prokofiev. Matacic composed and recorded the work towards the end of his long career.
He is showing off his compositional chops in a huge, often furious hour-long symphony. As its
name suggests, there's a lot of expressionist tension in the piece, though it's structured quite
traditionally -- picture a Shostakovich symphony with the dissonance turned up several notches.
He rarely uses tonality, though sometimes there's a modal sound that reminds us of Bloch.
But it's not gentle enough to ever be confused for a Bloch work.

Music Composed and Conducted by Lovro von Matacic
Played by the NHK Symphony Orchesta

Source: Denon CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 147 MB (incl. covers & booklet)

Download Link - https://mega.co.nz/#!YAIkkQ7Y!fVv-QAvyuSXIQeq29XhSRVW6OSpTmWYkgxm3OcL7xsQ

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Lukas70

12-02-2013, 09:39 PM

Thanks for Matacic!
Excuse me Wimpel, there is a problem with pdf booklet inside....
can you repost only this please?

wimpel69

12-03-2013, 09:41 AM

Yes, there is an error message when you open it. I'm looking into it later.

No.490

Lu�s de Freitas Branco was born in Lisbon in 1890 where he lived most of the time
until his death in 1955. He was a preeminent figure in Portuguese music of the first half of the
twentieth century, and his four symphonies constitute the essence as well as the culmination
of his musical development. Born into an aristocratic family with ties to the royal family for
many centuries, Lu�s de Freitas Branco enjoyed a highly sophisticated education, which included
studies both in Berlin and then in Paris, where he worked with composers including Engelbert
Humperdinck and D�sir� P�que.

As far as Freitas Branco�s legacy as an orchestral composer is concerned, it must be pointed
out that when he entered the Portuguese music scene at the beginning of the century, no
permanent orchestra existed in Lisbon apart from that of the S�o Carlos Royal Opera, which
did not perform symphonies but played operatic repertoire, mainly Italian, and sometimes
German and French. Indeed, after Jo�o Domingos Bomtempo (1771�1842), who composed
various symphonies, only Vianna da Motta (1868�1948) wrote a symphony, published in Rio
de Janeiro in 1899. This said, it means that when Freitas Branco composed his first symphony
in 1924, he was profoundly aware that he was treading on new territory in Portugal.
His musical development began with the influence of French late Romantic composers and
some of the Impressionists such as Debussy. Yet, aware of the importance of introducing
into Portuguese music large scale works such as symphonies for large orchestra, he clearly
opted for a neo-classical style of his own, based on thematic development as he found it
in the music of the so-called cyclic school of the Belgian composer C�sar Franck.

Symphony No.4, composed between 1944 and 1952, and scored for four flutes, two
of them doubling piccolo, two oboes, cor anglais, two clarinets, bass clarinet, three bassoons,
four horns, three trumpets, three trombones, tuba, contrabass tuba, timpani, percussion and
strings, represents the culmination of his symphonic vision of monumentality in music, a kind
of neo-classic late Romantic stylistic approach, following the fourmovement tradition to which
he had remained faithful since his Second Symphony, composed in the 1920s. Dedicated to his
disciple Joly Braga Santos, the Fourth Symphony is based, like the Second, on Gregorian
chant. Used as a means to unify much of the thematic material which appears in the work, it
also establishes, right from the start, a mood which prepares the listener for the chorale-like
passages which constitute big climaxes in the first and last movements. Suffice it to say, there
is no question that this work is the most creative, appealing, and accomplished of Freitas
Branco�s four symphonies.

Vathek, the full subtitle of which is Symphonic Poem in the form of variations on an
Oriental theme, is a most important, revolutionary work which, although composed in 1913,
was not performed until 1950, and even then without its Third Variation, which was played for
the first time in my first concert in Lisbon, in 1961. Those who are familiar with the kind of
music which was produced in Portugal during the first decades of the twentieth century, can
well understand that a work such as Vathek would have met with utter repulsion. And
why, after all? Because of the polytonal introductory brass fanfare? Because of the twelve-
tone chords (built of superimposed fourths in the strings) in the middle and at the end of the
Prologue? These dissonances, never heard before, and never heard again until the avant-
garde of the 1960s, are yet minor details compared with the Third Variation, which offered
something unheard of in all European music in 1913, when it was written. It is a fugato in
59 �voices�, starting with eight solo cellos, followed by eight violas, sixteen second violins,
sixteen first violins and, finally a variety of solo woodwind, leading to a slow, majestic,
restatement of the main motif in the lower brass, interrupted by two bars of silence. This
sudden silence is followed by an outburst of �laughter� from the whole orchestra, as if the
composer expressed his �amusement� about the utter disbelief of the audience.

Music Composed by Luis de Freitas Branco
Played by the RT� National Symphony Orchestra of Ireland
Conducted by �lvaro Cassuto

"Lu�s de Freitas Branco�s symphonies, with their somewhat Franckian cyclical forms
(and sometimes melodies), are more conservative than his impressionist, cutting-edge orchestral
works from the turn of the 20th century. Vathek is one such, an amazing, luscious, exotic
tone poem in the form of a theme and variations. Unperformed until 1950, just five years
before the death of its composer, it is a masterpiece, and one of the most remarkable works
of its era (there�s a variation written with something like 59 string parts, almost an anticipation
of Messiaen or Ligeti).

In the Fourth Symphony (1944-52) Branco recaptures his youthful fire. The work mixes the
modal melodies of Gregorian chant with tangy dissonances and supple, Latin rhythms. The
result recalls the Hindemith of, say, Nobilissima Visione, though the scoring is quite different
and the handling of form more traditional (save in the multi-sectional finale). Certainly this
is the finest of the composer�s four symphonies, and a wonderful work by any measure."
Classics Today http://i1084.photobucket.com/albums/j415/wimpel69/ct_disc-of-the-month_zpsc2d3048b.gif

Source: Naxos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 189 MB (incl. cover & booklet)

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wimpel69

12-04-2013, 09:26 AM

No.491

Flutist Carol Wincenc has known Lukas Foss since her youth in the 1960s, when he was music
director of the Buffalo Philharmonic. When she asked him to write a flute concerto for her in 1985,
he was faced with the problem confronted by every composer in this genre: how to create an orchestral
texture that would not overwhelm the solo instrument. Recalling that the flute �was a favorite instrument
in the Renaissance and Baroque eras... [and] in ancient Greece, where the Olympic Games included
flute playing,� he sought the sound he wanted in early music. The work, says Foss, is �an homage to
something I love, a handshake across the centuries.� He completed the Renaissance Concerto in 1986.

