Unsung Composers

Very many thanks, BritishComposer, for the Kaun Suite. I had a different performance of the work, with only four of the five movements, so its great to have the complete piece. Falstaff, which you also mention, I also have and is rather like a cross between middle period Elgar and the Strauss of the symphonic poems, but duller than both IMHO.

I agree with you about Falstaff, Mark. I haven't scanned Kaun's worklist until today. What a vast amount of potential gems is lingering in the dark archives of... who knows! :D

Yes, many thanks BC.  Have long been interested in hearing something other than the old cassette broadcast tape I have of Sir John Falstaff.   Hopefully someone will come up with more.  I think there is a piano concerto recording, synthesized, but as I recall, it was quite dreadful.

Jerry

there is, of part of the 2nd concerto on IMSLP. there are also recordings of a number of works of his, mostly synthesized I think, including parts of symphony no.1, at Romana-Hamburg (http://www.romana-hamburg.de/Kaun.htm) (recently referred to in another thread here). (This also contains a small part of his first piano concerto- perhaps that's the one you're referring to- IMSLP contains a recording of most of the 2nd, but in 2-piano reduction I think.  There are some very good recordings at IMSLP too though, in my opinion- but I said that in another thread still.)

Hi,

I think I would be interested in a recording of Kaun's "Falstaff", so I would be grateful for an upload. Recently I thought to have found a recording of some of his orchestral works including his First Symphony but then I realized these were just synthesized performances.

It's fine how much rarities are posted here. I think I do have some items in my collection which might be of interest as well, will post them bit by bit.

Regards,
Holger

Kaun's Falstaff (not yet the op.92 suite composed 1912/14, my mistake) is available in full score at IMSLP.  btw! - given that it was dedicated to the memory of conductor Theodore Thomas who died in 1905 (late in which year it was premiered, by the Chicago Symphony conducted by Friedrich Wilhelm- Frederick - Stock) , how certain is that date of 1904? :)  Not that after-composition, pre-publication dedications are unknown (or during revision, or... Asrael comes to mind as an interesting case of an "or"...)

Very many thanks for the Volbach symphonic poem, bc! Great post.

Quote from: eschiss1 on Saturday 30 July 2011, 16:25
Kaun's Falstaff (not yet the op.92 suite composed 1912/14, my mistake) is available in full score at IMSLP.  btw! - given that it was dedicated to the memory of conductor Theodore Thomas who died in 1905 (late in which year it was premiered, by the Chicago Symphony conducted by Friedrich Wilhelm- Frederick - Stock) , how certain is that date of 1904? :)  Not that after-composition, pre-publication dedications are unknown (or during revision, or... Asrael comes to mind as an interesting case of an "or"...)

I took the date from here, a worklist compiled by the composer himself:
http://de.wikipedia.org/wiki/Hugo-Kaun-Werkverzeichnis (http://de.wikipedia.org/wiki/Hugo-Kaun-Werkverzeichnis)
It was however dated 1903 somewhere else...  :-\

PS: I just checked the score at IMSLP: Kaun said he finished the work in early January 1905, so it must have been composed more or less in 1904 I guess... ;)

Hi all,

many thanks for the Kaun and Volbach uploads. It's exciting to get to know these rarities, both of which are quite interesting pieces. I do know somebody who has a copy of the Volbach symphony, so if nobody here has this for share I think I might be able to provide us with a recording at some point.

Regards,
Holger

Embarrassingly, I find that I had a radio recording of the Volbach Symphony, given me by a friend, buried away in the deepest recesses of my hard drive. I don't think that I've ever listened to it. I'll upload it soon...

Volbach's Symphony, as enjoyable a ride as yesterdays' symphonic poem, has now been uploaded. Full details in the Downloads board.

the only orchestral Volbach I was aware of (because of IMSLP) was his Raffael op.26 of 1902 for chorus and orchestra (anyone have a recording of that? Or is that on CD already, I wonder- I need to check... :) ) Looking forward to hearing the new uploads.

Re the Bargiel symphony, only an arrangement is at IMSLP at present, but better than nothing... hopefully full score eventually... glad to have the recording (which I did have in my collection but which seems to have escaped it; glad to welcome it back. Lovely piece!)

Thank you so much for the Volbach Symphony, Mark! I had given up the hope ever to listen to this work after the certain professor left the university. ;)

Oh yes, many, many thanks for all of these great treasures.  I've had Volbach on my want list for many years.  A couple of other works to keep a lookout for:  his  Piano Quintet in d and something called Easter for organ and orchestra......also Vierling's Piano Trio, opus 51 and a Symphony opus 33.

Jerry

For Volbach's orchestral oeuvre:
Fantasiestuck for violin and orchestra, Op. 8 (1889)
Ostern, Symphonic poem, Op. 16 (1895)
Es waren zwei Königskinder, Op. 21 (1900)
Alt-Heidelberg, du feine, Symphonic Poem, Op. 29 (1904)
Il etait une fois, poeme symphonique
Symphony in b minor, Op. 33 (1909)

and several pieces for voices and orchestra
Vom Pagen, Op. 18 (1898)
Gutenberg Kantate, Op. 22 (1900)
Raffael, Op. 26 (1902)
Am Siegfriedbrunnen, Op. 31 (1907)
König Laurins Rosengarten, Op. 38 (1913)
Die Mette von Marienburg (1927)
Grenzen der Menschheit (1931)

I'm missing quite a few opus numbers though: 1-7, 12-13, 15, 17, 19, 30, 32, 35, 37

I have a more comprehensive worklist for Vierling (just missing opus 4)

I'd be interested in the Vierling work list, Belapoel, if it's no bother. Thanks.

Sure Mark,
Keep in mind Hoffmeister lists publication dates, not composition dates. Seems Vierling transitioned from primarily choral  pieces to more instrumental ones later in life (after 1869).

1   Sonnatags am Rhein, von Reinick, f. Sopran, Alt, Tenor u. Bass m. Begl. d. Pfte   1847
2   5 Gedichte von Reinick u. Seeger. Op. 2. (Falsche Blaue. Der gesühnte Hirsch. Lass auf deinem Knie. Liebe in der Ferne. Gartenliedchen.)   1849
3   4 Lieder. Op. 3. (Jetzt weiss ich's. Am Bache. Mein Herz ist schwer. Zwiegesang.)   1850
4   ?   
5   5 Lieder des Hafis, a. dem Persischen v. Daumer, f. Bass. Op. 5 (Stehl' ich mich aus der Moschee. Fern sei die Ros'. Sollte mich in plötzlichem Ruin. Stehe, flüchtiges Reh. Ich hatte gestern Skrupel.)   1850
6   Ouverture zu Shakespeare's Sturm, f. Orch. Op. 6   1851
7   5 Gedichte. Op. 7 (An dich allein. Nun duftet das Mahl. Wenn du dich zur Quelle. Nicht mehr zu dir. Ach Elslein!)   1851
8   Cyclus arabischer Dichtungen. Uebersetzung v. Daumer. Op. 8. (Die Blicke deiner Augen. O du mein theures Leben. Wie brennt sie. O du, von der getrennt. Allein bei diesen Augen)   1852
9   Capriccio. Op. 9   1852
10   Lockenstricke   1853
11   4 Quartetten f. Sopran, Alt, Tenor u. Bass. (Schneeglöckchen läuten. Aus der Jugendzeit. Die ihr schwebet. Wie rafft ich mich auf in der Nacht)   1855
12   5 Gedichte. Op. 12 (Komm, ruh' an meinem Busen. Sei gegrüsst, du Frühlingsstunde. Am Webstuhl. Hochlands Mädchen. O zum Wanken bringt die Liebe)   1853
13   6 Gedichte. (Kalt und schneidend weht der Wind. Du weisst es. Wo soll der Getreue ruh'n. Dir geb ich Alles. Tannhäuser. Weihnachtslied.)   1856
14   Maria Stuart Overture op.14 (1856)   1856
15   Lieder des Hafis, aus dem Persischen von Daumer. 2te Folge f. Bass. (In der Rose. Wenn alles ewig vorbedacht. Spiele mir, o Spielmann. Ungläubige Macht. Lindere es als ein Ruhepfül.)   1856
16   3 Pièces caractéristiques   1856
17   Fantasie (Am.) f. Pfte u. Vcllo   1857
18   Hafislieder f. vierst. Männerchor. (Wenn Alles ewig vorbedacht. Ich bin auf ihren Wegen. Wein, o Schenke. O welche Treue.)    1858
19   4 quartette, SATB (Im Wald, im grunen Wald; Zigeunerlied; Willkommene Ruhe; Friede den Schlummerern)   1858
20   Gretchens Beichte. Duett f. Sopran u. Alt m. Pfte   1858
21   5 Gedichte f. tiefere Stimme. (Wenn etwas in dir leise spricht. Mit schwarzen Segeln. Zur Freude will sich nicht gestalten. Der Reuige. Winterbild)    1858
22   Psalm 137 (An den Wassern zu Babel) f. Chor, Solo u. Orch.   1859
23   6 Orgelstücke   1859
24   Im Frühling. Ouvertüre   1860
25   Frohlocket mit Händen alle Völker. Motette f. 2 Chöre. Part. mit beigef. Klavierauszug. (Letzterer nur zur bequemen Uebersicht beim Einstudiren.)   1860
26   4 Quartette f. gemischte Stimmen. (Mag da draussen. Täuschung. An den Mond. Frühlingsgefühl.)    1860
27   6 Gedichte. (Weihnachtslied. Unbewusste Liebe. Es ist so heiss der Sommertag. Niemand. O trage mich nicht wieder. Die heiligen drei Könige.)   1861
28   4 Chorgesänge f. 2 T. u. 2 B. (Lieben ohne Mass entflammt. Der Winter bringt mich nicht zum Schweigen. Mensch, verspotte nicht den Teufel. Märznacht.)   1864
29   2 Kirchen-Stücke à capella m. willkührl. Begl. d. Pfte. Winterthur, Rieter-Biedermann. No. 1, Kyrie eleison, f. 4st. Chor. Part. u. St . (à 1½ Ngr.) 20 Ngr. – 2, Kyrie eleison, Christe eleison, f. 4st. Chor u. Solost.    1864
30   Hero und Leander f. Chor, Solostimmen u. Orch   1865
31   Overture to Kleist's drama Die Hermannschlacht op.31 (1866)   1866
32   Zur Weinlese f. Männerch. u. Orch   1867
33   Symphony in C major (1869)   1869
34   4 Quartette f. gem. St. (Abendläuten. Zigeunerisch. Heimkehr. Sommer ist es)   1869
35   3 Männerchöre op. 35 (Im Walde; Frühlingsbotschaft; Das Hildebrandlied) Berliner Chomusik-Verlag 2008   1869
36   7 Gesänge f. mittlere St. Heft 1, Maria auf dem Gebirge. Ein Traum. Die Nachtglocke im Winter. 17½ Ngr. Heft 2, Wehe, so willst du. Liebes Aennchen, werde mein! Herbstgefühl. Sie haben mich gequält.    1869
37   3 mehrstimm. Lieder f. Frauench. a capella (od. m. Pfte). (Dornröschen. An den Maienwind. Trutzlied.)   1870
38   Wenns Ostern wird am Tiberstrom op. 38 Berliner Chormusik-Verlag 2008   1870
39   Frühling op. 39 für 4-stg. gem. Chor und Klavier Berliner Chormusik-Verlag 2008   1870
40   3 Klavierstücke. No. 1 (E). 15 Ngr. No. 2 (F). No. 3 (Gm.)   1870
41   3 Fantasiestücke f. Pfte u. Viol. No. 1. Tempo di Minuetto. No. 2. Tempo di Valze. à 17½ ngr. No. 3. Allegro leggiero   1872
42   Altes Schifferlied, SATB, piano   1872
43   Valse-Caprice   1872
44   Sonate für das Pf [D moll]   1873
45   Ach Mutter, liebe Mutter, duett   1873
46   2 Duette (Weihnachtslied der Pifferari; Wallfahrerlied   1873
47   4 Männerchöre. Berlin, Challier & Co.: Heft I. No. 1, In vino veritas (,,Wer es nicht glaubt, probire das"). No. 2, Ein Hafislied (,,Lasst, Freunde, das Superne"). Part. u. St . 8. 17½ ngr. – II. No. 3, ,,Unter blüthenfrischen Bäumen" No. 2, Bruder Lustig (,,Novemberlüfte wehen")   1873
48   4 Männerchöre. Berlin, Challier & Co.: Heft I. No. 1, In vino veritas (,,Wer es nicht glaubt, probire das"). No. 2, Ein Hafislied (,,Lasst, Freunde, das Superne"). Part. u. St . 8. 17½ ngr. – II. No. 3, ,,Unter blüthenfrischen Bäumen" No. 2, Bruder Lustig (,,Novemberlüfte wehen")   1873
49   Ein Hafislied (,,Sieh es ist Messiashauch"), für 4 stimm. Männerchor.   1873
50   Der Raub der Sabinerinnen, f. Chor, Solost. u. Orch.   1876
51   Piano Trio in d minor   1877
52   3 vierstimmige Gesange (Solost oder Chor) (Cito mors ruit; Serenade; Der Traum)   1877
53   3 Impromptus f. Pfte. No. 1 (F). Mk 1,25. No. 2 (Esm.) Mk 1,50. No. 3 (Dm.)   1877
54   2 Gedichte f. dreistimm. Frauenchor m. Pfte. (No. 1. Tanzlied: ,,Hellauf nun ihr Geigen". No. 2. Meerfrauengesang: ,,Wir steigen aus wogenden Fluthen".)   1878
55   3 Fantasiestücke f. Vcello u. Pfte. No. 1 (Dm.). No. 2 (A). No. 3 (F).   1878
56   String Quartet No. 1 in G major   1879
57   Der 100. Psalm: ,,Jauchzet dem Herrn alle Welt", f. gem. Chor a capella m. willkürl. Pftebegltg   1878
58   Alarich. Oratorium f. Chor, Soli u. Orch   1881
59   Fantasiestück (A) f. V. m. Pfte   1882
59   Fantasiestück f. V. m. kl. Orch   1882
60   4 Gesänge f. 1 tiefere St. m. Pfte, m. deutschem u. engl. Texte. Berlin, Challier & Co. No. 1. Die Waldkapelle: ,,Wo tief im Tannengrunde". Mk 0,60. – 2. ,,Ich sprach zur Taube: flieg'". Mk 1,20. – 3. Verrath: ,,Die Wasserlilie kichert leis'". Mk 1. – 4. Aus Meleager: ,,Ueber die Welt kommt Stille"   1882
61   Tragische Ouv. (zu A. Fitger's Drama ,,Die Hexe") f. Orch   1884
62   4 Gesänge f. 1 St. m. Pfte. (No. 1. ,,Grüss' ihn, o Morgenröthe". No. 2. ,,Ich ritt in erster Sonne Glüh'n". No. 3. Brennende Liebe: ,,In meinem Gärtchen lachet". No. 4. ,,Buben und Mägdelein".)   1883
63   Römischer Pilgergesang aus dem 7. Jahrh.: ,,O Roma nobilis" f. sechsstimm. Chor a capella   1883
64   Constantin. Oratorium.   1886
65   2 Chorgesänge a capella. gr. 8. Leipzig, Ulrich Kracht. No. 1. Altdeutscher Hymnus: ,,Die Wurze des Waldes" f. S., A., T. u. 2 B. m. Pfte ad lib. Part. Mk 2,50. St. Mk 1,50. – 2. Marienlied: ,,O du Heilige, du Jungfräuliche" f. 2 S., A., T. u. 2 B. m. Pfte ad lib   1886
66   2 Chorgesänge. 8. Berlin, Fr. Luckhardt. No. 1. ,,Ihr Augen weint" (Passionsgesang) f. S., A., T. u. B. m. Pfte ad lib. Part. Mk 2. St. Mk 1,20. – 2. Osterlied: ,,Jauchzet ihr Himmel" f. S., A., T. u. 2 B. m. Pfte ad lib   1887
67   2 Gesänge f. gem. Chor a capella. 8. Leipzig, Forberg. No. 1. Maria, stella maris (6stimm.): ,,Wenn auf des Meeres Wellen". Part. m. unterlegtem Klavier-Auszug Mk 0,75. Chorst. à Mk 0,15. – 2. Thurmchoral (5stimm.): ,,Die Stadt liegt noch im Werktagsrauche"   1887
68   3 Mannerchore (Augustnacht; Es gfallt mer nummen eini; Burschenlied)   1887
69   3 Lieder f. Männerchor. 8. Leipzig, Kistner. No. 1. Opferlied: ,,Die Flamme lodert". Part. u. St . (Mk 0,60) Mk 1,20. – 2. Maienwald: ,,In der Regennacht". Part. u. St . (Mk 0,60) Mk 1,20. – 3. Zu Bacharach: ,,In Bacharach lustig da kehren wir ein".    1887
70   3 elegische Dichtungen f. 1 Singst. m. Pfte. Berlin, Challier & Co. No. 1. Wanderers Nachtlied: ,,Ueber allen Gipfeln ist Ruh". Mk 0,50. – 2. Viel Träume: ,,Viel Wolken sind gezogen". Mk 0,60. – 3. Vorüber: ,,Wo kommst du her, o Abendwind"   1888
71   3 zweistimm. Gesänge m. Pfte. Mainz, Schott. No. 1. Rheinfahrt: ,,Im Maien auf dem Rheine". Mk 1. – 2. Gute Nacht: ,,In dem Himmel ruht die Erde". Mk 0,75. – 3. ,,Hunderttausend Lerchen jubeln"   1888
72   3 Chorgesänge a capella (m. unterl. Klavierauszug) f. Concert od. Kirche. Berlin, Challier & Co. No. 1. Ich wanke nicht: ,,Gerechter Gott, führ' du mein' Sach'" f. S., A., T. u. 2 B. Part. gr. 8. Mk 1. St. 8. Mk 0,75. – 2. ,,Herr, auf den Höhen öffne die Quellen" f. S., A., T. u. 2 B. Part. gr. 8. Mk 1,20. St. 8. Mk 1. – 3. ,,Herr, unser starker Held" f. 2 S., A., T. u. 2 B.   1890
73   2 Hafislieder f. B. m. Pfte. Berlin, Challier & Co. No. 1. ,,Ungesäumt erlösche mir". Mk 1. – 2. ,,Was meines Herzens Pochen"   1890
74   Salvum fac regem" f. gem. Chor u. Orch   1891
75   3 Chorgesänge a capella (m. unterlegtem Klavierauszug) f. Concert u. Kirche. 8. Berlin, Challier & Co. No. 1. ,,Verschneit liegt rings die ganze Welt", f. S., A., T. u. B. Part. Mk 1,20. St. Mk 0,80. – 2. ,,Du gabst dem ew'gen Geist die arme Hülle" f. S., A., T. u. 2 B. Part. Mk 1,20. St. Mk 0,75. – 3. ,,Du bist's allein" f. 2 S., A., T. u. 2 B.   1891
76   String Quartet No. 2 in A major   1892
77   Gottes ist der Orient!" f. 6stimm. Chor. (S I, II, A., T., B. I, II.)   1893
78   2 geistliche Gesänge f. gem. Chor à capella. 8. Berlin, Challier & Co. No. 1. ,,Bleib bei uns". Part. u. St. (Mk 0,60) Mk 1,20. – 2. ,,Ach Herr! Straf mich nicht."   1893
79   3 Gedichte f. 1 Singst. m. Pfte. (No. 1. ,,Oft im Schauer stiller Nächte". No. 2. ,,Das singt und flötet in den Zweigen". No. 3. ,,Um Mitternacht hab' ich gewacht".)    1894
80   Dreistimm. Gesänge f. 2 S. u. A. m. Pfte. Part. u. St . (8.) Mainz, Schott. No. 1. Frühlingslied: ,,Lächelnd blühen, glühen Rosen". Mk 1. – 2. Abendlied: ,,Abend wird es wieder" Mk 1,75. – 3. Hüte dich: ,,Nachtigall, hüte dich"   1894
81   3 Männerchöre. 8. Leipzig, Rob. Forberg. No. 1. Trinklied: ,,Und wenn die Lieb auch Abschied nahm". Part. u. St . (Mk 0,60) Mk 1. – 2. Bergkirchlein: ,,Auf Bergesgipfel ein Kirchlein blaut". Part. u. St . (Mk 0,60) Mk 1. – 3. Der Lenz geht um: ,,Ich sag' euch was"   1894
82   3 Gesänge f. gem. Chor. 8. Leipzig, Rob. Forberg. No. 1. Hoffe nur: ,,Hoffe nur in stiller Nacht" f. S., A., T. u. 2 B. Part. u. St . (4 St. Mk 0,60) Mk 1. – 2. Vom Rhein: ,,Wenn das Rheingold in der Sonne glüht" vierstimm. Part. u. St . (Mk 0,60) Mk 1. – 3. Osterlied: ,,Jauchzet, ihr Himmel" f. S., A., T. u. 2 B.   1894
83   4 Gesänge f. gem. Chor. 8. Leipzig, Rob. Forberg. No. 1. ,,Herr, deine Welt ist schön". Part. u. St . (Mk 0,60) Mk 1. – 2. Nacht in Rom: ,,Ringsum auf allen Plätzen". Fünfstimmig (S., A., T., B. I, II). Part. u. St . (Mk 0,75) Mk 1,25. – 3. Der Herbst: ,,Der Junker Herbst im Jagdgewand". Part. u. St . (Mk 0,60) Mk 1. – 4. Weihnachten: ,,Als das Christkind ward zur Welt gebracht"   1895
84   Mädchen-Lieder f. 1 S. u. 1 A. od. kleineren Chor ohne Begltg. (auch im Freien zu singen.) (No. 1. Morgenwind: ,,Wenn noch kaum die Hähne krähen". No. 2. Wanderlied: ,,Die Lerchen, sie steigen". No. 3. Im Herbst: ,,Blümlein, was trauerst du". No. 4. ,,Kling, klang, Maienglöckchen läutet". No. 5. Frühlingslied: ,,Lächelnd blühen, glühen Rosen". No. 6. ,,Blümlein im Garten". No. 7. ,,Von dem Rosenbusch, o Mutter". No. 8. ,,Wohl dem, der erfunden".)   1895
85   Serenade (Dm.) f. V. u. Pfte   1897
86   4 gem. Chöre. 8o. Leipzig, Rob. Forberg. No. 1. Wanderlust: ,,Heraus! Der Vögel Chor singt jauchzend schon". Part. u. St . (Mk 0,60) Mk 1. – 2. Gute Nacht: ,,Weiche Nebelschleier hüllen" f. S., 2 A., T. u. B. Part. u. St . (Mk 0,75) Mk 1,25. – 3. Neues Leben: ,,Mein Herz thu' dich auf". Part. u. St . (Mk 0,60) Mk 1. – 4. ,,Ein Fichtenbaum steht einsam"   1899
   Zechcantate. Die alten und die jungen Zecher, v. R. Reinick, f. Männerchor m. Pfte.   1854
   Der Herr hat seinen Engeln befohlen (Psalm 91) Berliner Chormusik-Verlag 2002   

