The Intriguing First Minute of an Unsung Romantic Symphony

[Peter1953]

I have just listened to Reinecke's Symphony No. 2. And again, that is to say the first minute. Just out of curiosity. I wondered what does this first minute to me? Well, the opening minute of this specific symphony is so intriguing, it triggers me to listen to the whole work, because it fascinates me and makes me wonder what else is to come. Does the whole symphony meets the expectations I have after listening to that first minute?

I think that the question is more interesting for symphonies that are new to you, or symphonies you haven't listen to for quite some time (I haven't listened to Reinecke's 2nd for at least a year, and when I listened to the work again, I didn't remember anything at all so it sounded as a new work to me).

Of course there are examples of symphonies which doesn't give the listener a captivating intro, but turns out to be a wonderful work after all.

Do you have an example of such an unsung Romantic symphony (not a whole list, please) with an opening that intrigues you so much that you eagerly want to listen to the whole work?

[John H White]

When I started listening to the opening bars of Franz Lachner's 5th symphony for the first time, I got the impression that  I was into something very special. Previously I had tended to dismiss his 1st symphony as a sort of run of the mill work, but here was something completely different.

[febnyc]

Intriguing - and beautiful:

The opening bars of two Third Symphonies - that of Dvorak and Glazunov.  Each begins with a lush melody you'll remember for a while after listening.

[Alan Howe]

I agree with you, Peter, about Reinecke 2 - and find that his 3rd has exactly the same effect, perhaps even more so. Reinecke was such a fine craftsman that he seems to have the knack of leading the ear on. I find his PC3 does the same thing. It's the art of suggestion - of something more powerful being kept in reserve which has yet to be revealed.

I find that Raff has this ability in spades. When I hear the opening of Symphony No.2, I am drawn in every time. And, although it's not supposed to be as good a piece, the same thing happens for me with No.6!

[Mark Thomas]

Three examples from me:

Firstly, as has already been suggested, Dvorak's Third, which grabs you from the opening bars with that glorious flexible tune, delivered with the directness which is symptomatic of the whole work. Secondly Berwald's Sinfonie Singulière, a rather low key introduction but which conveys all the quirkiness and individuality of the symphony itself. Finally, of course, a Raff example: the Seventh In den Alpen.  Picking up on Alan's point that you can be intrigued and drawn in by an introduction which is actually better than the work which follows, Raff's slow introduction conveys the majesty of the Alps just as successfully as Richard Strauss was later to do, although it's such a shame that the rest of Raff's work doesn't live up to the promise of that magnificent opening.

[Peter1953]

Thanks for your responses. Yes, Dvorak 3, however, I don't think it's a really unsung symphony. I've listened again to Franz Lachner's Preis-Symphonie and Raff's In den Alpen. These works didn't gave me the same sensation ('just wait, dear listener, what is yet to come') I had after the opening bars of Reinecke's 2nd. But that is probably because both symphonies didn't meet my expectations after the promising opening.
How about Rufinatscha's Largo opening of his 6th? In those first 2:40 minutes he is building up a tension, which makes me eager to listen further. And... with a wonderful hour of listening pleasure as a result.

[JimL]

I was about to advance that one myself.  Also, in the introduction he introduces virtually all the motives from which he constructs many of the major themes of the movement.

[Amphissa]

 
The opening theme of Myaskovsky's 5th Symphony. Every time I listened to it, I thought "Where have I heard this? What is this music? So innocent, so lovely."

It took a long time for me to figure that out, but it was really irrelevant, as it is such a beautiful melody, so beautifully orchestrated. And you just know that it will not last.

Svetlanov's recording is heavy-handed, but if that's what you've got .....

[eschiss1]

Svetlanov's recording is heavy-handed, but if that's what you've got .....

Why, is Downes' recording on Marco Polo (of Myaskovsky's 5th) commercially unavailable? Find it at a library or somewheres. It's not the best recording ever made of the work but it's miles ahead of Svetlanov in this particular symphony, which deserves to be done right... and then heard (as do quite a few by this composer, I think, but I also think Svetlanov does get quite a few of the others right or more right.)
Eric

[Amphissa]

 
I agree, Eric. I prefer Ivanov's recording, but that is even harder to track down. The Svetlanov set is much more readily available.

[eschiss1]

I agree, Eric. I prefer Ivanov's recording, but that is even harder to track down. The Svetlanov set is much more readily available.

I have still not heard Ivanov's recording of the 5th I think unfortunately- but I have heard his recording of the 16th, on LP back in college and a number of times since (it could do with remastering/reissue in my non-marketsavvy opinion; quite a good performance, but mono). 
I think the 5th vies with the 21st? for being his most-often recorded symphony, oddly?... but already I veer way off-topic...
No longer unsung (but once, lost, yes? still not often performed at all, true...) but the opening of Dvorak's D minor 4th came to mind with the subject. (I gather this is regarded as a letdown of a symphony in many many ways. I've never found it so, in a good performance.  Have to see whose I have, but it might be one of the very earliest ones, from my father's LP collection? not sure!...)
Hrm. Well, the now-somewhat-sung Dvorak aside, I wonder if the "The Young Girl: The Old King or the Young Lover (Allegro vivace)" of Boughton's Celtic "Deirdre"/second symphony counts as Romantic. I'm inclined to nominate its first minute (and the whole movement itself in another category, but that's another conversation ) For us it's sort of sung, but nowhere near as much so as the Dvorak, and to the classical music "public" it's a mystery (to the non-classical music public both are.)
Eric

[edurban]

For me the opening of Martucci #2 casts a spell...even if the rest doesn't quite live up to it...

David