Salomone Rossi, who lived in Mantua from about 1570 to about 1630, called himself �L'Ebreo,� and
set a number of Hebrew texts to music in a collection punningly titled The Songs of Solomon. His
madrigals resemble those of his contemporary Monteverdi, but some of his orchestral works point
clearly to the trio-sonata form of Baroque chamber music. Lukas Foss's Salomon Rossi Suite,
composed in 1975 and dedicated to the Jerusalem Symphony Orchestra, follows the example of
Stravinsky's Monumentum pro Gesualdo di Venosa ad CD annum in recomposing a Renaissance
composer's music for modern instruments without romanticizing it.

With Orpheus, a work composed in 1972 and incorporating elements of pantomime, Lukas Foss
sought to evoke that feeling of an unfamiliar time and place, through the use of unusual staging and
unconventional instrumental timbres. The result was not a benign trance or a Disney-like pastorale,
but a celebration of the awesome power of mousikee, the calling of the muses, a synthesis of Apolonian
discipline with the savage power of the Dionysian rite. In 1983 Foss added an extended violin duet
to the piece, creating a new work, Orpheus and Euridice, dedicated to Yehudi Menuhin and
Edna Michell (premiered in Gstaad and Lucerne, Switzerland, in 1985). The effect of the new material
is to humanize the work, to balance its alienated, otherworldly character with moments of warm-blooded
passion, and to heighten the sense of loss at the end.

Music Composed and Conducted by Lukas Foss
Played by the Brooklyn Philharmonic Orchestra
With Carol Wincenz (flute)
And Yehudi Menuhin & Edna Michell (violins)

"The real gem on this disc is the Salomon Rossi Suite. This relatively unknown Renaissance
composer is given a fresh interpretation through Lukas Foss' arrangement. The movement for harp
and timpani is especially attractive, but the entire Suite shows how a contemporary vision of older
music can be a truly engaging listening experience."
Amazon Reviewer

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File Size: 117 MB (incl. liner notes)

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wimpel69

12-05-2013, 09:25 AM

No.492

The Coronation of Queen Elizabeth II in June 1953 was celebrated by a number
of high-profile artistic events in London, several of them mounted at the Royal Opera
House, Covent Garden. Malcolm Arnold�s first ballet score, Homage to the Queen,
was commissioned specifically to mark the occasion, and if the composer felt honoured
at the prestigious invitation he may well have been blissfully unaware of the in-house
rivalries that had resulted in what was in fact a last-minute initiative.
The choreography was by Frederick Ashton and the production was designed by
the baroque-inspired Oliver Messel, at whose behest the original plan to present four tableaux
devoted to famous Queens of England was dropped in favour of a less challenging scheme
involving the Four Elements, each of which was to have its own Queen and entourage.

The initial success of Homage to the Queen quickly led to another ballet commission for
Arnold. In 1954 he composed Rinaldo and Armida, a one-act �dance-drama�, and guest-
conducted the first performance himself at the Royal Opera House on 6 January 1955,
as part of a double bill completed by a new ballet based on Britten�s Young Person�s
Guide to the Orchestra. Rinaldo and Armida was based on an episode from Torquato Tasso�s poem
Ierusalemme liberata (1581), in which the deadly enchantress Armida, whose lovers
meet their doom in her garden, meets her own end when she falls in love with one of
them: the mortal warrior Rinaldo.

Music Composed by Malcolm Arnold
Played by the Aarhus Academy of Music Symphony Orchestra
With Erik Spang-Hanssen (organ)
Conducted by Douglas Bostock

"Arnold's charismatic music receives an interesting survey here with this 80th birthday CD containing
some of his rare works that are receiving premi�re recordings. Of special interest in this Jubilee year
is the recording of the 'Homage to the Queen' Suite which receives its world premi�re. The six
movements are informed with particular gaiety and charm whilst the typical Arnold treatment
makes the music turn into a glorious pageant like exposition.

The short Organ Concerto is similar in vein to the Trumpet and Tuba works and has Ulrik Spang-
Hanson catching on for dear life throughout the highly charged parts. I didn't care too much for
'Rinaldo and Armida', a ballet very much in the shape of Lambert's 'Pomona', perhaps a genre
that does not appeal too much to this writer. The 'Little Suite #2' is also very welcome; this is
Arnold at his most congenial.

The Danish orchestra are persuasive advocates of the music and for those who enjoy out-of-
the-way music this disc is definitely a fine acquisition."
Classical.Net

Source: Classico CD (my rip!)
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File Size: 150 MB

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gpdlt2000

12-05-2013, 11:08 AM

Thanks for the Arnold.I've always found his musical sense of humour to be on the tragic side...

Lukas70

12-05-2013, 09:14 PM

Thanks a lot for Arnold, one of the most interesting composers of our times.

ralleo1980

12-06-2013, 12:05 AM

No.491

Lukas Foss: Renaissance Concerto, Salomon Rossi Suite, Orpheus and Euridice

Thanks friend Wimpel69 for this disc it's great. Do you have another disc with works of Foss, specifically the Capriccio for Cello and Piano???? Thanks for your attention.

Herr Salat

12-06-2013, 01:32 AM

No.299: William Walton: The Quest

I've read about Joel McNeely stealing from Walton's the Quest for The Destruction of Xizor's Palace (https://www.youtube.com/watch?v=x_deMfDs9jY) from Star Wars: Shadows of the Empire. I better get to know the origin. Thanks for sharing the complete ballet, wimpel69!

wimpel69

12-06-2013, 09:23 AM

Thanks friend Wimpel69 for this disc it's great. Do you have another disc with works of Foss, specifically the Capriccio for Cello and Piano???? Thanks for your attention.

I got some other Foss but not this work (or other chamber music).

No.493

Malcolm Forsyth, honoured as Canadian Composer of the Year in 1989, has earned international
recognition as one of Canada�s leading composers. Born in 1936 in Pietermaritzburg, South Africa, Forsyth
majored in trombone, conducting and composition at the University of Cape Town and played trombone
8 years with the Cape Town Symphony Orchestra (CTSO) while obtaining his Master�s and subsequently
Doctorate degrees. His career as a composer was launched when the CTSO performed Overture Erewhon
(1962), and its success led to an invitation to write the Jubilee Overture for the orchestra�s 50th anniversary
in 1964. In 1968 Forsyth emigrated to Canada and settled in Edmonton where he joined the Edmonton
Symphony Orchestra. Forsyth died in 2011.