I'm obliged to you, sir!

Thanks to everyone for these - really looking forward to hearing the Raff/Liszt especially.  It's obviously significantly longer than the final version.

Re Volbach, also at least one opera, "Die Kunst zu lieben" (ca.1911). ...
erm- re Vierling, op.4 is Lockenstricke, aus dem Persischen des Hafis v. Daumer, f. Bass. from just under the entry for opus 3 (so also 1850).

There is a book about Volbach ("Fritz Volbach (1861-1940). Komponist, Dirigent und Musikwissenschaftler", edited by Klaus Hortschansky, Hagen 1987), where it is mentioned, that many of his works remained in manuscript and where lost or destroyed in the Second World War. That maybee would explain many gaps in the list, Balapoel mentions.

I have listened to the symphony. This is a real work of quality, and its slow movement a piece of true greatness! Axel Beer, who is the author of the commentary about Volbachs compositions in the book, I mentioned above, has written, that Volbach used the Adagio as an orchestral interlude in a late oratorio, called "Auferstehung" (1930), about the passion and resurrection of Christ. According to this fact, Beer supposes, that even Volbach's symphony has a hidden program, in which the Adagio would describe the passion, and the Finale the resurrection. Volbach himself gave the text "Haleluja" to the first six notes of the main theme of the finale.

Volbach had even written some chamber music, which mostly seems to be lost. Two piano quintets have survived. One with strings, the other with winds. Beer's description of the piano and strings work makes me very curious about it.

Thank you, Rainolf, and welcome!

The quintets are both available in score, and since he died in 1940, copyright shouldn't be an issue - see IMSLP (http://imslp.org/wiki/Category:Volbach,_Fritz).
Hrm. Ostern ("poetic symphony for organ and orchestra", I think it used to be called) was recorded commercially in 2004- had no idea, haven't heard it in anycase...

A few years ago I had the Ostern CD on order from jpc but they cancelled the order, saying that the CD was unobtainable.

Thanks, Holger, for the Baußnern Symphony! (Do you remember when and where you recorded?)
I have a 20 min Serenade for violin, clarinet and piano, not very spectacular but just tell me if you would like me to upload it.

Hi britishcomposer,

actually I did not record the Baußnern symphony myself but got a copy of this recording by another collector. There is some announcement in the original file which tells that it was part of a "Konzert am Mittag aus Stuttgart", no idea about the year however. The one I got it from won't have recorded it himself as well because he is from the US.

Yes, an upload of the Serenade would be fine. The centre of Baußnern's creative work should be his symphonic output but I see few chances to get hold of it. In particular, his Symphony No. 5 must be a massive piece (I have an old article about him, written in 1931, which gives a survey on his symphonies). Nevertheless, any further piece by him is a welcome addition.

Regards,
Holger

Ok, listened to the Volbach symphony.
This isn't discussion, exactly... erm... but-
that was good :) !!
Mostly in the Brahmsian manner (a description and not intended to be a complete one either, and no complaint at all. except for that weird, weird second movement- maybe. And then again; maybe not; Brahms always weirder than one supposes, too... But the ending of the finale maybe a bit square - maybe. Hrm. But aside from that... and that after one listen and an opinion subject to revision...
and frankly after several symphonies in B minor that end in utter bleakness or anger (esp. Tchaikovsky 6, but also Hermann 2, ... ... ...) I'm glad to be able to balance a little :) (with this, Myaskovsky 22, and a couple of others)

Rufinatscha 5 ends pretty angry, too. :)

This is Austrian music (I could start a new topic but don't know the etiquette for what isn't a response but rather a wishlist :) ) but- anyone have any of, say, Bleyle's symphonies? :) Or Fritz Spindler's or C.F. Nohr would be good too. (ok, back to German :) )

Hi Eric,

I will upload Bleyle 2nd this afternoon! :D

Thanks, Mathias, for the absolutely magnificent Volbach piece 'Es waren zwei Königskinder' - what fabulously rich and expressive music. Truly wonderful.

Thank you- about to download, looking forward to hearing the Bleyle. That was fast. :)

I've uploaded an expansive early Symphony of 1887 and four well made and substantial orchestral works by Georg Schumann dating from the 1906 to the 1930 (although his idiom didn't really change).

Mark, thanks for the Schumann pieces.  I am listening to the Symphony as I read through other posts.  If this is a student work, he must have been a pretty danged serious student to have composed a symphony running over 40 minutes!   Pretty decent orchestrator for a mere kid......

I have a cassette of his Symphonic Humoresque back in Minnesota.  Another thing to remind me of in October.  If everyone remembers to remind me of things, I'll be busy for several days just digitizing and uploading....

Jerry

Don't worry Jerry, I'll remind you!

Many many thanks for sooo much Schumann, Mark!
All I knew before was his Opus 74 which as far as I know is also called Humoresque. So, Jerry, perhaps you are spared of this particular task. ;)
Ah, yes, I have a recording of his Oratorio 'Ruth' op. 50. Interested, Mark?

I have a copy of Ruth thanks, Mathias, but doesn't it come from a current CD? I'd certainly be very interested in the Humoresque, though. Thanks.

My recording of 'Ruth' is a broadcast from Deutschlandradio of a live performance. (Berlin SO, cond. Jörg Peter Weigle.)
I am not aware that this has been released commercially. Has it ever? I would be very interested to know!

I meant that the 'Orchestervariationen über Vetter Michel op.74' which you uploaded, Mark, are also called 'Humoreske in Variationenform'.
But perhaps I am mistaken and there is another work called Symphonic Humoresque...?

Very astute, BC.  Another look into my database reveals that indeed, the Symphonic Humoresque is opus 74.

So I think we can put that one to bed.  How it got such a different name might be interesting......

Jerry

Mathias, my apologies - my Ruth is the same radio broadcast and therefore fine to upload. Thanks for figuring out that the op.74/Variations/Humoresque is the same piece.

Fortunately some of those Georg Schumann works are I think in score (full or vocal) at IMSLP incl. Lebensfreude (op.54, ca.1910) and others which may be useful also. Again thanks!

According to Bielekat (http://www.bielekat.info/index.php?action=showdetail&id=30774), Hanns Wolf wrote or published his concerto in 1929. (Often hard to tell which date people mean. Apparently it is Hanns, not Hans.)

  Thank you very much your advice eschiss1.
  And I modified his name now.


  Best
  A.S

The Hiller Piano Quintet broadcast on WDR3 today is now in the German Music Folder.

Jerry

Hate to break the news to you, Jerry, but, um...no it isn't.  ::)  ;)

Well, I expect it has to pass moderator approval first. If it does so and when, then it will be.  (I.e.: it is a moderated folder...)

Patience my friends

J

Re Georg Schumann, without even looking (though I ought to) at the useful de-Wikipedia list of works, I see there's at least one symphony with opus number, in F minor opus 42. Any recordings commercial or broadcast known to have been made of that ever?...

Thanks, Jerry for the speedy upload of the Hiller Piano Quintet - right up my street, and a grand work into the bargain.

And a special thanks to Mark for pointing out that this treasure was being broadcast..... :D

Jerry

Thanks Jerry.

Eric, I can find out nothing about this work except that it dates from around 1870 and was published in 1873? Can you work your magic and put any flesh on the bones?

I can already tell you that it's in G Major (I downloaded it and compared the tonality with other downloaded works by playing the beginnings).  Unless, that is my iTunes isn't true to the tones.  If you would be so kind, Eric as to see if IMSLP has the movement indications...

re the Hiller quintet, all I was able to find out so far was that it was also performed in 1873 in Leipzig  I think (I think that's what the German text said, I mean.) ... (and presumably premiered sometime in that 3-year period ) but haven't yet found out more- will get to work (erm- spell research?) on that! *blush*

Oddly, neither the 1900 nor 1906 editions of Grove mention Hiller's Piano Quintet despite listing his chamber output as including "5 pf quartets, 5 trios, 5 string quartets ...[sonatas, etc etc]".

Rather quaintly, the 1900 edition says of Hiller that "His pleasant genial personality, and his great intelligence and wide range of knowledge, make him welcome wherever he goes. In England he has many friends, who are always glad to see him, and hear his delicate legato style of playing, soon, alas, to be numbered with the things of the past." It adds that "His 'Destruction of Jerusalem', his Spring Symphony in E minor, his Pianoforte Concerto in F sharp minor, and more than one of his pianoforte works, are surely destined to survive."  A bold prediction! The mainstream CD catalogues offer the F sharp concerto and some piano works, but no obvious recording of the others. Indeed, I wonder if any of his symphonies have ever been recorded?

so far all I have is that the Library of Congress, Munich's Library (Bavarian State Library), U Cambridge Library, and at least two others I can't figure out on this older computer (Worldcat won't quite work), do carry the 1873 Siegel edition - hoping to have more information than that soon though.

I don't know of any recordings of the symphonies, but there are recordings of others of the piano concertos (including one on Hyperion of the first three), and Allmusic.com mentions recordings of a few other works that may be no longer available.  There's a 3-CD set apparently from 2010, that at least looks very interesting from cpo with a lengthy title part of which is "Beilagen zur Neuen Zeitschrift für Musik, Heft 1 - 16" which contains something by Hiller, I am not quite sure what?... also some discs that contain lieder by Hiller.


One of his early string quartets is (as written) unperformable (or at least, contains an unplayable without scordatura?? chord on the viola in the first movement; not to say this couldn't perhaps be redistributed among the instruments or somehow managed. This is not that unusual, unfortunately, I gather. Parts for the first three string quartets are at IMSLP, and this can be verified ...)

There are only 3 Hiller PCs, Eric.  The "4th" is the Konzertstück in C, Op. 113.  Which has been recorded at least once.

Quote from: eschiss1 on Monday 12 September 2011, 03:46
re the Hiller quintet, all I was able to find out so far was that it was also performed in 1873 in Leipzig  I think (I think that's what the German text said, I mean.) ... (and presumably premiered sometime in that 3-year period ) but haven't yet found out more- will get to work (erm- spell research?) on that! *blush*

I burned a nice CD of the Reuss String Quintet and the Hiller Piano Quintet.  Sent the Hiller Quintet to my girlfriend in Texas.  It would SURE be nice to have some movement titles!  >:(  ;)

P.S.  The two quintets actually make quite a nice pairing!

P.P.S. I wouldn't say the Reuss quintet sounds 50 years behind its times.  More like 25.  Some of the textures and sonorities sound unthinkable without the influence of Brahms.

the Reuss quintet movement titles are Allegro moderato - Scherzo: Vivace assai - Andante con moto - Allegro non assai (but I suspect you already have that!) - the Hiller quintet titles I have been unable so far to obtain - need to keep at it...

I do see this... the Hiller quintet will be performed at this concert here (http://www.rsh-duesseldorf.de/Konzerte-und-Vortraege.49.0.html?&id=49&evID=486&m=10&y=2011) (Dusseldorf) October 15 '11. The same two people mentioned are giving a Hiller-concert in Köln on October 7th- I suspect they are touring with the quintet. I suspect someone here (I feel like I'm volunteering myself- well, not a bad idea actually... hrm.) should contact them :).

Maybe somebody on the Continent can catch the concert and get the movement tempi right off the program notes!  Ilja, maybe.

That Hiller Quintet is quite a gift, Jerry. Thanks much. Well worth reviving, especially when played with such evident affection. Pity the announcer at the end doesn't mention the movement markings.

Yeah.  It's really starting to grow on me.  And I'm not that big a fan of chamber music.  Think you we may have had a major contribution to the PQuintet literature languishing on the shelf for nearly a century and a half and only now getting its due?

P.S. I do get the idea that there is a first movement repeat that is not taken in this performance.  It may extend the performance time by about 5 minutes, but methinks it might be better to take it, since the finale outlasts the first movement by almost a minute without it.

I have contacted the WDR for information about the movement tempi.
BTW, the Hiller Piano Quartet op 133 is to be broadcast on Sunday 25th September. Same program, Musikhaus WDR

Thanks for the tip, BC - have set up to record the Hiller Quartet.

Jerry

As a naive listener, I agree that the Hiller quintet is a fine work and I suspect its appeal will be undimmed by repeated listening. Thank you again for uploading it. Members are so generous, and it is difficult not to swamp the threads with constant expressions of gratitude, but sometimes it just has to be said!

It (the Quintet) sounds like a fun work to play, and its musical and expressive attainments are considerable.  It seems to date from around the same period as the 3rd PC (Concerto espressivo) and Hiller was striving very consciously to extend the expressive potential in his music.  But what really caught my attention is the thematic development.  Throughout the course of the first movement the principal theme is heard in augmentation, diminution, and contrapuntal juxtaposition of each against the original!

Quote from: JimL on Saturday 17 September 2011, 15:24
......what really caught my attention is the thematic development.  Throughout the course of the first movement the principal theme is heard in augmentation, diminution, and contrapuntal juxtaposition of each against the original!

Exactly what I was trying to say, JimL! ;)

Hrm. Was the performance (I really need to listen to it this weekend, I haven't yet and know I'll enjoy it...) from the Julitafestival in Sweden (Program (http://www.julitafestivalen.nu/?p=program), July 24, programmed with Arensky's quintet?)  Perhaps contacting one of the performers there would work also, at that!

Eh!  Any word back on the movement titles for the PQuintet?  I'd say the 3rd movement is an Intermezzo: Allegretto or maybe Moderato somethingorother. 

my "usual sources" of inspiration have run dry (contemporary reviews, library catalogs, scanned-in scores, certain other things) and I live nowhere near any of the libraries where I know there to be copies of scores and parts of the quintet, though perhaps one or more of them will scan it in online (I'm talking to you, BSB :) ). But sometimes there's something one hasn't thought of... nothing yet though.

Thanks for the Raff, Mark.....Gee, I have an old recording of that on my reel to reel tape NUMBER ONE.   Yes, THAT old....

Jerry

Mark, thank you for the Raff cello sonata!

about the Hanns Wolf concerto, I am surprised and intrigued to find that Bielefelder Catalog online (I had no idea they had an online catalog...) lists  a K.U. Classics CD containing the concerto, with the same pianist, another Romanian orchestra (Bucharest) and a different conductor (mentioned here (http://www.bielekat.info/index.php?action=showdetail&id=30774).)

Hrm. An online Bielefelder catalog. There's a resource to bookmark (at least, I intend to...); I've heard how well-turned paper copies of the print one would be, if I make any sense...!

any recording of Baußnern's symphony no.5 (choral symphony on Ist ein Schnitter, heißt der Tod) (1922, given in 1936 and perhaps earlier, I don't know)?...

 
  Baußnern's symphony, I hope too!
  Especially, no.5 and no.6 are interesting work with name.


  Sinfonie Nr. 5 Es ist ein Schnitter, heißt der Tod
  Sinfonie Nr. 6 Psalm der Liebe


  A.S

Paszthory, Paszthory... ... any (close) relation between Casimir and Ditta? (Paszthory, Pászthory per Günter Brosche's book on him, Pásztory in Ditta Pásztory-Bártok's case... how common a family name is it, I wonder :) )
Cello sonata op13 published by Litolff in 1936; some info on composer available at de-Wikipedia here (http://de.wikipedia.org/wiki/Casimir_von_P%C3%A1szthory) fwiw...
(The Duo Nitsch-Allendorf website has sonatas both by Paszthory and also by Alexandrow- Juri Alexandrow, Anatoly's son, I think?... for mp3 download.)

