Hans Koessler (1853-1926) Symphony in B minor/Violin Concerto

[tuatara442442]

When the snare drum kicks in during a big tune played by tutti in the first movement, I was even reminded of film music

[Ilja]

There are definitely harmonies that remind of Korngold et al., although it's probably more of an "evolving common musical language" thing than any sort of direct influencing from one to the other.

[Justin]

The snare drum certainly feels out of place, but I think there are enough redeeming qualities in the adagio and finale.

[John Boyer]

Well, I wish I had waited before buying until I had read Ilja's review. I have managed to get through it,but it's the worst buy I have made since purchasing the Stojowski.   Top-heavy,thunderous brass,very Teutonic. It didn't remind me of Volbach at all. There was simply no respite. I am going to have to play Volkmann's Second, to remind myself of how "light and shade" really works.

I am bound to be in a minority,of course, but my partner told me to "turn off that horrible work".

I am reminded of an ad for a play that read, "Richard Dyer of 'The Boston Globe' hated it!  What better recommendation?"

I have just ordered my copy.

[terry martyn]

I couldn't help smiling at that,John.   Indeed,it's an excellent reason for the order.

[John Boyer]

I couldn't help smiling at that,John.   Indeed,it's an excellent reason for the order.

Thanks! I'm glad you took it in the spirit it was intended.  And I hope the Volkmann eased your mind of Koessler's chromatic excesses!  It's been quite a while since I listened to the Volkmann, so perhaps that will be on today's agenda.

[John Boyer]

Having finally listened to the symphony (it just arrived), I can see both sides of the argument.  It is filled with wonderful ideas treated with romantic sweep, as Ilja and Mark pointed out, but it is hampered by garish orchestration that wears on the ear, just as Terry said.  One doesn't have to go very far into the first movement to start being put off by the unrelenting blaring of the brass or the repeated thumping of the bass drum, that feature of belcanto Italian opera that so irritated Berlioz.

What this work desperately needs is a toned-down orchestration, one that will allow the many felicitous touches to shine rather than blind. Koessler, alas, scored it like a kid in a candy store and could not help but strive for grand effects bar after bar. Again, this is too bad because musically it's very nice, so much so that I tracked down an overpriced copy of the string quintet and string sextet so that I could hear what Koessler sounds like when he doesn't have excessive forces at his disposal.

This sort of over-the-top style can be tolerated in an occasional piece -- 38 years from now I can imagine the first movement being played by itself as the "Festival Overture for the Unveiling of the John Boyer Centenary Monument" (Hans Franke, Op. 999) -- but as the first movement of a symphony, the presentation (though not the material) lacks a certain dignity, like hearing Wordsworth shouted through a megaphone.  Still, it will do for low-volume listening!

[semloh]

the "Festival Overture for the Unveiling of the John Boyer Centenary Monument" (Hans Franke, Op. 999)

 

I'm with the majority on this one, by the way. I love the bold, brassy sound  (and I was snared by the drum).

[eschiss1]

High praise for an as-yet non-existent piece; I'd take it!

[Revilod]

I have been listening to the violin concerto a lot recently. It really is a terrific piece but one which doesn't give up its secrets easily. It is ideal gramophone material, then. At first it seems rhapsodic and almost aimless but, after a while, its structure and logic become apparent. It's rather like Delius's great concerto in that sense. Repeated listening is no hardship because the music inhabits such an attractive sound world; the orchestral part is as finely wrought as is the soloist's even though, a few tuttis apart, it is almost exclusively accompanimental. It is little short of a masterpiece.