Atayoskewin is one of Forsyth�s most frequently-played compositions, and for a good reason: it
is a brilliantly scored, imaginative, highly enjoyable evocation of three aspects of the Albertan northland,
music that could only have been written by a Canadian. The composer explains what he attempted to
portray in Atayoskewin: �The inspiration behind this title is something of a mood, a feeling that I
had when I made my first-ever trip to northern Alberta during the winter. It was very cold, and I saw
this barren land where the tar sands are being developed. It�s a very forbidding land, but it has a kind
of majesty which is unmistakable." Each of the three movements conjures up a mood or image.

Harry Freedman (b Henryk Frydmann). Composer, english hornist, educator, b Lodz, Poland, 5 Apr
1922, naturalized Canadian 1932, d Toronto 16 Sep 2005. Raised from the age of three in Medicine Hat,
Alta, where his father was engaged in the fur trade, Freedman moved with his parents to Winnipeg in 1931.
He enrolled at the Winnipeg School of Art at 13 to train as a painter. Attracted also to big band jazz, he
began clarinet lessons at 18. His teacher - Arthur Hart, the leading local orchestral clarinetist, later
principal of the Winnipeg Symphony Orchestra - introduced him to symphonic music.
After serving in the RCAF in World War II Freedman settled in Toronto, where he studied
composition 1945-51 with John Weinzweig at the Royal Conservatory of Music and oboe with Perry
Bauman. He also took summer classes with Messiaen and Copland at Tanglewood. He joined the
Toronto Symphony Orchestra in 1946 as english horn and remained with the orchestra for 25 years,
serving during his last year as the orchestra's first composer-in-residence.

The Messiaen classes clearly left their mark on Freedman's ballet Oiseaux �xotiques (the French composer
had a lifelong obsession with birds himself). Intricate contrapuntal interplay and colorful orchestration are
evident in nearly all of the dances.

Music by Malcolm Forsyth and Harry Freedman
Played by the CBC Edmonton Symphony Orchestra
Conducted by Uri Mayer

Source: CBC Records (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 149 MB (incl. cover & composer bios)

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wimpel69

12-07-2013, 10:47 AM

No.494

"Written for Evelyn Glennie, Aurolucent Circles is a concerto conceived to display the wonderful array of
delicate and mysterious percussion sounds it is possible for a skilled player to produce, as well as the styles of
more traditional drumming. The aim was to make a concerto that would be as musically sophisticated as the
ones usually written for the violin or piano. In the delicate and transparent sections, the soloist is often accompanied
only by one of two concertino groups. Inspired by the poetic physical motion of Evelyn Glennie when she performs,
it became an important aim in this work that there be motion in the sound as well.

Mandala was commissioned by the Cleveland Chamber Symphony. It was written during a residency at
the MacDowell Colony in New Hampshire. While I was there, Tibetan monks spent ten days in the adjoining town
of Peterborough creating an intricate sand painting of a mandala. After about a week, they destroyed the mandala
in a ceremony of explanation, chanting and horn blowing. At some point, I realised that the experience of the
mandala was interwoven into the fabric of this piece. The music is very much constructed in circles that spiral
inward. In addition, because the brass are positioned in the auditorium, the music travels in circles around the
performance space.

In Pulse, rhythmic pulses of differing values exist over a steady grand pulse that is the same for all. The
spirit motive emerges, mysterious, rustling, and whispery, flowing through with melody, and in the end becomes
infused and strengthened by connections of differing values and pulses.

The tone poem Remembrances is an elegy and a tribute to Robert Stewart who was a musician, composer,
sailor, and loved one. Beginning with an expression of grief and sorrow, the music evolves into a musical portrait,
full of warm memories, love and admiration, and images of sailing. Typical of elegies and tone poems such as
Death and Transfiguration by Richard Strauss, it ends in a spirit of consolation and hope.

James Gleick describes the alarming pace and frenetic life-style of the twenty-first century in his book, Faster.
One of his many examples is the Master Clock, which is overseen by the Directorate of Time, an agency of the
United States Military. It constantly consults fifty other atomic clocks to compute time within the millisecond so
that computers and digital devices around the world can alter their conventional time to �exact� time. In SIZZLE,
the orchestra could be said to represent this part of twentyfirst-century life, fast-paced, energized, and filled with
emphatic and mesmerising rhythms."
Margaret Brouwer

Music Composed by Margaret Brouwer
Played by the Royal Liverpool Philharmonic Orchestra
With Evelyn Glennie (percussion)
Conducted by Gerard Schwarz

"The American composer, who was in the house to receive the rapturous applause along with Glennie,
has written a marvelous display piece that takes into acount the astonishing virtuosity of Glennie and the
need to be careful not to overwhelm her with the collective sound of nearly 100 musicians.
Brouwer's music is effective and solid, often rather atmospheric, and gives the percussion soloist many
opportunities. The vigorous phrases of strong fortes and excited passages are deftly joined with their
opposite numbers. There is much to keep one interested, especially with Glennie as the chief proponent.
The duets between soloist and other orchestral instruments- flutes, trombone, clarinet- were cleverly
conceived and integrated into the whole.
...So subtle, so bold, so precisely timed and framed, her bravura playing of the new "Aurolucent Circles"
by Margaret Brouwer drew a fascinated Benaroya Hall audience to its feet.
...The delicate and lovely effects at the beginning of the first and second movements were particularly
well framed, in music that sounded appropriately other-worldly with harps and eerie string glissandos... "
The Seattle Times

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File Size: 151 MB (incl. cover & booklet)

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Enjoy! Don't share! Buy the original! :)

laohu

12-08-2013, 12:09 AM

thanks for Freitas Branco wimpel69. I have the first 3 symphonies. thanks for the fourth!!
:)

wimpel69

12-08-2013, 12:46 PM

No.495

Mario Pilati was born in Naples in 1903 and was sent by his parents to a commercial school,
where he qualified as a bookkeeper. He had studied Latin and Greek on his own, however, and had
also started composing music. This allowed him at the age of fifteen to enter the composition class
of the Conservatorio di Musica San Pietro a Majella, after a short period of study at the Naples Liceo
Musicale. His teacher Antonio Savasta recognised Pilati�s natural talent, the cause of envy in his fellow
students, who frequently teased him, calling him a revolutionary. His outstanding gifts also drew
the attention of the director of the Conservatory, Francesco Cilea, who did much to encourage him.
At the age of nineteen Pilati was awarded his composer�s diploma summa cum laude and was shortly
afterwards appointed as a teacher in the composition class of the Conservatory of Cagliari. In 1925,
on the advice of Pizzetti, he decided to move to Milan, a musical capital that would eventually suit
better his taste and ambitions, but not without enormous initial difficulties. In 1933 he was
nominated a professor in composition at the Conservatory of Palermo and, in 1938, again in Naples.
He held this final position only a few months: the fatal illness, which had been diagnosed two years
earlier, had reached its final stage. He succumbed to it on 10 December, dying at the age of 35.