Hate to be a pest (actually it's a guilty pleasure ;)), but anybody hear back from anybody about the movement titles/tempos for the Hiller PQuintet?

about Hiller piano quartet no.3 op.133 there is this to start with - composed in? 1868, published by Kistner of Leipzig 1870. Hope to be able to add more though from the recording or otherwise :) (ah, speaking of Oliver Triendl - see thread elsewhere - and also the Minguet Quartet whose Fuchs recordings I adore...- well, three of the quartettists anyhow. yay!) (A minor... no noun, just "A minor"- "A-moll") - Master microform at Boston Public Library (nearer by than usual to me, but not too near- anyone near (correction...) Andover MA though?)
("Microfilm. Andover, Mass. : Northeast Document Conservation Center, 1991. microfilm reel ; 35mm."

Looks like someone is going to have to go into the Wiki works listing on Hiller and change Op. 133 from A Major to A minor.

P.S. By any chance can someone get their hands on the movement titles for Reuss' 2nd SQ in G minor, Op. 23 No. 2?  And maybe even the Hiller PQ 3?

Re the Reuss- I can't even figure out who first published it, confirm the opus number, etc.

My bad.  The Reuss 2nd SQ is Op. 23 No. 1. :-[

actually, no, those are his 4th and 5th quartets near as I can tell, if the list on Wikipedia (while I helped compile it, I am not certain of the results, for reasons I will go into- indeed there is a problem and they may be quartets 3 and 4) is correct.
Main problem I remember: Several works attributed to Heinrich XXIV Reuss v. Kostritz, younger line, in various sources, seem to be at least possibly by other composers named Reuss (for example, August Reuss, or older composers named Heinrich Reuss, e.g. Heinrich IV Prince Reuss who composed a string quartet in F major published in 1874. I kid not.) This difficulty encompasses at least one, I think maybe two of the string quartets attributed to Reuss (and one that I attributed to Reuss mistakenly but which was indeed by August Reuss- this was my mistake and not anyone else's.)
As far or near as I can tell- I think- Reuss' string quartets are-

quartet no.1 in D minor, opus 1, published 1881.
quartet no.2 in F major, opus 11. (possibly by another Reuss. My only source for this quartet is a publication by Eulenburg (usually August Reuss' publisher, not Heinrich's? for instance they published two of August's quartets, in D minor and E...) poss.ca.1893 (or later?... if I find it in HMB I'll jot the date down), attributing it to him, and while that should be enough, I find myself wanting to look at the score itself and answering some ambiguities for myself...)
quartet no.3 in A-flat major, opus 16 (1903?)
quartet no.4 in G minor, op.23 no.1 (ca.1904)
quartet no.5 in  E-flat major, op.23 no.2 (ca.1904)
(yes, I am aware that's a bit of work, though not yet a lot, to go into for a composer for whom no one has expressed quite that amount of interest. I hadn't heard any and am always curious about trying to order things- not necessarily well... what can I say...)

Mark downloaded a spate of his chamber music about four pages down the German thread.  Nothing earthshaking, just good, solid, pleasant chamber music.  I've coupled the Reuss string works with the Hiller downloads on 2 CDs.  Hiller - now there is a master at work!

Bronsart-v.-S. piano trio: thanks for this, just noticed that Liszt praised this as one of the best trios of its day (iirc...) and superior to Rubinstein's trios written up to that date (whenever it was he wrote that letter to Agnes Klindworth - guessing around the time of composition, 1856/7,... - Walker doesn't say when the letter was written, I think, but does give a reference, to a page in La Mara's Briefe an eine Freundin- will have to find that I suppose; that volume- v.3 of Liszt's Briefe - may have been digitized... Anyhow, Rubinstein's 3rd trio was published in 1867, so he may only have meant the opus 15 pair.) Have skimmed the score of the Bronsart-

    Allegro molto: Maestoso - Appassionato (G minor) (edit: well-chosen indications)
    Vivace (D major) (edit: nice! clever movement this, with varied return of trio, generally through-composed feel...)
    Adagio ma non troppo (B minor) - (attacca) (edit: funeral march. sort of belated homage to Chopin??)
    Grave - Allegro agitato (G minor)

(from IMSLP)
and it really looks quite good. Commercially recorded once that I knew of -the 1993 CD - and on the LP I didn't know about too (31 minutes on the 1993 Canadian Piano Trio CD.) Anyhow, again, looking forward to hearing it which I shall soon-thanks again.
(And for the reasons given on Wikipedia, it's Schellendorff with two fs.)

Ok... well- not quite done listening to the Bronsart-v-Schellendorff trio - but so far - Liszt was rather sparing in his praise. :)
(Humor if you've read what he did have to say about the work, again- but I'm not sure I'm kidding.
Well, there are some weak points here and there but what I mean is- really- this is excellent. Recommended! )

I just love the Bronsart Piano Trio, especially the slow movement, but when I hear those extended rapid piano trills at the end of the first and the chase-like motif that starts and ends the second - plebeian that I am - I can't stop myself thinking of silent movies! In particular, Helen Holmes or Mary Pickford being tied to the railway line, alternating with camera shots of the oncoming steam engine!  Oh dear! ::)
I hope I am alone in this!

I was worried looking at that in score after downloading it from IMSLP, but at least in the performance to hand, the 2nd movement seems to work. My big concern with the piece maybe is some overreliance in the third movement on recollections - I may just be imagining this anyway- of the main section of the funeral march of the Chopin 2nd sonata- in rhythm and manner and general obsessiveness etc. more than actual content. (I do think it clever- if even intended - that the violin fools us into thinking it's the cello until the cello turns up in its actual register in the middle section of the same slow movement. As I should have recalled from the score and even more from the part, where the fact that the cello part of the 3rd movement is wholly silent until the switch to 5 sharps is easy to remember even on a quick skim... - except I didn't remember it... )
I'm trying to remember now who some of the better-known composers were who wrote for silent film- besides Saint-Saëns... though I take your point in principle :)!

My favorite qualities? of the piece are the sheer strength and drama of the outer movements - and especially the first. Schumann gives us this to my ears in his first violin sonata and maybe in his first piano trio but between in Romantic era piano chamber music I don't hear that much that seems as well-argued and impassioned before the first movement of the Tchaikovsky trio .  (I don't know when those two qualities became opposed rather than reinforcing :( I really don't. In the very best sonata works of a certain kind that I know - early middle and late and recent - the development heightens the suspense, the recap brings temporary relief- or it can work differently, but in a way that makes sense in context always..., etc. - these qualities work together, not against each other. But yes, I know at least a good part of the history of the why of it. Just lamenting.

Two (better-known though still relatively unsung) exceptions maybe (rating highly in both, not just one or the other) - Volkmann B-flat (also a Liszt connection since I think Liszt was the pianist at its premiere) ; Goetz. I know the Volkmann and Goetz have been recorded a few times each now and the Bronsart only twice I think- once on LP, once on CD about 13 years ago - and I have a recording of the Volkmann; but I'd like to see a CD with those three trios!

Eric

Eric - I wish I'd said that! :)

Re Rudorff: there is also a serenade no.1 in A major op.20 (in 6 movements, pub. 1875 by Simrock, ded. to Joachim- Denmark Royal Library has scanned and uploaded the full score). Hopefully they have and intend to do the same with the 2nd serenade (or someone does)... (and likewise hopefully someone performed or will perform the first, which seems interesting.)

  Hello Jelly

  Thanks a lot that surprising your uploads!
  I will listen Weissmann and Rudorff's Symphonies later today.
  I'm looking forward to listen these!

  Thanks
 
  A.S

I have the Rudorff symphony PDF downloaded from Sibley (and have had from some time) I think so was hoping -some- performance of it would come by. Thanks!!

Thanks for uploading Rudorff's Second. Jerry. The same recording as I have (unfortunately).

Jerry, thanks for your Rudorff and Weismann uploads as well. I should add that keys in case of the Weismann seem to be wrong, which is confirmed by the work lists I checked. I guess things should be like that:

Symphony No. 2 in B flat Major, Op. 130 (1940)
Symphony No. 3 in B Minor, Op. 131 (1940)

Looking forward to listening soon to the Weismann also- I don't know how much I've heard conducted by those two but they come very well-reputed (esp. Wallberg) and the sound will hopefully not be too great a problem. (And yay, another B minor symphony :) )

Thanks for the correction on the key signatures, Holger.  I checked 1980 Grove (now, but probably should have before posting - sorry about that....) and that confirms your post also.  Hope you all enjoy them despite the poor sound.

Jerry

Big thanks also from me, Jerry!!!  :D
Will need some time to listen to but I appreciate your efforts very much!

Concerning the Mielck concerto: A.S had uploaded the 'Concertstück op. 9' which was mislabeled by Finnish Radio 'Piano Concerto'. They sent the same piece a couple of times during the last months, sometimes as 'Concertstück' sometimes as 'Piano Concerto'. ;) So, if you really happen to have the CONCERTO I would be very glad if you could upload it!  :D

Josef Strobl I think??- Strobel is a different conductor (Frank?...).  Also, yes, here as also in the Conradin Kreutzer concertos of awhile back, Wallberg is, I believe indeed the proper spelling, not Wahlberg...

I have listened to Rudorff's Symphony. Yes, the recording isn't optimal, but I think, you can nevertheless hear, that Rudorff was a composer of strong individual profile. I like this craggy style. Would you say, that Rudorff has a comparable position in the academic camp, as Draeseke has it in that of the New Germans?

Ok, still don't know if this is supposed to be used as a "wishlist", but Kaminski having been mentioned - anyone have esp. orchestral or choral works by
Hans von Koessler (1853-1926) or
Heinrich Kaminski (1886-1946)
that they can share?

Re Rudorff: *ducks incoming flamestorm :D *

Wasn't somebody going to contact WDR3 and find out the movement titles for the Hiller PQuintet and PQ?  I'd love to personally contact Oliver Treindl or any member of the Minguet Quartet and find out for myself.

I'll see about finding Mr. Triendl's website and contact him about the quartet, anyway :) Hrm. Actually, I think instead maybe I'll contact the Minguet Quartet either at their website if I can find it, or on Facebook where I do see they have a page... but yes, will send something over way theirs.

message sent (hopefully- did not "feel" a sense of confirmation :) ) at the quartet's website.

Quote from: JimL on Thursday 13 October 2011, 05:50
Wasn't somebody going to contact WDR3 and find out the movement titles for the Hiller PQuintet and PQ?  I'd love to personally contact Oliver Treindl or any member of the Minguet Quartet and find out for myself.

I was me. Got no answer, though. :(
Will you contact Triendl/Minguet or would you like me to do it?

Edit: Sorry, have overlooked Eric's reply to your query. ;)

Maybe FB is the way to go.  If you don't hear anything back, I'll give it a shot.  :)

Anyone have non-commercial recordings of anything composed by
*Hugo Ulrich (more Silesian/Polish/German I guess. String quartet, other chamber music, two symphonies - B minor, C major - ah! I see now this one has been recorded at least "virtually" in 2007 at romana-hamburg... - reduced score of the B minor and an arrangement of the 3rd movement (Adagio) of the C major at IMSLP. Full scores of the symphonies in a couple of places apparently)
*Bernhard Scholz (at least 2 symphonies, other works. I think one work of his has been posted here, now I think of it...)

Yes, Scholtz is an interesting figure. He was well known and respected in his day (1835-1916). A conservative, very much in the Brahms camp, he was one of the signatories, with Brahms and Joachim, of the infamous letter denouncing Liszt, Wagner and the New German School. He was primarily an academic, succeeding Raff as director of the Frankfurt Conservatory, but wrote a lot of music including nine operas, two symphonies, a piano concerto and quite a few chamber works. It'd be very interesting to hear some of his music.

Re Jadassohn's first piano quartet - very glad to have a recording (since I haven't yet bought the one on Real Sound, though it can be heard online at Concertzender.nl ) - hope someone will record the other two though (darn, i sound ungrateful :( ). The score and parts can be found at http://imslp.org/wiki/Piano_Quartet_No.1,_Op.77_(Jadassohn,_Salomon) (http://imslp.org/wiki/Piano_Quartet_No.1,_Op.77_(Jadassohn,_Salomon)).

Adding to my wishlist, I assume (shouldn't) that Gustav Jenner's Serenade for orchestra (1912, recorded and published 1977 - recording coupled with Hindemith's E-flat cello concerto opus 3) hasn't made it from Musicaphon LP to CD. Anyone have the LP and want to digitize it if so? *goes to check a bit...*

Yes, thanx for that thoughtful upload, BC.  But darn, I already have the quartet.  And the piano Quintet #3 in g.  And the four piano trios that came out on CD a year or so ago.  Like his music alot.

I guess the reason I'm so fond of piano trios, quartets and quintets is because of my love of piano concertos.  The chamber works, in my mind, are like mini concertos.  And some of them would undoubtedly sound really good if orchestrated for a full orchestra.......

Jerry

Quote from: eschiss1 on Sunday 16 October 2011, 19:11
Adding to my wishlist, I assume (shouldn't) that Gustav Jenner's Serenade for orchestra (1912, recorded and published 1977 - recording coupled with Hindemith's E-flat cello concerto opus 3) hasn't made it from Musicaphon LP to CD. Anyone have the LP and want to digitize it if so? *goes to check a bit...*

Eric, who are the performers of this LP?

I have a broadcast recording with James Lockhart conducting the Staatsorchester Rheinische Philharmonie, dating from the late 90s if I remember...
By some strange coincident I listened to this recording this morning and had already planned to upload it the following week!

Now, tell me, Eric: can you read my thoughts?!  :o  ;D

that would be the same Musicaphon (or at least I think originally Musicaphon?) LP. As to whether or not I can read your thoughts, 41.

Thanks, britishcomposer, for the download of the Jadassohn Piano Quartet.  As someone who appreciates the works of composers such as Jenner and Herzogenberg, and with Jadassohn's high reputation among his contemporaries, I expected to enjoy it and while it has some interesting and attractive moments, the thing that struck me most strongly was what came across to me as the mawkishness of the Adagio.  I know that it was once the norm to accuse Mendelssohn of sentimentality (with very little justification, in my view) and Mendelssohn is a composer I revere very deeply.  But does anyone else feel similarly queasy about the Jadassohn, or is it just me?

No, there can be 'a little of the salon' about Jadassohn's music on occasions. This doesn't seem to be true of his orchestral music - although frustration is setting in with regard to the promised release by cpo of his symphonies so that we can establish more about him...

Quote from: Alan Howe on Monday 17 October 2011, 17:16
No, there can be 'a little of the salon' about Jadassohn's music on occasions. This doesn't seem to be true of his orchestral music - although frustration is setting in with regard to the promised release by cpo of his symphonies so that we can establish more about him...

Very well put, Alan.  And I agree with your frustration about the delay with the symphonies.

Quote from: Alan Howe on Monday 17 October 2011, 17:16
No, there can be 'a little of the salon' about Jadassohn's music on occasions. This doesn't seem to be true of his orchestral music - although frustration is setting in with regard to the promised release by cpo of his symphonies so that we can establish more about him...

I acknowledge with enormous gratitude the marvellous job done by CPO in bringing so much obscure music to our attention :)...........BUT they do seem to take a quite inordinate amount of time to release cds of music previously recorded and often advertised by them.

Their 2010 Catalogue lists Edvin Kallstenius's Symphonies Nos. 1 and 2(recorded 2007) and Jan van Gilse's Symphony No.3(recorded 2009) as "Soon Available".
Well that was well over a year ago and those cds have not been released. There is no 2011 Catalogue.

I'd rather they take more time than they have done, and get the booklets done better. At least, the
(1) English translations
(2) the correspondence to the music examples with the texts (and yes, I know, who else bothers with music examples at all? I know, I know. Donemus used to have full scores with their LPs, I gather, but those days are long gone- very glad for ability to download some of the scores from IMSLP and suchlike, anyway, now. But if they're going to have them, and texts, they should correspond. Not saying it's easy- from experience there.)
at least, in the examples I've seen.
Otherwise, though, their work has indeed been often very fine and I am glad to have many of their CDs in my collection...

cpo are simply swamped with projects (mostly radio co-productions) waiting for release. At an average of six releases per month, they probably have enough material to last well into the current  decade, so we must simply be patient, I guess...

Quote from: Lionel Harrsion on Monday 17 October 2011, 15:44
Thanks, britishcomposer, for the download of the Jadassohn Piano Quartet.  ... the thing that struck me most strongly was what came across to me as the mawkishness of the Adagio. ... But does anyone else feel similarly queasy about the Jadassohn, or is it just me?

I absolutely loved it, Lionel! And although not great music, I didn't think the adagio was out of place in this work. But then, I have simple aesthetic tastes and find no problem with "mawkishness" ....which is why I love the salon arrangements of 'Palm Court' ensembles and I Salonistsi!  ::) ::)

And, why I genuinely cherish my Max Jaffa collection!!!! ;D ;D ;D

Quote from: semloh on Tuesday 18 October 2011, 05:20

Quote from: Lionel Harrsion on Monday 17 October 2011, 15:44
Thanks, britishcomposer, for the download of the Jadassohn Piano Quartet.  ... the thing that struck me most strongly was what came across to me as the mawkishness of the Adagio. ... But does anyone else feel similarly queasy about the Jadassohn, or is it just me?

I absolutely loved it, Lionel! And although not great music, I didn't think the adagio was out of place in this work. But then, I have simple aesthetic tastes and find no problem with "mawkishness" ....which is why I love the salon arrangements of 'Palm Court' ensembles and I Salonistsi!  ::) ::)

And, why I genuinely cherish my Max Jaffa collection!!!! ;D ;D ;D

I certainly have no problem with 'Palm Court' ensembles (nor with Max Jaffa!) but Jadassohn's slow movement seemed to me a tad too sugary in context -- but maybe I'm becoming too acidic in my old age!  I think it's a difficult balance to strike -- one of my all-time favourite Unsungs is Samuel Coleridge-Taylor, whose music sometimes teeters dangerously on the brink of sentimentality but it rarely, if ever tips over.  Still, as my wise old mother used to say, "it wouldn't do if we were all the same". ;)

Thanks again, britishcomposer for the Jenner Serenade - unalloyed pleasure!  His music is so attractive and well-crafted I can't imagine why it's not standard fare... ???

not sure what discography - the title of their page - means in this context, but this performance of the Reizenstein was indeed this year (not a rebroadcast of a performance taped years ago) if I understand right - http://www.nuernbergersymphoniker.de/docs/presse_mediathek_diskografie_br.htm (http://www.nuernbergersymphoniker.de/docs/presse_mediathek_diskografie_br.htm). (realize that this wasn't a question, but in case peoples' records include this information as mine sometimes does. No joy figuring out the movement heading(s) though.)

My thanks for uploading the Reizenstein Violin Concerto, and I certainly don't mean to quibble, Sibyl, but shouldn't it be in the British music folder?  He left Germany in his early 20's and spent the rest of his (admittedly rather short) life in England.  Just asking...

  Hi dafrieze,

  Thanks to tell about Reizenstein.
  I didn't know his life.  I searched wikipedia....  http://en.wikipedia.org/wiki/Franz_Reizenstein (http://en.wikipedia.org/wiki/Franz_Reizenstein)
  Certainly, it is describe that Reizenstein is  ' German-born British composer '
  So I should have uploaded it for British music folder.
 
  Thanks,
  Atsushi
 

Thanks very much for the Reizenstein upload in any case :)

With the new release of his Piano Concerto No.2 by Dutton.....and the forthcoming upload of his Cantata "Voices of Night" ;D this is quite a month for Reizenstein :)

Quote from: Lionel Harrsion on Tuesday 18 October 2011, 09:36
Thanks again, britishcomposer for the Jenner Serenade - unalloyed pleasure!  His music is so attractive and well-crafted I can't imagine why it's not standard fare... ???