Pilati was a prolific composer of chamber, vocal and orchestral music. Like many of his
contemporaries, he was drawn to the instrumental music of the past, especially that of his own
country. An example of this is the Suite for Strings and Piano of 1925, which is neo-classical
in style. His other love, that of folk music, is also evident in later works, such as the Concerto
for Orchestra, with its ebullient finale �alla tirolese�. The attractive lullaby Alla culla comes
from the very end of his short life.

Music Composed by Mario Pilati
Played by the Slovak Radio Symphony Orchestra
With Tom�s Nemec (piano)
Conducted by Adriano

"Born in 1903 and active in the 1920s and 1930s before his death at age 35, Italian composer
Mario Pilati has been largely forgotten. His resurrection here is due to the championing of
the single-named Swiss conductor Adriano, who also wrote the enthusiastic booklet notes.
Pilati's style shows the influence of Respighi and of the more contemporary neo-classic
movement, which converge in his expansive treatment of antique dance forms like the
minuet and the sarabande. Adriano sets great store by the opening Concerto for orchestra
in C major, one of the earlier works to use that designation. Pilati's inspiration may have
been Ernest Bloch's two works of the early '20s that use the earlier concerto grosso
designation, and his incorporation of the piano into the basic every-instrument-is-a-soloist
configuration of the concerto grosso has several surprises, and the final Rond� alla
tirolese is filled with colorful folk rhythms. But the work lacks the sense of humor that
is the most distinctive thing in the music by Pilati heard on this disc. The small dances
of the Three Pieces for Orchestra and the Suite for Strings and Piano display Pilati's talent
as an orchestrator to better advantage, quickly veering off from the basic dance strains
into fantasies on the rhythm involved, punctuated by unexpected texture shifts. The
final By the Cradle, composed shortly before Pilati's death in 1938, is a simple tonal
work and certainly deserves wider exposure. The prolific musicians of the Slovak Radio
Symphony Orchestra rose to new heights for conductor Adriano in this recording, made
in Bratislava in 2000 and 2001, but the three shorter works on the program could
probably stand up to a performance by one of the true virtuoso chamber orchestras
of the day, and probably deserve such a performance."
All Music

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---------- Post added at 12:46 PM ---------- Previous post was at 11:48 AM ----------

No.496

Matthew Taylor is an English composer and conductor. Taylor was born in London in 1964.
He attended the Junior Royal Academy of Music. He studeid composition with Robin Holloway at
Queens' College, Cambridge University and later at Guildhall School of Music and Drama and at
the Royal Academy of Music. He later continued his composition training with Robert Simpson
and Sir Malcolm Arnold.[2] As a conductor he trained with Robin Page, Vilem Tausky and with
Leonard Bernstein at the Schleswig-Holstein Musik festival. Taylor's compositions have been
performed by the BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, John McCabe,
Martyn Brabbins, George Hurst, Richard Watkins and Raphael Wallfisch. He has been Artistic
Director of the Malvern Festival, Composer in Residence at the Blackheath Halls, Associate
Composer of ensemble Sound Collective, Artistic Director of the Royal Tunbridge Wells
International Music Festival andArtistic Director of the St Petersburg British Music Festival.

These are premiere recordings of Taylor's Symphony No.1 ("Sinfonia Brevis'') and No.3, as
well as of the Horn Concerto written for (and played here by) Richard Watkins.
Taylor is a fairly young composer still, his first symphonic outing performed
in 1985(!) - and the good news is, the music isn't nearly as regressive as the opus numbers
and the fact that the Sinfonia Brevis was inspired by Haydn's "Sturm und Drang" symphonies
- as well as the employment of the Royal Ballet Sinfonia, mostly used for light fare - seem
to indicate. Taylor's musical language is very obviously contemporary too, if not of the
most radical kind. There's a lot of color and contrast in the music, if not always cohesion.
If you like, say, Tippet's symphonies or Simpson's, you should be fine.

Music Composed and Conducted by Matthew Taylor
Played by the Royal Ballet Sinfonia
With Richard Watkins (horn)

"Music of substance and integrity which will durably reward the patient listener.
Toccata Classics' anthology (2/06) of three chamber offerings by Matthew Taylor
found favour with both myself and Richard Whitehouse, and I'm able to report that
this enterprising new Dutton anthology featuring three orchestral works leaves a
similarly positive impression.

Born in London in 1964, Taylor was only 21 when he completed his First Symphony,
a 16-minute, single-movement canvas of uncommon skill, purposefulness and fluency
for one so tender in years. Laid out for classical forces comprising just two oboes,
two horns and strings (an in-depth study of Haydn's Sturm und Drang symphonies
provided the initial stimulus), it's scored with tasteful restraint, as are the 1999
Concerto for horn and strings (of which dedicatee Richard Watkins gives a superbly
agile account) and Third Symphony (2003-05).

Both these rewarding essays are cast in two parts and exhibit readily identifiable
points of contact with Nielsen and Simpson. Taylor writes with considerable inventive
flair, economy of thought and wit. Above all, his is a resourceful and personable voice
that never fails to communicate; anyone on the hunt for new music that draws its
wellsprings of inspiration from the great symphonic tradition should lose no
time in making its acquaintance.

The composer (a very useful conductor in his own right) secures a commendably
fresh-faced set of performances, and production standards are all that we have come
to expect from the established Keener/Eadon partnership. I look forward to hearing
more of this accomplished figure's output on disc."

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astrapot

12-08-2013, 02:32 PM

thank you wimpl, great work ! !

---------- Post added at 06:33 AM ---------- Previous post was at 06:22 AM ----------

hello,
does anyone have the khatchaturian armenian dances? i have a poor version in 128kbps
i'm looking for a good one...

---------- Post added at 07:32 AM ---------- Previous post was at 06:33 AM ----------

thanks for this Krenek Wimpl, what you do in this forum is admirable.

Cristobalito2007

12-08-2013, 06:21 PM

thanks for nielson, several debussy, estancia

bohuslav

12-08-2013, 10:49 PM

@ astrapot: armenian dances on this cd? (Orchestra / Wind band) �� / Khachaturian - �� , �� , ��, �� (�� ; ��-��) - 1996, Ape (Image + Cue) lossless :: RuTracker.org (ex torrents.ru) (http://rutracker.org/forum/viewtopic.php?t=2042287)

wimpel69

12-08-2013, 11:03 PM

I think he's referring to the two Armenian Dances for Wind Ensemble, recorded by e.g. the Eastman Wind Ensemble.

wimpel69

12-09-2013, 09:09 AM

No.497

Matthijs Vermeulen (1888-1967) was born the son of a blacksmith in the Noord-Brabant province
of the Netherlands. At age 14 he entered the Abbey of Berne at Heeswijk with the intention of becoming a
priest; there he received thorough instruction in sixteenth century harmony. In 1907, Vermeulen left the
monastery and enrolled into the Amsterdam Conservatory. After two years' study, Vermeulen took his
first job as music critic on the Amsterdam daily De Tijd; his work as a perceptive and provocative writer
placed his name in circulation long before his compositions were known. The composer Alphons
Diepenbrock played an important role in Vermeulen's early life, offering encouragement, advice and
assistance.

Vermeulen was highly critical of the leading Durch conductor Mengelberg and his relentlessly pro-German
programming at the Concertgebouw. In 1920, Vermeulen greeted the Concertgebouw premiere of
Cornelis Dopper's Seventh Symphony with the shouted comment "Long live Sousa!" Vermeulen
was subsequently barred from the Concertgebouw, and Mengelberg refused to consider the score of
Vermeulen's newly completed Symphony No.2, "Pr�lude � la nouvelle journ�e" (1919-1920).
When finally performed in Amsterdam three and half decades later(!), the symphony had the
effect of a sledge hammer. Even by the standards of 1956, this was highly modern,
timely music, a twenty-five-minute Dionysian ritual in five episodes, expressing the energy
of life and the search for new boundaries; it represented a striving for �the good cause�, as
Vermeulen once described it to a friend � an engagement which occupied many also in the
1950s and �60s.

The Sixth and Seventh Symphonies are technically no less
difficult and complex, although their melodies are fewer in number and more closely
connected with one another. Symphony No.6 �Les Minutes heureuses� was in fact the direct
result of hearing Symphony No.2 in 1956. The subtitle was inspired by a line from
Le Balcon by Baudelaire: �Je sais l�art d��voquer les minutes heureuses� (I know the
art of evoking happy moments). Vermeulen had set this poem to music in 1944.

Symphony No.7 �Dithyrambes pour les temps � venir� (Songs of joy for times to
come), Vermeulen�s last, again points to the future. Performances of the symphony could
be imagined, Vermeulen asserted, on any traditional stage, be it indoors or outdoors,
in an antique open air theatre or a historical square, any place where various bands could
join forces to celebrate a feast. The score consists of all kinds of musical expressions
and instrumental combinations, harnessed in a succession of some forty episodes;
no single musical phrase is repeated.

The stature of Matthijs Vermeulen in Dutch musical life is not dissimilar to Charles Ives�s in
that of the United States. Today he is recognised as one of the very few true
originals, one of those solitary figures whose inscrutable music has never ceased to puzzle
music lovers and critics. During his lifetime, however, his scores were virtually unknown to
Dutch audiences.

Music Composed by Matthijs Vermeulen
Played by the Residentie Orchestra The Hague
Conducted by Gennady Rozhdestvensky

"Dutch composer Matthijs Vermeulen�s wildly complex and inventive music resists easy
classification, and yet it does not really do his work justice to say it is an amalgam of Berg, Var�se,
Ives, Hartmann, Pettersson, and others. But in effect that is just what it is�an inscrutable, polymelodic
kitchen-sink approach to composition. And it is no less fascinating as a result. At once relentless,
frantic, fierce, and desolate, Vermeulen�s compositions were barely performed during his own lifetime
(1888-1967), and he did not help his cause by systematically estranging himself from the musical
establishment (Mengelberg, among others). Until now, his recorded legacy rested with a collection
of rough-sounding Dutch radio broadcasts of his orchestral and chamber works underwritten by
the Donemus Foundation on the Composer�s Voice label. With this sixth entry in Chandos� highly
regarded Dutch music series, we now have a state-of-the-art production from the Residentie
Orchestra under the assured leadership of Gennady Rozhdestvensky that substantially improves
upon the well-intentioned efforts of its predecessor in sound quality and orchestral precision.

Vermeulen�s Second Symphony is a 25-minute ecstatic outburst of orchestral energy�the outer
movements are the most aggressive and raw of the five, with hair-raising shrieking in the winds,
clamorous brass, and pummeling percussion comparable to The Rite of Spring. Character and
mood change abruptly throughout this symphony; an extended mysterious oboe solo dominates
the gentler second movement, only to be interrupted by the helter-skelter of the third. This
seeming cacophony finds its theoretical bearings in Vermeulen�s conceptual thoughts about the
structure of melody and how melodic lines help determine pitch (unlike Schoenberg�s 12-tone
system), but listeners will find the welter of �melodies� too murky to draw many conclusions.
For the most part, this symphony, which has a lot in common with Var�se�s Arcana and still
sounds modern today despite its 1920 vintage, presents a chaotic sensory experience.

The Sixth Symphony from the late 1950s invokes Berg in its various arching saxophone solos
and raucous multi-layered march motifs. Again, this work exhibits a wide range of orchestral
colors and emotions with some striking melodic invention, especially in the wistful English
horn solo of the second movement. As with the first symphony, brass fanfares and brazen
percussion periodically pierce the musical texture, and the whole of the third movement is
one steady, pulsating crescendo that leads to a shattering climax.

The Seventh Symphony, Vermeulen�s last and the shortest of the three here, is hardly less
manic in the first and third movements, suffused as they are with his (now) customary
barbaric percussion and brass displays. The second movement, underpinned by an undulating
harp twinkling in the distance, possesses an eerie and captivating repose. By the end of this
disc, you will feel as if you�ve been assaulted by an orchestral arsenal of dizzying
proportions. And who said the Dutch were staid?"
Classics Today

Source: Chandos CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 169 MB (incl. cover & booklet)

Download Link - https://mega.co.nz/#!4YIETRxD!S78EHjONwpnOwNr_URyLZhnEXNoeroT3i-ahslqjtO8

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wimpel69

12-10-2013, 09:39 AM

No.498

Michael Dalmau Colina (born November 16, 1948) is a GRAMMY-winning
American musician, composer, producer and engineer. He has written music for television
, film, theatre, dance and live performances on concert stages throughout the United
States, Europe and Japan. Colina is best known as producer and writer on recordings
for musicians Bob James, David Sanborn, Michael Brecker, Marcus Miller, Bill Evans
and Michael Franks. He has won three gold albums, has received four Grammy Award
nominations, and won three Grammy Awards for Best Contemporary Jazz Album.