Hear, hear!  :) :) :)

FWIW I put in my 2¢ worth and emailed the Minguet Quartet(t) for the movement titles for both the Hiller chamber works they broadcast with Oliver Triendl on WDR3.  Hope one of us hears back from them.

　Hello Members.

  About last night MDR Figaro broadcast of Senfter's symphony no.4

  Sorry! I forgot to record it....  This is my biggest mistake!　　I'm depressed... :'(

  I hope did anyone recorded this concert , please upload instead of me :-[



  Atsushi

Hrm. _Not_ the student cello concerto in D major op.213, this Arnold Ludwig Mendelssohn work... (ah, I see a Concerto in G minor for cello and orchestra listed at Worldcat however. Instrumentation "1.2.2.2.-1.0.0.0.,Str(8.7.6.5.4.), Solo-Vc".)

Also, re the Reizenstein, nice Chaconne-ish finale (or coda to the finale- need to pay more attention here)...
Re Senfter... hopefully another chance sometime if nothing else. Thank you anycase from me.

Yeah, that's it, Eric.  G minor, with almost a chamber orchestra accompaniment.  Unfortunately, my download had a brief pause with about 3:31 to play.

Re Hofmann's piano quartet op.50 -  Ries' published score of 1880 has Vivace, ma non troppo for the first movement (rather than Vivace con moto). Otherwise the same. Thanks!

  Hi Arbuckle,
 
  I would like to express my deepest appreciate for your upload of Senfter :)
  Arigatou!!

  Atsushi

Agreed re the Senfter!
Am guessing it's from about 1930 give or take, if only since op.53 and similar works are said to be at Klassika.info.

Yes thx a lot  for the Senfter but are you sure it's not  actually Bruckner's 000 ?  :)

Maybee it would be useful to list the movement titles of the recently uploaded Senfter and Petersen Symphonies:

Senfter 4:
1. Gemäßigt
2. Rasch
3. Sehr ruhig
4. Lebhaft

Petersen 4:
1. Moderato
2. Adagio non troppo
3. Finale: Allegro vivo

ah, thank you. Yes, it is- I know I always like having that information somewhere (e.g. the "lyrics" field in iTunes so that I can read it on my iPod after changing the id3 tag appropriately, sometimes adding movement lengths once I can suss them out too ;) )
As to Bruckner pre-student-sinfonie - gemäßigt, mit feier und nicht schnell (misterioso)? :)
Still unclear whether this is in B-flat or B major... have seen both in various places (even from sources that I would think would be on the lookout for making the B-dur --> B-major mistake that so many make when translating (sigh. I so very much do feel like saying e.g. on IMSLP, if one doesn't know that B-dur is B-flat major, please don't translate- and yes, I know that is unnecessarily harsh).)

Petersen -
sources seem to differ (apologies for weasel-words) on the dates of his 4th symphony, some giving 1933/4, some giving some date in the 1940s. The more convincing ones seem to give a date in the 1930s yes, especially if his works in the 1940s were mostly though not entirely posthumously published, though a bit of research such as I am able to do right now - which is not at all much - suggests either could be argued for a little. I think I'm going to have to go to HMB and see if it was published anyway before 1940 - that would settle it thoroughly (well, mostly; one might be listening to a revision of the published version. Etc. Etc.). Symphony 3, anyway, was published and turns up in Worldcat.

Thanks, Rainolf, for the movement titles which I still missed.

As for the Senfter, I just checked the key, and while the beginning is a bit moving around the final bars let no doubt the key is B flat Major indeed. I took the date for Petersen's Fourth from the German Wikipedia article as my impression is that the one who published all the data there some years ago knew what he was doing.

According to Wolfgang Mechsner's Petersen book, which contains a biography and the catalogue of works, the 4th Symphony was composed in 1931/32 and premiered the 15th April 1941 in Ludwigshafen by conductor Karl Friderich (I'm sure, he is identical with the "Karl Friedrich" of the recording).

Thanks for the clarifying the Petersen issue, Rainolf. Your assumption about the conductor is very likely to be true. The conductor's name is just mentioned in the announcement but it's not that easy to understand it. I already did some research previously to find out more but searching for things like "Karl Fri(e)drich Dirigent Stuttgart" led to nothing. Actually I already had the suspicion it could also be Friderich but my error was to use the spelling "Friederich", of course without success once again. So it's great things are clear now.

Best possibility for conductor according anyway to Musicsack and other sources that I can see (including the preceding :) ) -
*Karl Hans Reinhold Friderich (1899- ca.1954? ), Kapellmeister (born Nurnberg)

We still have no proper 'wishlist', so I will misuse the downloads discussion. ;)

I am looking for any music by the following German composers:

Erich Mirsch-Riccius (1884-1962) - I suppose there is nothing.  :(

Ludwig Roselius (1902-1977) - Radio Bremen, for which he worked, has archived a lot recordings but they haven't broadcast anything for years. My old cassette-tapes are mostly unplayable. Moreover I deleted a few tapes in the early 90s when I needed some space for new recordings. (HOW IDIDOTIC!!! >:()
A few years ago I requested if it were possible to get copies of the Bremen productions. However, the fees were too high, 30 Euros for half-an-hour or even more...

There's a short German wikipedia article but it states wrongly that he wrote 'symphonies'. He wrote not a single one. Orchestral works are few, mostly suites from incidental scores. I daresay he was one of the greatest late-romantic German 'Liedmeister' - well, who cares. :(
Though influenced by Pfitzner, who was a friend, he had definitely found an own style, a distinctive harmonic language.

I was lucky to have a look at some manuscripts at the Staatsarchiv Bremen a few years ago. I was deeply impressed by his opera 'Godiva': he employs a very large orchestra but uses it often like different chamber-ensembles. The strings are often divided threefold [is that the right expression? ;)]; there is a passage for five muted solo violas!
He employs sprechgesang, sometimes notated, sometimes just spoken.
Godiva was successfully premiered in Nürnberg, 1933. It was praised for its harmonic boldness and strong rhythmic writing. Bremen followed but Karlsruhe declined because of the 'immorality' of the text, written by Roselius himself.
It was given in Bremen again in 1959, for the last time I think. The title role was sung by no one less than the young Montserrat Caballé!
The performing materials are complete, I think, handwritten by his own wife, who wrote a touching memoir after his death. ;) :D

Britishcomposer, I can help with the Roselius. I have an LP with a selection of works by this composer. These are:

• "Lilofee-Suite", Norddeutsche Märchenmusik zu Manfred Hausmanns dramatischer Ballade für Orchester op. 16 (1936)
• Sinfonisches Vorspiel op. 18 (1939/40)
• "Stunden einer Liebe", Lieder und Duette nach Gedichten von Manfred Hausmann op. 20 (1948–50)

However I still have to digitalize this LP but I assume I will have time for doing so in the next days.

I've added Abert's Third Symphony and have recordings of a Concert Overture and a String Quartet if anyone is interested.

Eric, I can't track down the movement titles of the Symphony. Can you work your magic, please?

:) Thanks. Well, so far I have movement title lists for two Abert symphonies (Columbus, of course, and also a Spring Symphony in C) - but not this one... Will keep looking.
I do see from a contemporary issue of the Neue Wiener Musik-Zeitung that the A major symphony was premiered? performed? January 8 1856 in Stuttgart so 1856 may be a publication date, not a composition date...

also- any of Rietz' 3 symphonies, or his cello concerto op.16 or opus 2 fantasy?  (Thanks to Stabikat Berlin we do have the parts of those two, and some other works, at IMSLP. I need to finish uploading the parts of Ferdinand Ries' 2nd symphony, though it has at least been recorded...)
Thanks again!

  Mark, Thanks to upload Abert's symphony!
  Of course, I'm very interested in Other works :)

  Atsushi

OK, I'll upload them too, but in the meantime I've just added Anton Urspruch's Piano Concerto, which you asked for.

  Thanks! Thanks a lot Mark!

  Well, I have many music which I will listen in this weekend as well as last weekend.
  Thanks all !


  Atsushi

Quote from: Holger on Friday 21 October 2011, 07:48
Britishcomposer, I can help with the Roselius. I have an LP with a selection of works by this composer. These are:

• "Lilofee-Suite", Norddeutsche Märchenmusik zu Manfred Hausmanns dramatischer Ballade für Orchester op. 16 (1936)
• Sinfonisches Vorspiel op. 18 (1939/40)
• "Stunden einer Liebe", Lieder und Duette nach Gedichten von Manfred Hausmann op. 20 (1948–50)

However I still have to digitalize this LP but I assume I will have time for doing so in the next days.

Thank you for that, Holger! :D
I didn't even know that an LP had been produced.  ::)
I still have my old broadcast recordings of these works but they are so faded, it's no joy.
Moreover Radiobremen had faded in the 'Stunden einer Liebe' so I don't even know how much I missed of that!  :(

Mark, the perfomers of the Abert 3rd are most likely the Nordwestdeutsche Philharmonie conducted by Reinhard Peters.
My off-air recording is some ten years old I think.

Abert's manuscripts, the Bach Cantatas site (maybe from Grove?), are at Württemburgische Landesbibliothek Stuttgart - since I am beginning to doubt that the 3rd symphony was published, going to check there...

Thanks for the Abert Third performers, I've amended the post and the text file.

Britishcomposer, I have now digitalized my Roselius LP and uploaded all three pieces, links should appear soon (currently still waiting for approval). I wanted to check details about the LP and found out there is no label on it. When having a look at the old invoice I really read it is a noncommercial one, so probably quite rare.

"Stunden einer Liebe" takes 22:35 minutes in my transfer, it's the longest among these pieces (the LP is rather generous with a total time of about 53 minutes). I must admit that piano songs are not really my cup of tea, so I cannot do much with it. However I really like the two orchestral works which are beautifully crafted with a fine sense of warm sound.

Thank you so much, Holger! :D

Quite interesting to hear about that LP!
If it has no label, who made it? Pressing an LP is not that easy as burning a CD, I think!  ;D
The performers are indeed the same as those of the broadcasts by Radiobremen (Nordwestradio)

Does anyone have or have a tape of the rather rare LP "Musik zu Dreien" (Garnet-Schallplatten, 1980s) with Joseph Haas' piano trio (2 violins and piano, opus 38, A minor) and string trio "divertimento" in D op.22 on it - the latter a work never, I think, otherwise commercially recorded? (At least of the string trio? :) The parts of the string trio - maybe of the Kammertrio op.38, will need to check and must rush to work now- at IMSLP...  Library of Congress and a German Library do have this LP or at least list them in their catalogs.)
Re the movements of the Abert 3rd symphony, between the score never having apparently been published in any form that I can figure out and the conductor having died three years ago (and uncontactable - I don't believe in séances) and references in 1856 to the premiere not mentioning the movements- likewise the book by Hermann Abert does mention the symphony in the edition I've been able to read but not, again, that I can see, the movement headings - this is high on my list of "probably impossibly hard for now" ones... though the Hermann Abert book seems the best bet for where to find the information if I can decipher the German...

Not quite sure which thread to put this in, but for those interested in contemporary rarities, the old East German Nova label looks promising - some decidedly "unsung" composers there! :)
http://www.avguide.com/forums/lp-collectors-only-nova-discography

Mark, thanks so much for the Urspruch Piano Concerto.  Love this piece and will play it often.  It may not be heavy stuff, but is one of those piece's that just leaves you feeling good.  Or like, I almost wish it wouldn't end.......thanks.....

Jerry

I've added Julius Rietz' enjoyable Lustspiel Overture.

Thanks!!

Quote from: britishcomposer on Saturday 22 October 2011, 18:13
Thank you so much, Holger! :D

Hear, hear, Holger. The Roselius is superb!  :) :)

Thank you Mark!  Now I again have at last the Rietz Concert Overture in A.  I loved it from the first moment I put on that old Louisville Orchestra LP, and haven't heard it in years.

I've added some orchestral music by the 20th century composer Gerhard Frommel to the thread. Particularly impressive are the neo-Brucknerian First Symphony and the neo-classical (well, almost) Second Symphony.

 
  Ooh!!  Thank you so much Mark!

 
 

I've added Johann Abert's Concert Overture.

Thanks!
Re Frommel, he too (like an Austrian composer I mentioned) has an interesting-looking detailed site devoted to him - http://www.gerhard-frommel.de/ (http://www.gerhard-frommel.de/) - with sound samples, small first page score samples (very nice- I like making that sort of thing into iPod icons for my sound files), premiere dates, etc. :) (yes, I know the interest of such things varies even to those who like the music, but I wanted to make that available) (silly and too serious-sounding joke edited -out-.)

(Edit: actually, you can select "download as PDF" and get and save a nice, large-quality image of the first page of the first symphony and maybe other works too- not just a small bit of a hint of a low-resolution icon. Very nice indeed. Published 1942 and composer died too recently so not public domain, so without estate permission not going to get the whole work that way- but some don't even give one that much and I like this :) )

about the Frommel concerto- hrm...
there was a CD of the "Vivo" from this and his piano sonata no.6 on Deutsche Grammofon? ??
Which would seem to establish that yes, there is a Vivo in it... hrm.
Oh. Ok- I think the movements of the concerto for clarinet, piano and orchestra in b minor opus 9 are
#Largo - Allegro moderato, Tempo rubato
#Vivo
#Cadenza and Finale
but I should double-check. (There's audio from the CD from which I get that information http://www.musicline.de/de/product/28944282184 (http://www.musicline.de/de/product/28944282184) - I'll listen to the piece and see if the audio of the "Cadenza and Finale" sounds like anything from the concerto, or if I'm just misunderstanding the page, for one thing...) Yep, the Amazon.de link makes it clear those three tracks belong to the opus 9 concerto, yay - and Martha Argerich is the pianist, apparently on that recording . (And Frommel was a Pfitzner pupil. Hrm, nice discovery! )

Eric, you're a marvellous sleuth. many thanks.

too happy to try to do so (of course, selfishly speaking, this both hones some skills and the music is often at least really good! :) ) Thank you.

WDR 3 celebrated Ferdinand Hiller with a concert of chamber music and songs:
http://www.wdr3.de/konzert/details/artikel/zum-200-geburtstag-von-ferdinand-hiller.html (http://www.wdr3.de/konzert/details/artikel/zum-200-geburtstag-von-ferdinand-hiller.html)

Both first movements of Op. 133 and 156 were played by the Schnitzler-Quartett.
Following this concert the remaining movements of Op. 133 were broadcast in the Minguet-Triendl recording.
Here are the movements:

Piano Quartet Op. 133

1. Allegro appassionato
2. Adagio espressivo
3. Intermezzo
4. Finale: Allegro con fuoco


Piano Quintet Op. 156

1. Allegro con anima

That's all I can provide.
I have written a second time to the WDR 3 Team.

Why don't you wait until the cpo disc is out?! ;)

Thanks, BC.  I've actually emailed the Minguet Quartet (and friended them on FB with a personal message) to obtain this information.  I'm hoping to hear back from them on FB, as I don't know how often they check their email.

partial information is better than none, in this case quite a bit (and with a movement of the quintet "fixed" I might be able to "lever" a bit more as was the case with a concerto yesterday ;^) ). cpo CD? there's going to be a cpo CD of the quartet and quintet? this makes me very happy truly - it's great to be able to hear them here but I always think it's better when they have very wide distribution!

I'd still like an actual tempo for the Intermezzo movement from the Quartet.  And I'll bet the Quintet's 3rd movement is also an intermezzo.  Did Hiller ever compose a scherzo in his life?

Well, early works- piano quartet no.2 opus 3 of Hiller, 2nd movement, Scherzo: Allegro vivace - Trio: Più moderato.
The symphony op.67 3rd movement is an Allegro vivace but not labeled as a Scherzo (still, not an Allegretto as many intermezzi are- not sure if that's what you're asking! )

hrm, neat - also - another thing...  according to http://www.wdr3.de/playlist/pl_vom/24.10.2011.html (http://www.wdr3.de/playlist/pl_vom/24.10.2011.html) opus 133 first movement is allegro appassionata but I'll go with yours. Wish the site would provide the other movements of opus 156 in their playlist (maybe they do... have to go look.) :)

and yes, the opus 156 3rd movement is an Intermezzo -
http://www.wdr3.de/fileadmin/user_upload/Sendungen/Variationen/2011/Manuskripte/111022%20Musiklaufplan.pdf (http://www.wdr3.de/fileadmin/user_upload/Sendungen/Variationen/2011/Manuskripte/111022%20Musiklaufplan.pdf)

Well, now to find out movements 2 and 4 (well, for 4 I guess one could write "Finale"- well, no, let's find the other 2 ;) )

Cobbett Cyclopedic Survey Volume 1 (seen in snippet at Google books) says the second movement is an adagio. (1929, page 555. ... erm... if anyone has Cobbett, as several people have mentioned, they could answer the question about Hiller's opus 156 right quickly- actually, the library here does, downtown, I'll go check soon. 1929 edition and possibly later ones too.)

Good work!  If I can get the tempos of these 2 intermezzi and the titles of the 2nd and 4th movements of the Quintet I can print out a cover sheet for that CD.  Any luck on the Prinz Reuss G minor String Quartet movements?

the only ... almost-primary :) source I have for the Reuss quartet existing and being by this particular Reuss (remember, other Reuss family members with similar names composed too, and quartets too*) (besides the recording) is Cobbett (which I don't have, but it's mentioned in a Google Books snippet- the local library -does- have it though - so I will check their copy for that and for the finale movement header of the opus 156 quintet of Hiller when I get a chance (assuming the Cobbett entry author doesn't just write "The finale..." - but - well... anyhow, he does write "allegro con anima" and "the adagio" so one's hopeful. So yes, will look up the Reuss and Hiller there soon... though yes, his reliability is put in some question by his referring to the opus 3 2nd piano quartet as the 2nd string quartet (at least that explains why he(?) thinks there are 6 Hiller string quartets - 3 of "them" are piano quartets and 3 are string quartets, but all 6 are quartets. Imagine if poor Mr. Hiller had written oboe quartets, clarinet quartets and harpsichord quartets too... e.g. )

*yes, I complain about composer identification problems, but they can get pretty bad sometimes. hair not torn out yet, though.

Reuss Quartet opus 23 no.1 in G minor- first movement - "Legend" : Introduction (G minor) - Allegro (B-flat)

more information as I have it ... :)

The Allegro of the Reuss is also in G minor.  But thanks.  Keep on keeping on!

ok, having (I am ashamed to say) put off listening to that Reuss work (due to distractability and general difficulty concentrating lately I think) - that one I partially blame on Cobbett's author but mostly on myself. Anyhow, will do!

I'm very keen that you print out your CD cover Jim. Cobbett confirms the Piano Quintet's opening movement as Allegro con anima and the third is indeed an Intermezzo. The second movement is marked Adagio and Cobbett just calls the finale, finale.

I can always print out another one as more information becomes available.  I'd still like to get the remaining movements of the Reuss G minor quartet for that CD.  As I said, I coupled a Reuss string work with each of the Hiller piano and strings works, which pairings turned out oddly appropriate.

I don't know if cpo will release the Hiller works but I guess it. Triendl is almost an artist-in-residence with cpo, isn't he? ;)

I agree, but they have such a huge pile of unreleased recordings that I'd be surprised if we saw a commercial release from them for two or three years at the very least. The Gouvy symphonies CD which they've just announced today was recorded in 2008.