In 2006, Colina dramatically shifted his music career to focus on writing classical,
jazz and latin music compositions�distinctive mashups that reflect his deep musical
roots in his father�s homeland of Cuba.

As might be expected from such a background, Colina�s music is resolutely tonal.
In fact, Baba Yaga so closely resembles a late-romantic Russian violin concerto
that it might have been written by Glazunov or Rachmaninoff, despite the occasional
veering into �sideways� tonalities that suggest a slightly more modern bent. Perhaps
his jazz musician�s training has led him to insert moments of the unexpected into
his scores; at any rate, the opening movement of Baba Yaga, titled �Vasalisa,� is
based on the legend of a young woman who lives with a wicked stepmother and
stepsisters who throw her into the woods to be eaten by the evil Baba. After a
lyrical beginning, the music soon moves into a brief explosive outburst before
returning to the rather serene solo violin.

The Unbearable Lightness of Being is based on a novel by Czech writer
Milan Kundera set against the background of the Soviet Union�s invasion of
Czechoslovakia in 1968. On the surface, the book involves a womanizing doctor
who becomes involved with a waitress whom he later marries, but its subtext
involves a series of philosophical and existential discussions. Colina�s music here
is slow-moving and harmonically related to the sound worlds of Mahler and Roy
Harris; after a relatively quiet opening, it again builds to large orchestral climaxes,
somewhat muted here in that they are played exclusively by strings.

Quinta del Sordo was inspired by the �Black Paintings� of Francisco Goya.
Colina, who is himself of Spanish-Cuban heritage, employs a number of Latin
rhythms in creating a rather large and exciting, but by no means ostentatious
or noisy, symphonic poem. Here, again, his chameleon-like ability to reinvent his
style puts this specific work in the same genre as similar works of Ponce or Halffter.
The only consistent trait one can really point to in all of these works so far is that
he enjoys creating contrasts of volume as well as of mood.

Colina�s flute concerto, Isles of Shoals, is his homage to the first arts
community in America, hosted by the beautiful and popular poet Celia Thaxter on the
largest island off the coast of New Hampshire. This colony, which lasted until 1912
but had its peak between 1850 and 1895, included such visitors as Edward McDowell,
John Knowles Paine, Ossip Gabrilowitsch, and Phoebe Jenks. Here, again, Colina is
wearing a different stylistic hat, this time more in the impressionistic vein of
Debussy, Ravel, or even Roussel, employing unusual chords and orchestral colors
to convey sounds both light and oceanic in quality.

Music Composed by Michael Dalmau Colina
Played by the London Symphony Orchestra
With Anastasia Khitruk (violin) & Lukasz Dlugosz (flute)
Conducted by Ira Levin

Source: Fleur de Son CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 175 MB (incl. cover & composer bio)

Download Link - https://mega.co.nz/#!ZFBE2LBD!Pn05rlRV-glQkq8OeHPUglvRFYY_MYqQcCFgoAlnDOo

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wimpel69

12-14-2013, 09:23 AM

No.499

The Midsummer Marriage is an opera in three acts, with music and libretto by
Michael Tippett (1905-1998). The work's first performance was at Covent Garden,
27 January 1955. The reception of the opera was controversial, over perceived confusion as
to the libretto and Tippett's use of symbols and psychological references. Tippett later
extracted the suite of Ritual Dances from the opera: The first three dances are situated as a
sequence in the early moments of Act II. In each of them the character Strephon, a dancer who
contributes neither word nor voice, appears in the form of a different animal. In order to
escape a pursuing female dancer, he constantly changes shape; in the first instance into a hare
in a dance titled �The earth in autumn�, then a fish (�The waters in winter�) followed by a bird
(�The air in spring�). In her attempt to catch him, the female also transforms herself � into a
hound. an otter and then a hawk. The chase, which is vividly illustrated in the orchestral
music, reflects the tensions of the opera, particularly those of sexuality and relationship
as represented by the female pursuit of the male. However, this scenario also looks to the
importance within the context of the opera as a whole of nature and its transformations. The
fourth of the dances occurs in the third and final act; titled �Fire in summer�, it has the subtitle
�The voluntary human sacrifice�. At this point in the drama Strephon dances a ritual of
midsummer, using the imagery of fire to make a symbolic sacrifice of himself.

The Suite for the Birthday of Prince Charles was one of very few commissions Tippett
accepted while Midsummer Marriage was fermenting. It is the closest he came to a conventional-
sounding British suite in the Moeran manner. It has some stamping folk dances and various rustic
and regional references especially linking with his parental home county of Cornwall. It also uses
material from his discarded folk-song opera Robin Hood. The Praeludium for brass, bells and
percussion is clamorous and celebratory. It was premiered by the BBCSO with Antal Dorati.

Music Composed and Conducted by Michael Tippett
Played by the English Northern Philharmonia
With the Chorus of Opera North

"Tippett's uniquely life-enhancing vision has been central to the musical life of post-war Britain;
for a generation he has been the doyen of British musicians and is now universally regarded as
one of the world's greatest living composers. Yet despite distinction and seniority he has never
assumed the mantle of 'Grand Old Man' - his remarkably youthful, energetic presence and attitudes
belie his 85 years; but most significantly of all, Tippett remains compositionally at the height of
his powers, producing music of glowing vigour and richness."
Geraint Lewis

Source: Nimbus CD (my rip!)
Format: mp3, 320k/s (CBR), DDD Stereo
File Size: 140 MB

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astrapot

12-14-2013, 10:05 AM

dear bohuslav,
i think the dances that you show me are not the ones that i'm looking for
the title is really "armenian dances"
like in this CD (with the man with a funny face and a strange hat...) by the fennell woodwind ensemble. (its generaly the version that we could find on CD's, but hard to find, even in torrent)

(http://picturepush.com/public/13919600)

wimpel69

12-14-2013, 10:31 AM

I got this album, totally forgot about it. I'll upload it here.

bohuslav

12-14-2013, 10:54 AM

for friends of mercury look at this:

Rare Classical Vinyl: Mercury Living Presence & Other Recordings (http://rareclassicalvinyl.blogspot.de/2012/12/mercury-living-presence-other-recordings.html)

@ astrapot, post 22 is the fennell you looking for.

wimpel69

12-14-2013, 11:16 AM

Oh good, so I don't have to upload it. Was planning something else for No.500 anyway! ;)

astrapot

12-14-2013, 04:21 PM

bohuslav and Wimpl, thank you for the great link guys ! !

wimpel69

12-16-2013, 09:22 AM

No.500

This 8-CD collection (2 of which I posted before, in their first life as ASV albums)
of colorful Mexican Music includes works by the country's three best-known
composers, Carlos Ch�vez, Silvestre Revueltas and Manuel Ponce, but also many
items by more "obscure", but no less intriguing coutrymen. For the full list of
composers and works, please see the review by Musicweb below.