Has any of you recordings of music by Friedrich Metzler (1910-79)?
I heard his Cello Concerto as a teenager in concert and have never encountered his name again so far.

Quote from: Mark Thomas on Thursday 27 October 2011, 13:30
I agree, but they have such a huge pile of unreleased recordings that I'd be surprised if we saw a commercial release from them for two or three years at the very least.

And I have such a huge pile of unheard recordings... ;)
They as a record company have probably the same psychological 'problem'as I, a private person: record everything you can get hold of so as not to miss a chance.
I don't know if I will ever listen to all my music - they don't know if they will ever release all their music.  ;D

(At the serious risk of being told off for a digression ;D)

I have a similar problem in that I can honestly say that I listen to everything I get but often only once :(

Ich auch.

But to return to the music...

Et moi aussi.
(Friedrich Metzler, Hermann Hans Wetzler- *boom*)

Movements of the Senfter symphony from http://www.jenaer-philharmonie.de/sixcms/media.php/1519/C1.pdf (http://www.jenaer-philharmonie.de/sixcms/media.php/1519/C1.pdf) -
#Gemäßigt
#Sehr ruhig
#Rasch
#Lebhaft

Sorry if that's redundant, I couldn't remember if we have that information yet or not. (This may be from the same concert as the broadcast, and contains some program notes, though they don't answer all the questions- like "when-abouts-and-around was it written?..." - apparently it wasn't premiered until 2000, which is interesting if not unfortunately unusual. Oh ok- someone already posted that- thank you. Sorry!
Also, wow- Wetz and Urspruch (now if I just had a vocal score to the Urspruch- one does have one for his Tempest opera, perhaps that will be staged if the material hasn't been lost...)
Which makes me wonder tangentially if Neuendorff's  (German-American, I think, conductor-composer) opera The Ratcatcher of Hamelin (vocal score at Library of Congress and IMSLP) has been done too... anyway. An embrace of riches and my iPod is almost full as it is...

Arbuckle, via Albion, so many thanks for the Urspruch Das Unmöglichste von Allem. I've been away for the weekend and so was unable to record it. Wonderful!

Yes, thanks seconded!

very welcome

Quote from: Mark Thomas on Sunday 30 October 2011, 15:30
Arbuckle, via Albion, so many thanks for the Urspruch Das Unmöglichste von Allem. I've been away for the weekend and so was unable to record it. Wonderful!

Is there any info on the performers, please?  :)

yes- from http://www.unsungcomposers.com/forum/index.php/topic,1739.0.html (http://www.unsungcomposers.com/forum/index.php/topic,1739.0.html):

Anton Urspruch
"Das Unmöglichste von allem"
Komische Oper in drei Akten
frei nach der Komödie von Lope de Vega

Die Königin - Rebecca Broberg
Roberto - Robert Wilhelm Fendl
Diana - Anne Wieben
Celia - Caterina Maier
Lisardo - Matthias Graetzel
Ramon - Ralf Sauerbrey
Feniso - Johannes Föttinger
Fulgencio - Victor Petitjean
Albano - Martin Schmidt
Pedrillo - Laurent Martin
Catarina - Stephanie Firnkes
Tafelsänger - Heidrun Klava
u.a.
Mendelssohn Philharmonie Düsseldorf
in Kooperation mit dem
Orchester des Sorbischen Nationalensembles Bautzen
Leitung: Israel Yinon

broadcast 29 October 2011.
From operone.de : Das Unmöglichste von allem (nach Lope de Vega), komische Oper 3 Akte (5. Nov. 1897 Karlsruhe, Hoftheater). (http://operone.de/komponist/urspruch.html (http://operone.de/komponist/urspruch.html))

Thank you, eschiss1 - I'm most grateful.
:) :)

Happily :)
Re Senfter symphony 4 again - I hear the Brucknerian sound in the first movement, though I don't know any Bruckner symphonies offhand whose first movement is about the length of the remaining three combined (though the very brief scherzo allows the remaining two to have a more reasonable size...). The scherzo has a more.. well, there's what seems to be a (exact?) Reger quote in it (a cadence - a very distinct, in harmony and orchestration, cadential passage - from the Mozart variations?) and influences from some other composers...
hrm. Liking this.
(Edit: I seem to recall not all of her symphonies were premiered so posthumously- no.6 in D minor was even performed during her lifetime, if memory serves- I think I saw a note of it when browsing NZM/ZM issues years ago. No.4, though, the notes say, had to wait until 2000 for its first performance. Enjoyed this 2011 performance in any case and hope to hear more of her work.)
Eric

About the Bronsart trio- I wrote Edition Silvertrust about something else and mentioned in passing that they might want to consider including Bronsart's trio among the works they republish and give wider distribution - this is already in the works, I gather...

Dear Herrarte,

have just downloaded your PIXIS 'dbl conc' ZIP file, but it now asks me for a password before I can unzip it!  Can you asdvise what this is pls?

Thank you

Richard

The concerto by pixis been uploaded on the download section is not the same as the one hyperion is going to release in the future.
Hyperion will release the Concerto Op.100 for Piano solo and Orchestra.

Tony

Quote from: fyrexia on Sunday 06 November 2011, 18:25

Hyperion will release the Concerto Op.100 for Piano solo and Orchestra.

Good to know.

Quote from: Richard Moss on Sunday 06 November 2011, 14:50
Dear Herrarte,

have just downloaded your PIXIS 'dbl conc' ZIP file, but it now asks me for a password before I can unzip it!  Can you asdvise what this is pls?

Thank you

Richard

Herrarte, it would be really helpful if the file could be made available to the forum via Mediafire. Any chance of uploading it for us, please?
:) :)

Yeah.  I tried to download it, and got the message that Firefox prevented it from downloading some kind of software.  I don't think this is going to work for everybody...

Try it now. The links work now.

Cheers,

herrarte

as for the password though it's on the download forum page itself (I won't repeat it here since that page is protected and this isn't!)

Eric, I just saw you mentioning Max Trapp in another thread. I have a recording of the 6th Symphony which dates probably from the 1940s. It was broadcast some twenty year ago by Radio Bremen. It had just been made public at that time but I don't know in what kind of medium. Do you know of any commercial release? If not I may upload it next weekend or so. Unfortunately I cannot provide performers.

Britishcomposer, I also have that recording. The symphony is played by the Berliner Philharmoniker, conducted by Trapp himself, and it was recorded in 1951. I got my version via internet but I don't think there has really been a commercial release - Mike Herman doesn't list any recording and he tends to be well-informed of course (and I don't know about any CD myself).

As Eric also mentioned Max Butting (who cannot be compared to Trapp in political terms of course) I should add I do have quite a number of pieces by Butting whom I consider to be an excellent composer, one of the finest German symphonists of his generation in my view. His Ninth has recently been re-released on CD. I will provide some recordings as time permits (and when I'm done with some British music).

I have a 1944 Berlin Philharmonic Orchestra/Hermann Abendroth performance of Trapp's Symphony No.2 I could share :)

That would certainly be great, Colin! :)
I once considered to request this recording from the DRA (German Radio Archives) but due to high prices I finally dropped this idea.

Quote from: Holger on Monday 07 November 2011, 18:01
That would certainly be great, Colin! :)
I once considered to request this recording from the DRA (German Radio Archives) but due to high prices I finally dropped this idea.

Will upload later this evening :)

Quote from: Dundonnell on Monday 07 November 2011, 18:09

Quote from: Holger on Monday 07 November 2011, 18:01
That would certainly be great, Colin! :)
I once considered to request this recording from the DRA (German Radio Archives) but due to high prices I finally dropped this idea.

Will upload later this evening :)

I hate Mediafire sometimes >:( >:(

That's twice now the Trapp upload has failed....each time at 99% completion. ::) ::)

Well, Bielekat (Bielefelder Katalog Klassik Online) lists only Jakob and Willy Trapp. They do list both Butting symphonies 7 and 9. (7 conducted by Werner Andreas Albert in an 8-CD set I think...)
Thanks!!!
To get one of my uploads to succeed I had to zip and gzip the folder, for whatever reason...

I shall try later....when all those kids out there stop downloading or uploading or whatever they do when they come home from school >:(

Eric, the information on Butting's Seventh is a bit misleading. Actually this is one movement from the Seventh issued as part of a series on German music after WW2. The conductor isn't Werner Andreas Albert but Rolf Kleinert. I have the complete symphony in just this recording on LP (and in fact, it was never issued on CD in total). Give me some time and I will upload it.

I know all these difficulties with MediaFire very well. Some days ago, MediaFire wouldn't even allow me to start an upload for hours. That's rather annoying, but MediaFire does have its benefits (as, for example, permanent storage, which is of course very useful for our purposes).

Quote from: Dundonnell on Monday 07 November 2011, 18:50That's twice now the Trapp upload has failed....each time at 99% completion. ::) ::)

Sometimes, what I do is set mediafire to upload two files - the important one first and then an arbitrary one. When it finishes the first and is 'Verifying' (whatever that might portend) it turns it's back and begins loading the second (bogus) file, allowing the first to 'finalise'.

;D ;D ;D

Quote from: Holger on Monday 07 November 2011, 17:56
Britishcomposer, I also have that recording. The symphony is played by the Berliner Philharmoniker, conducted by Trapp himself, and it was recorded in 1951. I got my version via internet but I don't think there has really been a commercial release - Mike Herman doesn't list any recording and he tends to be well-informed of course (and I don't know about any CD myself).

Ah, yes, I seem to remember! (After twenty years I still remember the situation vividly, sitting before my Hifi equipment and trembling not to mess this rare occasion!  ;D)
Only I thought that it was actually recorded during WW2. Quite astonishing that the Berlin Phil. did this stuff in the 50s! Well, I don't expect to see them revive this work with Sir Simon... ;)  ;D

I remember that when I got the piece (I mean Trapp's Sixth) I did some research to find out when it was composed. I actually failed to get any precise data but based on other works by Trapp with nearby opus numbers I came to the conclusion it must have been composed around 1945 in fact. Trapp still seems to have had his performances at least for some time after WW2. For example, his Third Concerto for Orchestra was composed in 1950 and performed by Knappertsbusch (it's even available on CD, as is his Piano Concerto).

Anyway, he has almost completely fallen into oblivion now. However we never know how things will emerge, as there have been some recent CD issues of music by Graener and Weismann there might be some interest in Trapp as well - but I also guess it won't be Rattle conducting for sure! ;D

In any case, what we should not forget is that besides figures like Trapp there is actually a large number of German composers from that time left to be rediscovered, with quite various personal and political backgrounds. I am very glad CPO have brought out some disc with music by Günter Raphael, for example - this was a real find for me.

hrm. symphony 6 in B-flat opus 45... will see if I can find it in HMB, to at least approximate publication date though not composition date... this blog (http://www.overgrownpath.com/2005/10/furtwngler-and-forgotten-new-music.html) claims it was premiered by Furtwängler in 1951. (yes, the bit about symphony no.11 opus 15 is an odd misreading.)
(HMB lists very little by Trapp during the 2nd World War. Much quicker read since every few issues there's a list of composers, and he tends not to be in it, except for August 1943 for the Kleine spielmusik op.41 (same page as Klenau's 7th symphony and Pepping's 2nd) ; April 1943 for the Allegro deciso for orchestra op.40  and - well, haven't quite finished checking.)
(The radio premiere (Ursendung) of Trapp's 6th symphony was sometime between 1951 and 1991 and is mentioned, with a quote of the NDR radio listing- the Google books snippet I find doesn't show me the day - in "Der NDR zwischen Programm und Politik: Beiträge zu seiner Geschichte" by Wolfram Köhler and Klaus Berg (1991 book).)

Trapp's Symphony No.2 is now successfully uploaded and should be available for download tomorrow(today ;D)

Thanks! (Yay for B minor symphonies :) )

Quote from: herrarte on Sunday 06 November 2011, 21:21
Try it now. The links work now.

Cheers,

herrarte

Herrarte - you are a kind person - sincere thanks for putting it up on Mediafile.  :) :) :)

Added some pieces, if approved, by Max Butting and Max Trapp. There are also several pieces on YouTube by Butting such as Symphony No. 10 and a String Trio.
I wasn't clear if someone is planning on adding Trapp Symphony No. 6, so didn't include it unless no one else has it, then I will add it, too. My recording of Trapp's Piano Concerto is the same as the one on the Concertgebouw CDs with Mengelberg, though I received it many years before the CD came out (1910) from a friend in Germany, nice piece, too.

Arbuckle,

I cannot see the Trapp Cello Concerto file. Did you upload it?

Thanks for the other files :)

Thanks! Also, the movements of the violin concerto op.21 of Trapp are
1. Bewegt -- 2. Adagio -- 3. Ruhig.
(movement lists for Butting's symphonies 6-8, but not 9, can be found at de-Wikipedia. Eg for symphony 7 see http://de.wikipedia.org/wiki/7._Sinfonie_(Butting) (http://de.wikipedia.org/wiki/7._Sinfonie_(Butting)). Hopefully someone with information on the 9th symphony will add an article in due course :) one movement, apparently, from the score title. ) (the first movement of the violin concerto is 50-odd seconds? that is odd.)

Butting's Ninth is in one movement, in fact! There are several parts but it's not subdivided into real movements.

As with other Jednoveta/In einem satz/In one movement works it's agreeable/useful (though I'd also agree less "essential") to have tempo markers to the more interesting division points (my phrasing is coming out quite poorly here- and I'm not even translating.)  (Admittedly, with the scores less readily available, less useful than in other cases!)
Also, the Allegro deciso is Max Trapp's op.40 (according to HMB). (Recorded 28 December 1942 according to CHARM, published I think 1943.)
(Oh, I see - violin concerto - "incomplete recording")

I have added Trapp's opus 37 Violin & Piano Sonata to the pot. The Allegro Deciso derives from a Polydor 78, PD 15507; I have the date 11 October 1954 for the Concerto #3 for Orchestra.

Is Butting's opus 120 really an 8-second work?... here I thought Beethoven was going for broke with a 13-second Bagatelle (then again, I don't know yet entirely what to expect from Butting, especially late Butting- I've only seen a few of his works and heard none. Still, a work whose name takes me longer to say than it does to hear crosses into Searle-y Hoffnung territory.) (Hrm. "Ghosts visited me", op.120... on YouTube also... *reads description there :) * )
CHARM (http://www.charm.kcl.ac.uk/) also claims that Butting's symphony no.9 was recorded as early as 1 September 1958 (though not released until later with symphony 10). Likewise the piano concerto may have been released around 1974 to allow for everything I guess but was recorded in 1970.

Hrm.
Odd. the version of Butting's Opus 120 on Youtube has 4 movements (Andante vivo - Allegro - Larghetto - Presto-Animato) and is about 15 minutes long, not 8 seconds as I think the downloaded version is... hrm. it's the full 14.4mb, I think iTunes just doesn't like it for some reason and detects a break after 8 seconds. Problem on my end. Never mind. Sorry.

The Butting Gespenster besuchten mich, op. 120 piece seems to work when I try it, it is about 15 min long, off an LP, can reupload it if still a problem, also went ahead and added to same file
Max Trapp Sym No. 6, Recorded 1951 Berlin PO, Max Trapp conducting,
1. moderato, 2, scherzo, 3. adagio maestoso, 4. allegro con brio
The mvts of Stationen op. 117 are:
1.Allegro impetuoso 5'30
2. Adagio 3'40
3. Andante sostenuto (Valse lento)3'35
4. Allegro agitato 3'40
5. Allegro mosso 3'00
6. Lento lugubre 8'50

And the Cello Concerto is there now, too
http://www.mediafire.com/?2wgm6wzy6st3h (http://www.mediafire.com/?2wgm6wzy6st3h)

Just listened to the Pixis Double Concerto.  Too bad he didn't score it for full orchestra, but it's nice enough with just strings.  This really whets my appetite for the Op. 100!

My understanding of spoken German is very bad. I have a work that has an announcement at the end giving details. I need someone with better German language skills than I to translate for me, because I think I am mis-interpreting what I hear.

If you are good at spoken German, could you contact me please?

Thanks so much for the Urspruch Cello Sonata.  Another gem from the late Romantics.....

Jerry

Quote from: jerfilm on Wednesday 23 November 2011, 17:50
Thanks so much for the Urspruch Cello Sonata.  Another gem from the late Romantics.....

Jerry

Agreed!  Thanks very much.

I've uploaded, at bristishcomposer's request, four works by August Bungert: the Variations and Fugue on an Original Theme for piano, the Torquato Tasso Overture, a Hungarian Dance for orchestra and finally the large Oratorio Mysterium. I also have the Piano Quartet in a very muddy recording and if anybody has a good recording of this broadcast then I'd appreciate it.

Bungert's Piano Quartet and Violin Sonata are now in the German music folder. Enjoy it!  :)

Tremendous! Thanks very much Mathias.

Thanks so much, Mathias, for the upload of the various Hiller items. The Symphony (even though we only have the first movement) is one I have wanted to hear for a long time, especially given its high profile at the time of its composition and for some time afterwards. Very, very interesting indeed.

Amphissa, thank you for the Busch symphony - I think it's a beautiful work.  :)

I see from Wikipedia that Busch had an eventful life, escaping fascism then settling in Vermont and founding the Busch Qt. The Busch family of musicians is remarkable. Wiki notes that he was the son of the luthier Wilhelm Busch; brother of the conductor Fritz Busch, the cellist Hermann Busch, the pianist Heinrich Busch and the actor Willi Busch; and, that Rudolf Serkin was his son-in-law, and Peter Serkin is his grandson.  :o :o

Hrm. Schumann mentions a symphony of Hiller's in a letter to him of 1849 - I am guessing this one, then (I did not guess this one could have been written so early, since it was, I thought, premiered in 1852 under Liszt's direction, and published I think only as late as 1865... not that that is such an unusual gap at all.) That rather mashes up my attempt at a tentative chronology of the few Hiller symphonies I know of (ca.1831-or-before, ca.1831 in A minor, 1848?, Im Freien in G ca.1852, others?) and can guess at on the IMSLP page for this work and elsewhere ;) (tried to redo it just now.)

Though Schumann seems to imply that the symphony had been performed (just that Schumann would not be able to find a place for it in his concerts in 1849, unfortunately...)- maybe the 1852 performance was not a premiere, after all, or maybe I misread the letter by Schumann I read (or the translation was poor). Hrm.
Looking forward to hearing it when I get back from vacation, have wanted to hear this work - thank you!

Further on this - the 1852 performance conducted by Liszt of the E minor symphony by Hiller was not the premiere apparently; according to Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881, page 28, the symphony was performed in Leipzig in 1849. A C major symphony (no.1? no.5?) is also mentioned (also I am guessing lost- I wonder if the "Im Freien" G major symphony still exists somewhere though.)

I am uploading a performance of the Hans Pfitzner Violin Concerto(not Heinrich as the BBC announcer calls the composer) played by Edith Peinemann with the Swiss Festival Orchestra under Rudolf Kempe.

Peinemann made quite a name for herself performing the Pfitzner.

I have uploaded three works by the important 20th century German composer Boris Blacher-his Violin Concerto, Cello Concerto and Collage for orchestra. All three are from radio broadcasts.

Also uploaded is a BBC Radio broadcast of Karl Amadeus Hartmann's Symphony No.5. I hope to be able to add a few more Hartmann symphonies soon.

Thanks!
Re Hans Pfitzner - maybe someone said Hans Erich Pfitzner and it sounded to the announcer like Heinrich, who went on to so pronounce it? I can "see" it... well, hear it happening.

Hiller: Having returned home from my trip, belated but very sincere thanks to Mathias for recording DRK's Hiller-fest and to Atsushi for following it up with MDR's broadcast of Die Zerstörung Jerusalems. I've only sampled the choral works and listened a couple of times to the first movement of the Symphony but my word, it does rather make one reassess Hiller doesn't it? The Symphony in particular is a fine piece and it would be wonderful now to hear the remaining three movements. The second broadcast of Die Zerstörung Jerusalems does indeed seem to be complete, Atsushi, although I have only sampled it so far. Thanks so much.

Bungert: More belated thanks, this time again to Mathias for the upload of a much better recording than mine of the lovely Piano Quartet, and also for the Violin Sonata. I can find only one mention of the Sonata online (in a review of a recent study of Bungert). Neither Altmann , nor Cobbett mention it, and its publication isn't recorded in Hofmeister so I assume that it remains in manuscript. Indeed, Cobbett says that the Quartet is Bungert's only chamber work.

Mark and Atsushi: yes, the MDR broadcast IS of the complete oratorio! I recorded myself but haven't found the time to edit and upload it. I am in quite a distressed state of mind and have to restrict my activities somewhat. Thanks for taking that task away from me, Atsushi!  :)

The commentators on Deutschlandradio mentioned that the oratorio would be released on CD.
The symphony, however, wasn't even played complete, nor are there any plans to record it, I think. Actually, if you have listened to the last track of my upload (and understand German ;)) the conductor Mr. Jirka sees Hiller's case quite realistic: it was good to perform these works in the bicentenary, they all have their merits, but there's nothing in it which would point to a reassessment of Hiller's stature.

BTW, as was said in one of the interviews, recent research has shown that Hiller wrote much more than just three symphonies. There seem to be, well guess... NINE! ;D

2 Hiller symphonies written by 1831 (see Hyperion's notes to the recording of the first three piano concertos. The second symphony is in A minor and was performed in the concert that saw the premiere of the first concerto in F minor in 1831.), plus the E minor, a G major one entitled Im Freien performed in London in 1852, a C major one in Leipzig in 1877, that makes 5... I can believe there are four more still. But that there are at least five we already knew (or at least, this was posted to the IMSLP Hiller list of compositions and/or the page of the E minor symphony op.67 - I forget which.) (Indeed, I thought we did know this for some time, or is the business regarding the A minor symphony no.2 in A minor part of the recent research in question...  ? - because unless symphony no.1 is the symphony in C that was played in 1877 (see the book on the Leipzig Gewandhaus) - which is possible - that still leaves 5 :) - i don't know where "three" comes from and am (honestly!) curious... )

Quote from: eschiss1 on Wednesday 30 November 2011, 17:55
2 Hiller symphonies written by 1831 (see Hyperion's notes to the recording of the first three piano concertos. The second symphony is in A minor and was performed in the concert that saw the premiere of the first concerto in F minor in 1831.), plus the E minor, a G major one entitled Im Freien performed in London in 1852, a C major one in Leipzig in 1877, that makes 5... I can believe there are four more still. But that there are at least five we already knew (or at least, this was posted to the IMSLP Hiller list of compositions and/or the page of the E minor symphony op.67 - I forget which.) (Indeed, I thought we did know this for some time, or is the business regarding the A minor symphony no.2 in A minor part of the recent research in question...  ? - because unless symphony no.1 is the symphony in C that was played in 1877 (see the book on the Leipzig Gewandhaus) - which is possible - that still leaves 5 :) - i don't know where "three" comes from and am (honestly!) curious... )

Sorry, Eric, I misread the Grove worklist which Alan had posted and which mentions FOUR, not three.  :-[ (Four, yes? Or have I misread again? :-\)
Besides those concerts a symposion on Hiller had been organised. A few details about that were mentioned in one of the interviews posted as part of my Hiller uploads. This is where I got the number of nine symphonies.

Ah! hrm- thanks- I can sort of see where Grove gets 4 (but only if one assumes the by-1831 symphony no.1 is the same as the symphony performed in Leipzig in 1877, I guess, or if the material in the Hyperion review was a newly rediscovered music review, etc. Hrm. Well... it's hard to create these lists and further this research oftentimes. Erf.)
Thanks!

Quote from: britishcomposer on Wednesday 30 November 2011, 16:07
...The commentators on Deutschlandradio mentioned that the oratorio would be released on CD.
The symphony, however, wasn't even played complete, nor are there any plans to record it, I think. Actually, if you have listened to the last track of my upload (and understand German ;)) the conductor Mr. Jirka sees Hiller's case quite realistic: it was good to perform these works in the bicentenary, they all have their merits, but there's nothing in it which would point to a reassessment of Hiller's stature.

Much as I respect the opinions of Mr. Jirka, if certain members of this forum beg to differ, he's already outnumbered!  :)

As to the Hiller oratorio, the full score, unusually (not just the vocal score?) is available on IMSLP (see here (http://imslp.org/wiki/Die_Zerst%C3%B6rung_Jerusalems,_Op.24_(Hiller,_Ferdinand))) -- likewise the vocal score, which lists 2 Parts divided into 2 subparts each and 47 numbers in all on its first few pages. (The vocal score is the first version published 1842 and the vocal score is of the second version of 1874, it seems.)

Also, re Bungert, will try to find out more but I do see his violin sonata mentioned in a review of a book about Bungert from 2005 - see here (http://www.literaturkritik.de/public/rezension.php?rez_id=9543). Edition Silvertrust, I see, has a new edition of the piano quartet out... (it can also be downloaded at IMSLP.)
Torquato Tasso overture op.14 published about 1886 if not earlier. Variations and Fugue also @IMSLP (in B-flat minor, not D-flat major, for what that's worth!)

Many thanks for the Büttner Symphonies, Ilja. Good stuff.

It took ages for the Buttner symphonies to actually download but eventually success ;D

Many thanks indeed :)

I am uploading the Concerto for Organ and String Orchestra by the German composer Johan Cilensek(1913-1998) performed in Liverpool in October 1977 during the tour by the Leipzig Gewandhaus Orchestra under Kurt Masur.

Agreed, thanks for the Buttner symphonies. Fairly sure no.3 is in D-flat rather than E-flat (contemporary sources have Des-dur.) Still, listening may resolve so long as the recordings are on-pitch. They were mostly or all published by 1923 I think so I'm hoping eventually to be able to add movement listings where needed...

Hi Eric,

You're right about the key. My bad, thanks for noticing.

Yeah, I noticed that too, but wasn't sure I should say anything.  There's no such key as D-sharp Major.  It can only be notated because the number of sharps exceeds the circle of 5ths.  No key has double sharps in the signature.  We have E-flat instead.

I've added the Four Character Pieces by the famous conductor and pianist Hans von Bülow.

D-sharp has been listed as a key on some works (I think there was a theory that generally sometimes D major ones listed as "D-sharp" or "Dis" as a tradition to tell the winds , especially B-flat ones (in the early clarinet days...?), that many a sharp would be seen ahead - that is, "D with sharp+". I gather an early draft of the title page of Beethoven's Missa Solemnis had this- not sure. And of course E-flat works too, leading to some ambiguity...)
I probably don't know what I'm talking about here, alas...

Here you go:
4 Charakterstücke for orchestra , Op. 23

1 Allegro risoluto,
2 Notturno,
3 Intermezzo guerriero,
4 Funerale

Very many thanks for the movement titles for von Bülow's little suite, Belapoel. Great work.

I have uploaded two more Hartmann symphonies-Nos. 1 and 5- in performances of Ernest Bour and Ferdinand Leitner. The Bour is from an old Wergo LP not transferred to cd and the Leitner is a concert performance from Bavarian Radio.

Any chance of getting movement titles for the Büttner symphonies?  I just downloaded the 1st and it seems kind of strange that there are 3 files, but there seem to be 4 movements.  I think the first movement and the second movement scherzo run together, but I'm not sure.

I am uploading a performance of Hans Pfitzner's Symphony in C by the Berlin Philharmonic under Ferdinand Leitner from an old DGG LP never transferred to cd.

Quote from: Dundonnell on Tuesday 06 December 2011, 03:01
I am uploading a performance of Hans Pfitzner's Symphony in C by the Berlin Philharmonic under Ferdinand Leitner from an old DGG LP never transferred to cd.

One I have on my r2r tapes, Colin - wish I'd had the LP!  It's easy enough to get the Symphony in C sharp, Op.36a, but of course this one is in C, as you say, and is Op.46. It's been sitting on my 'wants list' ever since I made the tape-recording back in the late 70s(?).  ::)

So - many, many thanks, greatly appreciated!  :) :)

Re Büttner - wondering that myself, was trying without much success. They should be public domain scores in the US and Canada so someone might even scan the first editions in to a website...

Quote from: semloh on Tuesday 06 December 2011, 09:47

Quote from: Dundonnell on Tuesday 06 December 2011, 03:01
I am uploading a performance of Hans Pfitzner's Symphony in C by the Berlin Philharmonic under Ferdinand Leitner from an old DGG LP never transferred to cd.

One I have on my r2r tapes, Colin - wish I'd had the LP!  It's easy enough to get the Symphony in C sharp, Op.36a, but of course this one is in C, as you say, and is Op.46. It's been sitting on my 'wants list' ever since I made the tape-recording back in the late 70s(?).  ::)

So - many, many thanks, greatly appreciated!  :) :)

Happy to make it available to you :)

One more thing about the Hiller symphony in E minor- an autograph copy of the opus 67 symphony, signed "Offert à Monsieur Fétis / en souvenir de / Ferdinand Hiller / Cologne 20/4/60", is in the Royal Library of Brussels. (source RISM.)

Any chance that that upload of the Moscheles/Mendelssohn piece could be made in a little easier to DL format?

Quote from: Mark Thomas on Monday 29 August 2011, 11:29
I've uploaded an expansive early Symphony of 1887 and four well made and substantial orchestral works by Georg Schumann dating from the 1906 to the 1930 (although his idiom didn't really change).

Just downloaded the B minor Symphony.  Love it - except aren't there supposed to be 4 movements?  The 3rd movement scherzo seems to have gone missing.  I mean it's just not there.  There are files for movements 1, 2 and 4 and a text file.  Was it uploaded later at a different address, perchance?

Well it was there and I've now replaced it. Sorry about that, Jim. I'm delighted that you enjoy the Symphony though and now you'll enjoy it even more.

 ;D

Quote from: JimL on Tuesday 06 December 2011, 01:45
Any chance of getting movement titles for the Büttner symphonies?  I just downloaded the 1st and it seems kind of strange that there are 3 files, but there seem to be 4 movements.  I think the first movement and the second movement scherzo run together, but I'm not sure.

Here are the titles of the movements of Symphonies No. 2 and 3:

Nr. 2
1.Allegro ma non troppo, affettuoso
2.Presto
3.Introduzione e Finale: Adagio-Sehr ruhig-Allegro-Sehr ruhig-Allegro / Rondo [Allegro]-Poco animato-Ruhig-Animato

Nr. 3
1.Allegro (Bewegt, mit erhabenem Ausdruck)
2.Adagio (Einfach und innig)-Moderato quasi Allegretto
3.Finale: Leidenschaftlich bewegt

Hello Mark!

There is the same problem, JimL has mentioned for the Georg Schumann Symphony, with Abert's 3rd Symphony. This folder contains no 2nd movement.

The Abert is fixed now too.

This makes me wonder what's up with mediafire: both Abert and Schumann were complete when you uploaded them, Mark.
A few of my own uploads have disappeared, too. I haven't deleted them for sure!  :-\

Still haven't found movement titles for the Büttner symphonies (hopefully someone will scan them in in a few years when they are no longer in EU copyright- he died in 1943. If a US library has them and does this they can be scanned in now, since they were published before 1923. That would solve the problem right there, mostly, unless the sources disagree on movement headings- example: Gouvy 2nd symphony, where the full and reduced scores published around the same time both by Richault do disagree, very substantially :( ).

Anyhow, just listened to Büttner 1 and some of 2, and was impressed and interested. Interested by how much they made me think of some works written 50 years or so later (one or two of the Cuclin symphonies I know- maybe they both make me think of other works I know less well, by Richard Strauss or others. There are passages in the first Büttner symphony that sound a bit like Berlioz, and others that sound much, much more like things in the finale of- either Cuclin 9 or 11, need to recheck - than like anything else I really can think of right now.  Enjoyable, I should be clear... looking forward to listening to the rest. Has been taking me a bit to catch up.)

Should pay more attention now to the finale of Draeseke's Comica, on Music Choice TV - ah, just ended.

As discussed elsewhere, I've uploaded John White's MIDI realisation of Franz Lachner's Sixth Symphony.

Thanks to John White for the recreation  of the lachner 6th.  It is wonderful to be able to hear such wonderful music.   

As thank you, if Mr. White is interested, I would be willing to use his score to recreate a performance using the Garritan orchestra.  All I would need would be MusicXML versions of the sibelius originals source files ( I use Finale 2010 to compose)  And  PDF of the score to correct any conversion errors. In return I would recontribute to the site Finale versions of the score along with performances in WAV and MP3 format using Finale 2010.

Let me know if there is interest.

A word or two more about Wolfgang Fortner: at one time - for a few years - he was regarded as being very much of the avant-garde, and was undeniably very influential, but now he seems to have faded into considerable obscurity, and it has become difficult to find performances.

Mr. Lebrecht suggests, interestingly, that he "emerged from the war as a twelve-note convert, perhaps as a personal act of repentence." I have read that suggestion elsewhere too, as an explanation of the whole Darmstadt phenomenon and post-Webern serialism. Anyway, Fortner's 1947 Symphony seems to have been his turning-point, and this third quartette came a year later.

The only name I can be certain of among the players is that of Siegfried Palm (the violoncellist). The rest sound like "Helmut Radeloh (first violin), Walter Busch (second violin), and Karel Weiter (viola)," but I cannot find any of those people with Wikipedia or Google.

In 1952 Fortner described his technique of composition thus: "My method is to 'extract' a mode from the twelve notes, with non-serial relations within this mode. I lay down about six notes as a harmonic field, and use the remainder to form the mode, in which the melodic formation then proceeds freely but not serially."

Hi Sydney,

a few words on the performers of the Fortner.

The quartet is the Radelow-Quartett with Helmut Radelow, Violin I, Walter Bösch, Violin II, Karel Walter, Viola and Siegfried Palm, Cello.

However, you are right the players of Violin II and Viola are impossible to find via Google. This leaves some ambiguity about the spellings: in case of the second violin, the only little question which remains is whether it's Walter or Walther (both are possible and there is no difference in pronunciation, Walter is more common however), while the viola player is difficult because he could rather be from Czechia (the announcer says Karel and not (the German version) Karl - which implies some more possibilities for the family name, e.g. Valter or so).

Many thanks, Holger, for helping out so quickly!

Hrm. Musicsack lists none of these people, I think?... though if it weren't for Holger's confirmation, I would have suggested Radelow, say, might have been a possible sound-near for some others the compiler does list (not always as string players).

Eric, the spelling of Radelow is absolutely correct, 100% sure about that. First, the speaker doesn't leave any doubts here (however, it might be difficult for non-Germans since you have to know that the ending -ow in German names tends to be pronounced as a long o), and second, you can get information about the existence of this quartet via Google, also naming Helmut Radelow as first violinist (but with different partners, which is of course no problem since the members will simply have changed, for instance, Siegfried Palm was cello player at the NDR SO in his earlier years, he may have joined the quartet at that time since the quartet was obviously located in Hamburg).

Basically, what I found out is that the Radelow quartet was a string quartet which was mainly active in Hamburg in the 1950s. For me, it's not very surprising that we cannot get any further information. There have been large masses of German string quartets, and you cannot expect to get precise information on any of them which used to perform decades ago.

Holger - Apologies and thanks also.

Thanks so much britishcomposer for the two Wilhelm Berger chamber works. He's an astonishingly good composer and I knew neither of these pieces. I couldn't be more delighted on this cold, snowy day to have these "new" works to warm my heart.

The movements of the Quintet, courtesy of IMSLP, are:

String Quintet in E minor op.75 (1899)
I. Allegro con passione
II. Vivace scherzando
III. Adagio
IV. Molto vivace

Anyone know the movements of the Clarinet Trio, please?

I'd like to add my thanks regarding the upload of Wilhelm Berger's marvellous String Quintet. Truly Berger must one of the very best unsung composers of the late-Romantic period. I haven't heard anything by him that less than first-class. Great stuff!

Berger clarinet trio? According to Edition Silvertrust (http://www.editionsilvertrust.com/berger-clarinet-trio.htm) (one word - named for Ray Silvertrust), the movements of the 1903 or 1903-published? trio are
#Allegro
#Adagio
#Scherzo poco vivace
#Allegro con fuoco.

I am most grateful to the gentleman who posted Fortner's Symphony; an important work, and this fills a long-standing gap. On a first hearing I liked the long and slowish second movement best; in the first and last movements I think the composer went a little overboard with the kettledrums.

Thanks, Eric, for the Berger Clarinet Trio movements.

I heartily concur with the views expressed by Mark and Alan on Wilhelm Berger's chamber music.  The Clarinet trio is interesting and attractive although I'm not convinced that he has fully absorbed the Reger-like chromatic language into his structural argument -- but maybe that's an aberrant perception based on the strength of a single hearing;  I'll be giving it another go, to be sure.  The String Quintet, on the other hand, seems to me to be a masterpiece of the front rank -- "and I am unanimous in that".   ;)  Many thanks to britishcomposer for the upload.

Many thanks, Mike, for two lovely pieces - Zilcher's VC2 and Klingler's VC.

I've posted music of the German composer Jurg Baur in the downloads section,  Pentagramm, a Concerto for Wind Quartet,  his first symphony, and his Duisberger Sonfonia.    Below the portrait, I've got some highlights from the Wikipedia page for him below:


(http://www.wz-newsline.de/polopoly_fs/1.31979.1289831787!/httpImage/onlineImage.jpeg_gen/derivatives/landscape_300/onlineImage.jpeg)

Jürg Baur (11 November 1918 – 31 January 2010) was a German composer of classical music.
•   
Education
Baur was born in Düsseldorf, where he achieved early recognition as a composer at the age of 18, when his First String Quartet was premiered at the Düsseldorf Hindenburg Secondary School by the then-famous Prisca Quartet. He studied from 1937 to 1948 (interrupted by army service from 1939–45, including several months as a Russian prisoner of war) at the Hochschule für Musik Köln: composition with Philipp Jarnach, piano with Karl Hermann Pillney, and organ and sacred music with Michael Schneider (Goslich 1982, 19 & 42; Levi 2001; Wallerang 2010). Even before completing his conservatory studies, he was appointed lecturer in music theory at the Düsseldorf Conservatory in 1946 (Levi 2001). He did postgraduate studies in musicology with Karl Gustav Fellerer and Willi Kahl from 1948 to 1951 at the University of Cologne (Goslich 1982, 19 & 42). In 1952 he was appointed choirmaster and organist at the St Paulus-Kirche in Düsseldorf, a post he left in 1960 when he was awarded a scholarship from the German Academy to study for six months at the Villa Massimo in Rome. He twice returned to Rome for extended visits, in 1968 and 1980 (Levi 2001).The vivid impression made by the Italian city is reflected in the Italian-titled works he composed there, including the Concerto romano for oboe and orchestra (Goslich 1982, 19 & 42).