Music Composed by (see below)
Played by the Mexico City Philharmonic, Mexican State Symphony Orchestra
And the Royal Philharmonic Orchestra
With Henryk Szeryng (violin) & Jorge Federico Osorio (piano)
Conducted by Enrique Batiz

"The orchestral honours here are shared between three orchestras. The main burden is taken
between the Mexican State Philharmonic and the Mexico City Symphony Orchestra. The Royal
Philharmonic take up the �slack� with the Chavez Antigona and Romantica, the Violin Concerto by
Halffter and the Chavez Chapultepec, Ponce�s Ferial and Instantaneas, the Revueltas Toccata and
the Ponce Estampas.

All the recordings have been licensed out to Brilliant by the Sanctuary Group having originally
formed part of ASV�s distinguished Mexican series.

Mexican orchestral music is represented here by three symphonies by Chavez (three of his six),
two violin concertos (Ponce and Halffter), a piano concerto by Ponce and the Ponce Guitar Concerto.
In fact we get all three of Ponce's dazzlingly imaginative concertos. Otherwise we hear nine pieces
by Revueltas, ten by Chavez, eleven by Ponce including those three concertos and his most
famous piece taken up by many violinists including Heifetz, Estrellita.

Chavez's Chapultepec overture is cheeky with a dash of Sousa-style excess to add a kick. Ponce's
Ferial is from 1940 and is a lividly lit though subtle counterpart to Rapsodie espagnole. It was first
conducted by Erich Kleiber. The Instantaneas are a series of short Mexican snapshots with the
rasping rattle and gourd noises we may be familiar with from Villa-Lobos's Indianist and jungle
pieces. These are interspersed with virile little village dances - sombrero commercial and drowsy
sentimental. Revueltas's Toccata is jerky and fragmented, like a doll dance escaped from
Pulcinella. Beside Ponce, Revueltas sounds like the modernist. Ponce's Estampas Nocturnas
are substantial and their language is thoughtful, impressionistic and watercolour-sentimental -
none of the lurid colours we associate with the Mexican sound. This is more Mexico City aspiring
to Vienna than to Indianist and other ethnic origins.

After a disc of lighter if not always slight fare we next encounter three major works. Ponce's 1942
Violin Concerto is taken by Henryk Szeryng whose singing silver tone suits the work very well.
This is a delightful chucklingly serenading romantic work closer to Barber, Walton and Glazunov
than to anything grim. However something more Bergian seeps into the bones for the central
andante espressivo. The finale is catchy and chipper. It uses the popular song Manitas. Chavez's
India symphony is from the mid-1930s. It was premiered in New York with the composer
conducting. It's in a single movement in one track incorporating four episodes. It is alive with
virile rhythmic interest and with the flavour of ethnic percussion: tenebari, grijutian, teponaxtli
and hupenhuehuetl, the latter two being drums and the former rattles. Beyond these decorative
details the lyrical material reminded me of Copland. Revueltas's four movement La Noche de
las Mayas is a half hour work in four movements. It is extracted from a film score written for
the 1939 film of the same name. Its cinema origins probably explain why the music is often
more commercial and even rather more like Ponce than the tough originality we come to expect
from Revueltas. That modernity can be heard however in the terse, blaring and gritty Noche
de encantamiento with its braying horns and rattle-scrape ostinati.

Madrid-born Rodolfo Halffter left Spain for Mexico in 1939. His 1942 Violin Concerto was
written with Samuel Dushkin in mind; the same Dushkin who commissioned and premiered
the Stravinsky Violin Concerto. It has some of the Stravinsky's brusque neo-classicism with a
splash of de Falla to mitigate the desiccation. It also sports an affecting central Andante
cantabile. It is heard in its 1953 edition made by the soloist here, Henryk Szeryng. This set
has justified claims to definitive status given the involvement of Szeryng in both the Ponce
and the Halffter.

Moncayo's Huapango is something of a fixture in Latino classical collections from Bernstein
and Dudamel. It dates from 1941. It's a beaming bright and sharply rhythmic piece which
is brilliantly orchestrated. Here it is carried off with panache.

Revueltas's Cuauhnahuac (1930) is his first major orchestral work. It's a portrait in sound
of the town of Cuernavaca but by its Indian name. It is uproarious, howling and braying,
whooping in the manner of a Markevich score, with a sentimental core and rampant closing pages.

The Ponce Concierto del Sur is played by Alfonso Moreno. It is one of the most instantly pleasing
works on the disc and I commend it to you if you like the Rodrigo Aranjuez, Andaluz or Madrigal.
It has a gift of a tune at 2:02 which returns from time to time. The sierra-cool Andante is hardly
less fine. If you would like to sample then look no further than the final movement. Slake your
thirst for more Rodrigo with this utterly captivating guitar concerto premiered by Segovia and
Ponce in Montevideo in 1943.

Revueltas's Redes (Nets) I knew from the old RCA LP made by Eduardo Mata in the 1970s. It
is an excitingly dissonant piece of explosive material. This is laced with haunted nostalgic
divagations which can be quite affecting. Redes was written for a socialist-realist film of the
same name which depicted the impoverished life of the fisherman. Three years before that score
he wrote the Homenaje a Garcia Lorca in 1935. It's a raucous celebratory piece full of sour
dissonance and Stravinskian gestures. Also memorable is the elegiac vinegar of a trumpet solo.
Jimenez's Tres cartas de Mexico was a discovery for me with its Petrushkan bustle and
poetically accessible local colour. Four guitars (Cecilia Lopez, Juan Reves, Jesus Ruiz, Alfredo
Sanchez Oviedo) put in an appearance in the final Allegro. It's all very attractive.

Blas Galindo Dimas is better known as Blas Galindo. His Homenaje a Cervantes is neo-
Baroque and undemandingly entertaining. It's followed by the fluffy Gottschalk-like pearly
glitter of a turn of the century effusion for piano and orchestra by Herrera. Lastly, Chavez's
transcription of a Buxtehude Zarabanda can be seen in the same league as the massive
orchestrations of Bach organ pieces. This is however rather intensely romantic. These works
lead naturally to Halffter�s transcriptions of three Soler sonatas. Their super-inflated
orchestration and steroidal Handelian glare allow for a rather finely turned Allegretto grazia.