Compositional career
Baur was one of the last composers of the old school. After the war, he remained faithful to his teacher Jarnach's conservative stance, and never became an extreme avant-gardist (Wallerang 2010). Widespread recognition as a composer came comparatively late. Béla Bartók was his strongest stylistic influence at first, but in the 1950s he began to use twelve-tone technique. Anton Webern's music became his model in works such as the Third String Quartet (1952), the Quintetto sereno for wind quintet (1958)—which also uses aleatory techniques—the Sonata for two pianos (1957), and the Ballata romana (1960) (Levi 2001). Later, he developed a marked propensity for quotations from earlier music. Particularly striking examples include Heinrich Isaac's "Innsbruck, ich muß dich lassen" in the Concerto da camera, a theme from Bach's Musical Offering in the Ricercari for organ, as well as in the Kontrapunkte 77 for three woodwinds, and Schumann themes in Sentimento del tempo and, especially, in Musik mit Robert Schumann (Goslich 1982, 19 & 42). Other composers whose works Baur has quoted include Dvořák, Strauss, Gesualdo, Mozart and Schubert (Levi 2001).

Primarily a composer of orchestral and instrumental music, Baur also produced a number of works for less mainstream instruments such as the recorder and the accordion (Jacobs 1993; Levi 2001). He was one of the first composers to introduce the recorder to the new musical trends of the post-war era, with Incontri (1960), for recorder and piano, Mutazioni (1962) and Pezzi uccelli (1964), both for unaccompanied alto recorder, and the virtuosic Concerto da camera "Auf der Suche nach der verlorenen Zeit", for recorder and chamber orchestra of 1975 (Wallerang 2010).

In his 87th year, Baur completed his only opera, Der Roman mit dem Kontrabass, to a libretto by Michael Leinert after the story by Anton Chekhov. Commissioned on the occasion of the composer's 85th birthday in 2003 by the Deutsche Oper am Rhein, it was premiered at the Partika-Saal of the Robert Schumann Hochschule, Düsseldorf, on 25 November 2005, with Marco Vassilli and Kerstin Pohle singing the two main roles (Smychkov and the Countess Anastasia), Szymon Marciniak as the solo contrabassist, and Thomas Gabrisch conducting (Wallerang 2005).

Hi jowcol,

just as a hint, since I also have this disc (like you, I got it from Karl): actually the First Symphony is the same work as the Duisburger Sinfonia, I guess it might even be the same performance maybe recorded by two different persons.

This is what is behind the confusion: Jürg Baur's First Symphony is called "Sinfonie einer Stadt (Patetica)", which means "Symphony of a City" in English. The city Baur means is Duisburg, if I remember correctly he composed it on commission for some jubilee. The piece is from 1983. As some members are interested in movement titles, here is what I know:

I. Invocation (Passacaglia)
II. Melancholie
III. Scherzo tumultoso
IV. [don't know]

In any case, great you shared the music. I like Baur's style very much and strongly recommend the Thorofon CD with his superb Gesualdo Metamorphoses.

Quote from: Holger on Tuesday 07 February 2012, 13:29
Hi jowcol,

just as a hint, since I also have this disc (like you, I got it from Karl): actually the First Symphony is the same work as the Duisburger Sinfonia, I guess it might even be the same performance maybe recorded by two different persons.

This is what is behind the confusion: Jürg Baur's First Symphony is called "Sinfonie einer Stadt (Patetica)", which means "Symphony of a City" in English. The city Baur means is Duisburg, if I remember correctly he composed in on commission for some jubilee. The piece is from 1983. As some members are interested in movement titles, here is what I know:

I. Invocation (Passacaglia)
II. Melancholie
III. Scherzo tumultoso
IV. [don't know]

In any case, great you shared the music. I like Baur's style very much and strongly recommend the Thorofon CD with his superb Gesualdo Metamorphoses.

Thanks for the update.  I'll update the download description. I've got several more uploads from the Miller collection coming.  I'll try not to duplicate anything here, but welcome any clarification you can offer.

Checking the information I gathered for myself once again, there is another correction regarding the Jürg Baur upload. The orchestra playing in the "Pentagramm" Concerto is not the Cologne Radio Symphony Orchestra, but the Radio Filharmonisch Orkest (from the Netherlands). This can be heard if listening to the announcer carefully. To provide some more details, here are the members of the Danzi Quintet who play in this recording: Frans Vester (flute), Koen van Slogtere (oboe), Piet Honigh (clarinet), Brian Pollard (Bassoon) and Adriaan van Woudenberg (French Horn).

Karl has a magnificent collection, I got quite a bunch of music from him myself. I will be happy to download any further stuff for sure!

I've uploaded ten minutes of excerpts from the Apollo and Daphne Ballet by  Leo Spies,  German Composer.  I'd be curious if any of this other works are languishing in non-commercial versions.

(http://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Tombstone_Leo_Spies.jpg/220px-Tombstone_Leo_Spies.jpg)

Brief Bio for Aswers.com
(b Moscow, 4 June 1899; d Ahrenshoop an der Ostsee, 1 May 1965). German composer. He was educated in Moscow, where he encountered the music of Skryabin and Prokofiev, and in Dresden and Berlin. He worked in Germany as a theatre conductor and teacher and wrote in most concert genres, influenced by the Russian Romantics and by Janáček. In the 1920s he joined the circle round Eisler and worked with the workers choral movement; latterly he has written for young people.

Correction-- I'll upload the Spies as soon as I get more info...

I wonder if he and Claudio Spies (http://en.wikipedia.org/wiki/Claudio_Spies) are related (not very directly, but still...?) (I took some courses under the latter, including an excellent student-initiated one on Brahms' chamber music, back in college.)

There are quite a few works by Leo Spies on YouTube.
You may find them on the channel of WatchBlueSkies.

I've posted the Piano Concerto by German composer  Johann Cilensek.


(http://www.hermsdorf-regional.de/persoenlichkeiten/cilensek/grafik-johann-cilensek-g.jpg)

Wikipedia Entry (machine translated)
Johann Cilenšek (* 4. December 1913 in Grossdubrau; † 14. December 1998) was a German composer and university teacher as well as a vice-president of the academy of the arts of the GDR.

Johann Cilenšek was born 1913 as a son of a porcelain turner in the Saxonian Grossdubrau ( close Bautzen) and visited from 1924 to 1933 the high school in Bautzen. 1933 it was committed to 1934 in the porcelain factory Hermsdorf to the realm work service and worked. it studied 1935 to 1939 at church-musical Institut in Leipzig with Johann Nepomuk David (composition) and Friedrich Högner (organ). it joined 1937 the NSDAP . From beginning of war 1939 to end of war 1945 it was conscripted as Schleifer and turners.

1945 joined Cilenšek of the KPD and 1946 the SED . He became a teacher and 1947 professor for clay/tone set and composition at the Thuringian national conservatoire. It was 1951 to 1956 and 1964 to 1966 of chairmen of the regional organization Thuringia of the federation of German composers, in addition since 1961 member of the academy of the arts. Starting from 1966 it was as successors of Werner Felix Rektor of the university for music Franz Liszt Weimar until 1972. 1978 he became vice-president of the academy of the arts. Cilenšek emeritierte 1980.
It received the national price and 1983 the patriotic earnings/service medal to 1970.

Cilenšek composed five symphonies, piano concerts, a concert for organ and caper orchestra, concerts for solo instruments and orchestra, silhouettes for 15 solo strike ago, a mosaic for large caper orchestra, Sonaten, choir works and songs.

Note:  If there is more than one piano concerto of his (as implied above) I'd appreciate any help identifying which one.

Somebody needs to translate the German/English translations of whatever the translating program Wikipedia uses into comprehensible English.  I'm reasonably sure that several of the "it"s should be "he".

Quote from: JimL on Thursday 09 February 2012, 16:12
Somebody needs to translate the German/English translations of whatever the translating program Wikipedia uses into comprehensible English.  I'm reasonably sure that several of the "it"s should be "he".

I've been puzzled by auto German-English translations of articles about a German rock/psychedelic band I like-- the articles kept mentioning "Skirt Music"

It wasn't until later I found out Rock in German means skirt.

Auto-translation can be pretty hairy.  My favorite was a translation between Russian and English that started with "the spirit is willing, but the flesh is weak" and came out "the vodka is good, but the meat is rotten"

Now, that's a classic! >" ;D"<

I believe the pianist's name is Dieter Zechlin since he also recorded the work on CD.

Quote from: jowcol on Thursday 09 February 2012, 13:56
Johann Cilensek, Piano Concerto
Dieter Techlin, Piano
Weimar State Orchestra
Hermann Abendroth, conductor
Radio Broadcast, Date Unknown

Link: http://www.mediafire.com/?yp4i4oexg26zgnl (http://www.mediafire.com/?yp4i4oexg26zgnl)

From the collection of Karl Miller

[pianoconcerto: you must post replies like this in the appropriate thread in the Discussion board here, NOT in the Downloads board, which is only for posts and replies which have download links. Mark]

Wikipedia isn't a program (well, it is a site and does use Wiki-software, but -) Wikipedia editors use translation software and have the responsibility to go back and check their work, or else to put a tag on it that basically says "this needs further work, please come check it" and notifies people who are more fluent in both languages   that their assistance is desired. (Yes, the autotranslation of "streichquartett" was... er... erm.)

Quote from: pianoconcerto on Thursday 09 February 2012, 19:03
I believe the pianist's name is Dieter Zechlin since he also recorded the work on CD.

Quote from: jowcol on Thursday 09 February 2012, 13:56
Johann Cilensek, Piano Concerto
Dieter Techlin, Piano
Weimar State Orchestra
Hermann Abendroth, conductor
Radio Broadcast, Date Unknown

From the collection of Karl Miller

[pianoconcerto: you must post replies like this in the appropriate thread in the Discussion board here, NOT in the Downloads board, which is only for posts and replies which have download links. Mark]

Agree with Mark's comments, but also HAPPY that your have offered more info.  I'll edit that post.

The Wiki entry for FRITZ REUTER is quite substantial

http://en.wikipedia.org/wiki/Fritz_Reuter

... and it's written in scholarly English!  :)

Quote from: semloh on Thursday 09 February 2012, 23:53
The Wiki entry for FRITZ REUTER is quite substantial

http://en.wikipedia.org/wiki/Fritz_Reuter

... and it's written in scholarly English!  :)

Ehh....that's the philosopher that is rather than the composer ;D ;D

Reuter the composer's dates are 1896-1963.

Quote from: Dundonnell on Friday 10 February 2012, 00:06

Quote from: semloh on Thursday 09 February 2012, 23:53
The Wiki entry for FRITZ REUTER is quite substantial

http://en.wikipedia.org/wiki/Fritz_Reuter

... and it's written in scholarly English!  :)

Ehh....that's the philosopher that is rather than the composer ;D ;D

Reuter the composer's dates are 1896-1963.

Ah ..... I wondered who'd be the first to spot that!  ;D ;D ;D
Interesting life though!

OK - the right person this time! Just a little information...

Fritz Reuter (Composer, Arranger)
Born: September 9, 1896
Died: July 4, 1963

Fritz Reuter was a famous German composer, musicologist and pedagogue. He taught in Leipzig. Among his pupils was the conductor Lars Erik Larsson (1908-1986). His son is the conductor Rolf Reuter, and his grandaughter is the violist Sophia Reuter (b 1971).

His Sonata for Violin & Piano in E minor (1953) can be heard at:
http://www.youtube.com/watch?v=qa62oT5DRFU

Featuring:
Barbara Reuter-Rau - violin (daughter)
Rolf Reuter - piano (son)
-- recorded from rare Mono LP made in GDR (DDR, 1965) --

The site adds that:
Fritz Reuter's teacher were Robert Teichmüller, Hermann Strauben, Stephan Krehl, Hugo Riemann und Arnold Schering and Hermann Abert.

Prof. Dr. Fritz Reuter was the teacher in music theory /conducting of Franz Konwitschny !! and Gerhard Wohlgemuth (composer), Georg Trexler (composer).

For bio of grandaughter, Sophia Reuter - http://www.suonidarte.de/sophiareuter.htm

I have posted the Piano Concerto (don't know if there is more than one) by Willhelm Killmayer.

(http://userserve-ak.last.fm/serve/252/306373.jpg)

Wikipedia Entry:

Wilhelm Killmayer (born 21 August 1927 in Munich) is a German composer of classical music and an academic.

Wilhelm Killmayer studied conducting and composition from 1945 to 1951 in Munich at Hermann Wolfgang von Waltershausen's Musikseminar. At the same time, he was enrolled at the Munich University where he studied musicology with Rudolf von Ficker and Walter Riezler, and German studies.[1] He was a private student of Carl Orff from 1951 and was admitted to his master class at the Staatliche Musikhochschule in 1953. He was a scholar at the Villa Massimo twice, in 1958 and 1965/66.[2]

Killmayer was a teacher of music theory and counterpoint at the Trappsches Konservatorium in Munich from 1955. He was a conductor of the Bavarian State Opera's ballet from 1961 to 1964. From 1973 to 1992 he was a professor of composition at the Hochschule für Musik.[2] Among his students are Max Beckschäfer, Sandeep Bhagwati, Rudi Spring and Laurence Traiger.

Killmayers first composition was Lorca-Romanzen after Federico García Lorca, premiered at the Donaueschingen Festival.[3] In 1954 he composed a Missa brevis, which was recorded and reviewed:

"Young (29) Munich-born Composer Wilhelm Killmayer's Missa Brevis ripples with exciting, shifting rhythms and rises skillfully to a colorful series of blasting choral climaxes occasionally more reminiscent of the bandstand than the choir.[4]"

Killmayer composed three symphonies called Fogli (1968), Ricordanze (1968/69) and Menschen-Los (1972/73, revised 1988). He composed other orchestral works such as Nachtgedanken (1973), and music for chamber orchestra, The woods so wilde (1970), Schumann in Endenich (1972) and Kindertage (1973). His stage works La Buffonata (1959/60) and Yolimba (new version 1970) are based on texts by Tankred Dorst.[5] For the 20th anniversary of the Münchener Kammerorchester Killmayer composed in 1970 Fin al punto for string orchestra, which premiered in 1971, conducted by Hans Stadlmair.[6] He wrote about this work:

"The calm already contains the catastrophe. Out of the calm grows the movement that drives itself to the furthest extreme of its powers, where it collapses. It is the point at which one gives up, beyond which one can escape into the open.[7] "

Interested in poetry and the voice, he composed Lieder, three cycles of Hölderlin-Lieder based on Friedrich Hölderlin (1980s), song cycles based on Joseph von Eichendorff (1991), Georg Trakl (1993 and 1996) and Peter Härtling (1993), and ballads such as Heinrich Heine's Ali Bey (2006) and Eduard Mörike's Der Feuerreiter (2007).[5]

Killmayer ??? ::)

My heavens :o We are going deep into Modernism now ;D ;D

Quote from: Dundonnell on Friday 10 February 2012, 14:56
Killmayer ??? ::)

My heavens :o We are going deep into Modernism now ;D ;D

Prepare to be assimilated.... resistance is futile.  Bwah-hah-hah-hah!

Quote from: jowcol on Friday 10 February 2012, 14:58

Quote from: Dundonnell on Friday 10 February 2012, 14:56
Killmayer ??? ::)

My heavens :o We are going deep into Modernism now ;D ;D

Prepare to be assimilated.... resistance is futile.  Bwah-hah-hah-hah!

Somehow, I don't think the Borg were into that whole "Bwa-hah-hah-hah" thing.

Quote from: jowcol on Friday 10 February 2012, 14:58

Quote from: Dundonnell on Friday 10 February 2012, 14:56
Killmayer ??? ::)

My heavens :o We are going deep into Modernism now ;D ;D

Prepare to be assimilated.... resistance is futile.  Bwah-hah-hah-hah!

Well...I have downloaded and listened to the Killmayer :)

I shall refrain from further comment ;D

Many thanks to britishcomposer for the Wolf-Ferrari sextet, which I had not come across before; it predates his official op 1 (the G minor violin sonata) and seems to me a pretty assured piece of writing for an eighteen year-old.  People who get exercised about that sort of thing might raise an eye-brow about him being slotted into the 'German downloads' section, though, considering he was born in Venice of an Italian mother.  His nationality does defy easy categorisation, I admit; but it can't be denied that his music is much more Italianate than Teutonic, can it?

Took the words right out of my mouth.  Wolf-Ferrari is a composer I always thought of as Italian.  Is that not the language The Secret of Susannah is in?

German wikipedia calls him a 'deutsch-italienischer Komponist', though the English and Italian - and others - give his nationality as 'Italian'.
It was a 'gut reaction' to place him in the German folder but I see no problem in changing that if you like.

Quote from: britishcomposer on Wednesday 15 February 2012, 17:17
German wikipedia calls him a 'deutsch-italienischer Komponist', though the English and Italian - and others - give his nationality as 'Italian'.
It was a 'gut reaction' to place him in the German folder but I see no problem in changing that if you like.

If you'd put him in the 'Italian' section somebody would have observed that his father was German and that he seemed to achieve far more success with productions of his operas in Germany!  Given that, as I said, his nationality defies categorisation I shouldn't go the bother of moving it (although I'm not the moderator (for which I thank the Lord) so it ain't up to me).   :)

anyone for an "internationalist" or similar category? ;)

Quote from: eschiss1 on Thursday 16 February 2012, 09:34
anyone for an "internationalist" or similar category? ;)

Or, as Duke Ellington would have put it-- "Beyond category?"

No, please....

Quote from: Alan Howe on Thursday 16 February 2012, 11:11
No, please....

Just Kidding.   if we got too detailed about categories, there would be one for each composer-- or each period for each composer...

I have posted the Sinfonietta for String Orchestra in G-major and the Variations for String Orchestra by Wilhelm Petersen in the downloads section.

(http://537426.de.strato-hosting.eu/Komp/petersen.jpg)


Wikipedia:

Wilhelm Petersen (15 March 1890 - 1957) was a German composer and conductor.

He was born in Athens and spent his childhood in Darmstadt. From 1908 to 1913 he studied in Munich with Friedrich Klose, Felix Mottl and Rudolf Louis. In addition to music he wrote lyric and dramatic poetry and was on the fringes of the circle around Stefan George. Petersen was an apprentice conductor in Lübeck under Wilhelm Furtwängler in 1913-14; at the end of the First World War he was active as a writer in the Expressionist movement in Munich but from 1919 devoted himself entirely to music. His early music is described as radically Expressionistic, but in the 1920s he progressively clarified his style, arriving at a monumental tonal style typified by his Grosse Messe, op. 27 of 1928-9, premiered in 1930 in Dartmstadt under Karl Böhm. From 1927 he was a lecturer in the Music Academy at Darmstadt, and in 1934 became professor of music in Mannheim. He died in Darmstadt.
Petersen's works include five symphonies, concertos, works for string orchestra, choral and chamber music, and the opera Der goldene Topf, premiered in Mannheim in 1941.

Random Snippet:
Bruno Walter writes of Wilhelm Petersen's works (in a letter dated February 11, 1958),
"... genuine musical invention, mastery of construction and a wealth of deepest feelings... I am convinced that the originality and substance of Wilhelm Petersen's musical language will finally secure a place in the public for his masterful works."