Revuletas's Sensemaya takes us back into the feral jungle and wild antiquity of the Mayan past.
This is more in the whooping thudding direction of The Rite of Spring. Galindo's enjoyable Sones
de Mariachi (1940) revels in Mexican postcard brightness. Ponce's classic hit Estrelita is a
sentimental hit and is better known from the Heifetz transcription. Here it is heard in its heavily
luxurious orchestral version - almost Korngold. Halffter's 1952 Obertura Festiva is flightily neo-
classical but at times too heavily booted to take wing. More harmonically sour and thorny is the
Tripartita of 1959. Revueltas's Janitizio of 1933 depicts the revels of a seaside resort. It�s
honking, hip-swaying and uproarious. Although written for an instrumental Octet his Ocho por
Radio (1933) is in much the same squeaky, impudent and characterful vein. Vilanueva's Vals
Poetico apes the grand metropolitan waltzes of Europe and does so smoothly and with some
style. Chavez's 1937 Chaconne is another wonderfully inflated and upholstered Buxtehude
transcription belonging in the same noble league as the classic Stokowski-Bach arrangements.

CD 6 is a fascinating all-Ponce collection. The sound glares a bit in the 1912 Ponce Piano
Concerto but the work is in the gleamingly romantic conservative tradition of Liszt, Chopin
and Arensky. Thunder and screes of pearly notes are thrown hither and yon by the impassioned
Jorge Federico Osorio - very enjoyable if not appreciably Mexican. The affecting elegance of
Gavota is in the aristocratic ballroom tradition. Balada Mexicana includes a piano solo part,
here played by Seva Suk. It is once again in the exotic Gottschalk idiom with a smoking
Latino element. The Dance of the Ancient Mexicans is skilled and shapely but the composer
seems to caricature rather than suggest anything at all vivid or dangerous - fun though.
Lastly the three movement Chapultepec is an impressionistic picture premiered in a concert
it shared with Ravel's Rapsodie espagnole. This quarter-hour piece can be seen as an
extension of Ferial which has a similarly Gallic impressionist signature. It is a fine discovery
and well worth devoting listening time. Poema Elegiaco of 1935 breaks the deferential
European mould with moody ambiguity and even tacit threat. This is one of the most
attractive disks in the set. In fact Ponce emerges as hardly the most original figure but
a composer whose music is often rewarding.

The seventh disc is an all-Chavez affair. His 1947 Toccata for Orchestra begins in an
eerie Berlioz-like chill and finally erupts in a volcanic blast. The notes tell us that this
impressive music is based on an incidental score for a �Don Quixote� stage adaptation. The
diptychal Paisajes Mexicanas (1973) is the most recent piece. It has a raw and glaring
edge - something more in common with the blare of the classic Revueltas scores. The
1943 suite La Hija de Colquide (the Medea legend) was written for Martha Graham for
performance at the Library of Congress. The five movement suite is allocated a single
track where in this respect decisions for the rest of the set have been well handled.
It ranges from gentle woodwind musing to indianist rattle, rasp, gong, whistle and
mystery. We hear much the same smoking sense of peril as in Barber's Medea ballet -
clearly a popular theme. The indianist aspect is to the fore again in the brilliant and
rhythmically emphasised Cantos de Mexico of 1933 which ends in the dazzling white
teeth, frills and uproar predictive of Copland�s El Salon Mexico. I wonder how these
Mexican composers viewed Copland's work. The short 1953 Baile has that upstart,
cheeky Mexican brightness and serenading brilliance. Both Cantos and the roaring
Baile would pair well with the Copland work or make a nice change from it.

The last disc of the set pairs Chavez and Revueltas. The good though typo-ridden
notes by David Moncur remind us that there are seven Chavez symphonies from the
1916 Sinfonia para orquesta (not numbered) to the 1961 Sixth. There is a Vox set
of all the six numbered symphonies on VoxBox (review review). The Sinfonia de
Antigona is his first numbered symphony. It groans and rasps with Sophoclean
tragedy. The material is drawn from music he wrote for Cocteau's updated rewrite
of the work. Clearly scarifying Greek themes attracted him as his score for the
Medea-based Martha Graham ballet Hija de Colchide shows. This is stern music with
moments of repose from threat serving to emphasise what they separate yet also
providing some spiritual let-up. The symphony ends in calm.

The Fourth Symphony is the Sinfonia Romantica in three movements. It was written
to a commission from the stupendously active and affluent Louisville Orchestra.
The Sinfonia Romantica is romantic certainly - not quite Howard Hanson but the
first movement recalls Korngold at times. The molto lent middle movement sings
with a little more remorse and reserve. A bustling dynamic enlivens the final Vivo
with skirling trumpet fanfares, woodwind mariachi contributions and rowdy heroics.
The first version of the finale is in fact the Baile heard earlier.

The rest of the last disc is given over to Revueltas. His Caminos is jaunty, agreeably
unsophisticated, explosive, jaunty and oompah-wild. Occasional passages sound
as if Markevitch had worked over the Capriccio Italien. Musica para charlar (Music
to converse to) is drawn from the score he wrote for his 1938 documentary film
Ferrocariles de Baja California (Baja California Railroad). In this sense alone it
parallels Virgil Thomson's music for the films Louisiana Story and The Plow that
Broke the Plain. It's not as dissolute and fissile as Caminos and in fact from time to
time amid the railway rhythms it indulges in turn of the century Ballroom lavish.
It's a specially agreeable score and a little less challenging than some of his classic
works. It's good that Revueltas chose to rescue it as a concert item. Ventanas
(Windows) of 1931 revels in ambivalence. Its underlying thunder-cloud tension is
sustained throughout. Imperious writing unleashes chaotic forces which rupture
the mood. Revueltas happily sends murderous and rather haphazard military bands
into the street scene with their band parts mixed up. This does not cause them to
lose their overwheening confidence. Instead they lay into the music which at the
last erupts in a furnace blast of sound.

I trust that the Mexican government have bought stacks of these sets and are
giving them away in delegate packs for conferences on the culture and attractions
of a country in whose artistic musical achievements it can take a fierce pride."
Musicweb

Source: Brilliant Classics CDs (my rip!)
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File Size: 1.48 GB (incl. artwork & booklet)

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Those who click to "Like" this release or in appreciation for my work here will receive
a further album with Mexican orchestral works conducted by Enrique Batiz as a PM.

Enjoy! Don't share! Buy the original! :)