Bio Sketch by Wolfgang Mechsner, translation by Carol Saint-Clair
Wilhelm Petersen is one of the composers of the 20th century who followed their own path, alongside of – but not part of – the avantgarde. While it is true that he accompanied the revolutionary awakening of Expessionism with an appreciation of the necessity of developing new forms of expression, in 1925, after a short experimental phase at the edges of tonality, he found his way to a tonally-centered and formally clear musical language. The possibilities for further development of traditional music interested him, his own ethical imperative being oriented towards the large symphonic tradition of the 19th century. There it was less important for him to revive romantic subjectivity than it was to concentrate on the essence of what he called "primordial musical qualities".

His first three works with opus numbers belong to the tradition defined by Brückner, but between 1919-1924 he was preoccupied with contemporary music. Later Petersen left only a few of the works of this period in their original form (2nd Symphony, op. 4, the String Quartet, op. 8, and a piece for Violin and Piano, op. 11.), while others of the same time were redone, or removed from his lists of works. These are strongly dissonant pieces that have a thick, polyphonic character, yet never leave the realm of tonal music. The works that were composed after the "redirection of his creativity" (as Petersen called it) around 1925, show his striving to "let personal expression take a back seat to objective creation." A reestablished relationship to the individual extended harmonies was decisive: "Tonality as a power in the creation of the form took on more meaning for me, chromaticism and highly developed linearity were simplified for the benefit of a clearer sound-form."

After successful premieres of his first two symphonies at the beginning of the 1920´s Petersen became well known in Germany. His compositional abilities and the ring of truth in his personal statement were never doubted, however, he was considered to be "outside" the historically significant currents in composition. The few high points in his career in the public eye were the premieres of the Großen Messe, op. 27 under the baton of Karl Böhm (1930) and the opera Der Goldne Topf, (1941) After 1945 Petersen was almost totally forgotten.
Wolfgang Mechsner, translation by Carol Saint-Clair

I am currently uploading Wilhelm Berger's 3rd Violin Sonata op. 70.
However, I cannot give you the performers, so there is some doubt if this recording has ever been released commercially.
I recorded from radio in the mid 90s. If you know of any commercial recording, please warn me!  ;)

Thank you so much for the Berger Violin Sonata No.3 - what a marvellous work from one of the truly outstanding unsung composers of his period.
BTW I know of no commercial release...

Yes, thanks so much for the Berger. I'll really look forward to downloading it when I get back home.

I agree with Alan -- I find Berger's Violin Sonata to be both masterly and beautiful.  It truly is astonishing that this composer is SO unsung.  :'(

Thanks very much, britishcomposer, for the upload of Berger's Sonata for Violin and Piano No. 3. It's surely a beautiful sonata. Well constructed, a balanced interplay between both instruments, but... how memorable is it?

Quote from: Peter1953 on Sunday 26 February 2012, 12:31
Thanks very much, britishcomposer, for the upload of Berger's Sonata for Violin and Piano No. 3. It's surely a beautiful sonata. Well constructed, a balanced interplay between both instruments, but... how memorable is it?

Well, time will tell...
Tchaikovsky I recall instantly; Debussy much less so...

Well, the Berger Violin Sonata will have absolutely no difficulty in lodging itself in my memory, I can assure you. What a marvellous piece...

Thanks for the Hessenberg!

Quote from: eschiss1 on Sunday 11 September 2011, 16:05
Re Georg Schumann, without even looking (though I ought to) at the useful de-Wikipedia list of works, I see there's at least one symphony with opus number, in F minor opus 42. Any recordings commercial or broadcast known to have been made of that ever?...

Sorry if I missed the reply in between, I would be interested as well! Actually, the Georg Schumann Society website (http://www.georgschumanngesellschaft.de/de_werkverzeichnis.html) does not even mention he youthful B Minor symphony, whereas it was completed after the first two opus numbers. Strange.

the Georg Schumann F minor symphony by the way is now in full score @IMSLP. Agreed though about the early symphony...

Listened to the Hessenberg trio.  A bit like the Hindemith 2nd string trio (a particularly good work itself, in my opinion) with a bit of Shostakovich here and there, I thought? Liked it. Thanks again :)

Depends on the Debussy. The opening of the finale of his cello sonata rather sticks in my memory, but I agree that doesn't make that piece superior or inferior to his other works. Anyhow, wrong folder for such a remark except as a hanger-on to an earlier one (even though Tchaikovsky certainly had a German connection and Debussy through van Meck a Tchaikovsky connection of sorts, that begins to get rather 6-degree-ish. :D )

Nothing ?? Anywhere on the site? Amazing! :P

Well, I should ask (not here but in the other folder) about the 2008 disc of his orchestral works- symphony etc.) on Naxos...

Hiller's Piano Quintet is finally available from Edition Silvertrust.  The movements are:

1. Allegro con anima
2. Adagio espressivo
3. Intermezzo: Allegretto leggiero
4. Finale: Allegro con molto fuoco

Jeez, it's taken a long time to get those last two movements!  ::)

Thanks!

I realize that it has been 6 months since Mark Thomas uploaded the 4 works by Gerhard Frommel but I want to thank him for the magnificent job he did. The dates of the compositions and performance information is readily available and works are broken down into individual movements with the movement tempos given. The sound quality is very good and in my opinion the overall effort in uploading these works was outstanding.

Well, that's very kind of you to say so. Thanks, I appreciate it.

Quote from: Alan Howe on Sunday 14 August 2011, 12:54
Thanks, Mathias, for the absolutely magnificent Volbach piece 'Es waren zwei Königskinder' - what fabulously rich and expressive music. Truly wonderful.

I'm listening to Volbach's B minor symphony, so graciously downloaded from here, and wow, what an impressive work! The adagio is remarkable.

Quote from: mjkFendrich on Friday 27 April 2012, 22:55
Grete v. Zieritz  (1899 - 2001)

Zigeunerkonzert für Solovioline und Orchester in 6 Bildern (1984)
   

• In Auschwitz vergast, bis heute verfolgt
• Prozession zu Sara la Kali nach Saintes-Maries-de-la-Mer
• Phuvusche, Nivaschi und Urmen
• Feuer vor dem Zelt einer Kindbetterin
• Wir sind die Könige der Felder und Wiesen, der Wälder, der Berge, der Quellen und Ströme
• Hexensabbat in der Grotte von Zugarramurdi i.J. 1610

Performers:
    Marianne Boettcher - violin
    Filharmonia Pomorska, Tomasz Bugaj

Konzert der Berliner Festwochen, 21.09.1984

transferred from LP Polyphonia POL 63015

http://www.mediafire.com/download.php?rqhd3sfwcny85nz (http://www.mediafire.com/download.php?rqhd3sfwcny85nz)

This is an extremely arresting concerto!

Many thanks to Holger for the upload of a number of works by Max Butting :)

Second the Thanks very much, wish all the symphonies were somehow available.

and other works (have wanted to hear more of Butting's symphonies and quartets etc. since- 2000 or 2001 I think when I first heard of him when doing some inter(library)-loaning. Probably have already said - sorry.)

Fine to hear all these positive reactions. Butting was a distinguished composer, you'll note his own voice in all these pieces. It's a pity music from the GDR is still neglected so much, and with the de facto exclusion of Butting from current concert life people actually ignore a major German symphonist of his generation in my view.

Recording all ten Butting symphonies (and other orchestral works) would be a fine project for CPO as I think (but at the same time I have little hope - that's not the kind of repertoire they tend to deal with).

I've added a new recording of an upbeat Festival Overture by Klughardt taken from a German radio broadcast of last year .

Strangely but I can't find much about Ziertz on the net.I wanted to listen more and also to learn about this very interesting Gipsy Concert.Can someone here provide some insight regarding this German woman composer?

Klughardt's Lenore Symphony/Symphonic Poem is now available from the Downloads board, too.

Thank you, sir, for the Klughardt pieces.  Good to hear some rare music that gets back to our original purpose....... ;D ;D ;D

Jerry

My pleasure, Jerry. I've got a few more to upload over the next few days (although not by Klughardt, more's the pity).

I've uploaded a mystery mid-19th century symphony by a, comparatively, mysterious composer: Adolf Reichels' Symphony No.2. The upload post includes all I can glean about the composer's biography and if anyone can add to what we know about Reichel or this Symphony then I'd be very grateful.

The Klughardt Lenore upload is very impressive - both as a piece and a performance. Very Wagnerian in the first movement especially, I thought. Let's hope cpo bring it out...

Many thanks, Mark!

Thank you Mark, I believe that German romantic music may be my favorite, and the more obscure the better!

Quote from: Jacky on Friday 25 May 2012, 11:01
Strangely but I can't find much about Ziertz on the net.I wanted to listen more and also to learn about this very interesting Gipsy Concert.Can someone here provide some insight regarding this German woman composer?

.. perhaps you missed the second "i" - the correct spelling is "Zieritz"  :o

For a short overview in English you might have a look at the following URL
http://www.musicweb-international.com/classRev/2001/May01/zieritz.htm (http://www.musicweb-international.com/classRev/2001/May01/zieritz.htm)

There are several more interesting articles in German (you might try a translation with Google)
http://www.klassika.info/Komponisten/Zieritz_G/lebenslauf_1.html (http://www.klassika.info/Komponisten/Zieritz_G/lebenslauf_1.html)
http://www.nmz.de/artikel/ich-bin-ein-einzelkrebs (http://www.nmz.de/artikel/ich-bin-ein-einzelkrebs)

If I find enough time I'll provide an English version of the LP backcover text.

At Allison's request I've uploaded Anton Urspruch's Symphony. It's a fine work in many ways but, for me at least, it outstays its welcome. I can't help feeling that there's a superb 35 minute symphony hidden within this 50 minute shell. Alan, and maybe others, will disagree I know but I generally don't have the patience for "heavenly length".

Quote from: Mark Thomas on Friday 25 May 2012, 17:13
I've uploaded a mystery mid-19th century symphony by a, comparatively, mysterious composer: Adolf Reichels' Symphony No.2. The upload post includes all I can glean about the composer's biography and if anyone can add to what we know about Reichel or this Symphony then I'd be very grateful.

Someone has uploaded the same performance at youtube:
http://www.youtube.com/watch?v=uGiBVtwDlsI&feature=plcp (http://www.youtube.com/watch?v=uGiBVtwDlsI&feature=plcp)
Perhaps he knows more about the composer?

Riemann's Musik-Lekixon, 1900 edition (@Google or IMSLP), page 924 has a sentence biography of Adolf Reichel so:
Geb[oren] 1817 zu Tursnitz in Westpreussen, gestorben 4 Marz 1896 in Bern, war lange Jahre Dirigent der Dreysigjschen (run by Dreyssig) Singakedemie zu Dresden, später Dirigent des Cäcilienvereins in Bern.

Hrm. I suppose that except for adding yet another possible year-date (MusicSack (http://musicsack.com/PersonFMTDetail.cfm?PersonPK=100039779) plops for 1820, and 1820-August 30 at that, by the way, in Tursnitz, Graudenz) to 1816 and 1820, that really adds nothing. Hrm. Sorry.


Wait, Adolf Reichel? That name sounds very familiar... Oh...

Another bio, in English: A Biographical Dictionary of Musicians by Theodore Baker (3rd Edition of 1919), page 750. (See IMSLP (http://imslp.org/wiki/Category:Reichel,_Adolf) which contains scores/parts of a piano trio, songs and a string quartet by Reichel.  I remember transferring/etc. the trio and quartet. Rather liked the quartet at least on a skim. No wonder the name sounded familiar...)

Reichel, Adolf Heinrich Johann (b. Tursnitz, W. Prussia, 1817; d. Bern, March 5, 1896.) Pupil of Dehn and L.(udwig) Berger in Berlin; lived 14 years in Paris as a pf.-teacher and composer (pf.-concertos, 2 pf.-trios, 4 preludes and fugues, also mazurkas and sonatas, f. pf.; masses; many songs); 1857-67, teacher of comp. at Dresden cons. and conduct. of Dreyssig's Singakademie ; from 1867, municipal music director at Bern, Switzerland. And as mentioned, teacher of Klughardt (unless that was another Reichel, like Friedrich Reichel- not sure... well, "Cyclopedia of Music and Musicians" ed. by Apthorp etc. claims Klughardt was taught by Adolf Reichel and Blassmann...)

April 1 1896: "On the 4th ult. [March 4] in Bern, Adolph Reichel, composer, conductor of the Cecilia Choral Society, aged eighty." - brief obituary notice, page 268 of The Musical Times, volume 37.

Mark, you are a real hero!

Thank you a million times for the excellent uploads of rare Romantic symphonic works.

You've made my day... week.. month...year!

Quote from: mikehopf on Saturday 26 May 2012, 00:46
Mark, you are a real hero!

Thank you a million times for the excellent uploads of rare Romantic symphonic works.

You've made my day... week.. month...year!

I couldn't agree more! 

Thank you, Mark - and (rather than repeating myself in the Hungarian downloads discussion) a special thank you for the Goldmark. I love these, and both Merlin and From Youth have been on my 'wants list' for at least 30 years!

You're a gem!  :) :) :)

Thanks for the Reichel references, Eric. Ideally I'd like to come across his autobiographical sketch (referred to somewhere I've read) or a proper work list, or something. I did find yesterday an 1880s review of a chamber work of his which described his style as "early Beethoven" and that's a pretty accurate description I think. Thanks for the YouTube link, britishcomposer - I'd seen that. I got my copy years and years ago - probably before YouTube existed!. Otherwise, thanks for the thanks. There'll be some more 19th century uploads over the next few weeks, when I have time.

Mark,

Can I echo my thoughts as per 'Mikehop' above for these recent marvellous additions to what I feel are 'true' romantic works.  Obviously, I'm not a proper critic to comment on 20th C works but nearly all the ones I've listened to - here and elsewhere -  don't usually have the melodic charm of 19th C works, even if the latter are not discordant!  So, once again, many thanks for your recent flurry of 'right on the mark' tuneful and 'rare' 19th C items. 

Richard

Thanks very much, Richard. I'm conscious that those of us who have been members for some time of UC and it's predecessor, the Raff Forum, have seen a shift away from its original purely 19th century romantic focus and that lately the works offered for download have predominantly been 20th or 21st century pieces. Whilst I'm happy that we're now a broader church, and I'm not in any way denigrating all the uploads of more modern repertoire, I thought that it was time to redress the balance somewhat. I'll carry on cherry picking reasonable recordings of fine music from the earlier end of our interest spectrum, but my collection isn't a bottomless pit by any means and it would be good if there were more uploads offered by others whose focus, like mine, is primarily music written between the Napoleonic and First World Wars.

Anyway, for lovers of the romantic piano concerto I've just uploaded a fine example of the genre: Gernsheim's Piano Concerto from 1868.

... and for good measure I've just added two well crafted overtures by Carl Reinecke: Aladdin and a Festival Overture.

Finishing off today's activity and to end my uploads of the music of Carl Reinecke, I added the delicious Harp Concerto, a Ballade for flute and orchestra which was amongst his last compositions and his arrangement for orchestra of six pieces from his piano cycle From the Cradle to the Grave. I can't identify which six of the sixteen piano pieces Reinecke has arranged in the set and so if someone else can, could they please tell me? Thanks.

Yay again, re the Gernsheim and Reinecke. Thank you.

Marvellous! Thanks, again, Mark!  :) :)

Continuing the German Music uploads, I've now added Wilhelm Berger's magnificent Second Symphony. This is one of the most impressive works of late romanticism in my view and the only thing which has prevented me posting the work before now is the poor recording. However, it's best that you judge for yourself as I do believe that the quality of the music will quickly make you forget the muddy acoustic.

If anyone out there has a better recording of the is broadcast then I would dearly love to hear it.

Ilja,

thanks for your upload of Max Butting's music to Walter Ruttmann's Opus 1. I should add two details: from all I know, this is not called "Lustspiel" but "Lichtspiel", literally "Light-Play", so a play with lights or light effects. In Butting's own work list, this piece is listed as "Lichtspielmusik" for String Quintet, Op. 23 (1921).

As a result of my recent uploads, I hear music by Butting in my mind almost any time this weekend! Given all the positive reactions on his music here, I think I will share more by him in some days.

I've been away, traveling for a week, so just now taking a look at the most recent uploads.

Mark, I have a copy of the Berger Symphony No. 2 that (to my ears) is better than yours. The same forces, just a cleaner recording. My recording also does not clip off the opening fanfare, as yours does. The downside of having a cleaner recording is that the poor playing by the Bremen band is more apparent. haha

You are right. This is a very good symphony and deserves better than it has received on record.

I'll upload my copy as an alternate for everyone.

In my notes, the Berger Symphony No. 2 is noted as 1900. I'm not sure where my date came from. Is the date you attached to the symphony from a documented source? If so, I'll change mine.

Quote from: Amphissa on Sunday 27 May 2012, 16:57
The downside of having a cleaner recording is that the poor playing by the Bremen band is more apparent. haha

You are right. This is a very good symphony and deserves better than it has received on record.

Thanks to Mark and Amphissa for these downloads.  Each new piece of Berger's I encounter makes me wonder more quite why he is so  unsung; apart from the op 94 Trio, I can find no commercial CDs of any of his works, which strikes me as bizarre.  With no disrespect to any colleague here, there are many composers with dedicated advocates on this forum who are, in my opinion, far more deserving of unsung status than Berger.  ;)

Some, at least, of the 'poor playing by the Bremen band' should be laid at the door of Herr Bernbacher, not the least of whose faults is that he seems incapable of 'playing it straight', rather than pulling the beat about all over the place for no apparent reason -- even when he gets the basic tempo right (which he doesn't in either of the outer movements!)  However, in spite of all these shortcomings, it's clear to me that Berger has has things to say as well as the technique to be able to say them in individual and absorbing ways. The best praise I can give to an unfamiliar piece of music is that it holds my complete attention from first to last and this symphony passes that test.

I think Berger's 2nd was published in 1912, but it clearly wasn't composed that year, and I don't know when it was. (Not a physical, can use as a coffee coaster CD, apparently, but there's a commercial -download- of a good deal of his choral music available here (http://bcv-shop.de/komponist/werke/wilhelm-berger.aspx). Found the link in his English-language Wikipedia article.)

Quote from: eschiss1 on Sunday 27 May 2012, 18:07
I think Berger's 2nd was published in 1912, but it clearly wasn't composed that year, and I don't know when it was. (Not a physical, can use as a coffee coaster CD, apparently, but there's a commercial -download- of a good deal of his choral music available here (http://bcv-shop.de/komponist/werke/wilhelm-berger.aspx). Found the link in his English-language Wikipedia article.)

Berger 2 was premiered by Weingartner in Berlin on 25th May 1900. Publication may have taken place later, but the piece was clearly written at the end of the 1890s.

Additional note:
In fact, the symphony was published by Bote & Bock, Berlin in 1911.

Amphissa, my grateful thanks for uploading a better recording of Berger's great Symphony - just what I hoped would happen. Anything which helps recognition of this work, poor conducting and/or playing notwithstanding, is a move in the right direction. Also thanks to Alan for recording the jiggery-pokery I had to resort to to get a full performance of the symphony at all. I had forgotten. As to the composition date, I'll have to check and see if I kept a note of my source(s). Thanks again.

Quote from: eschiss1 on Sunday 27 May 2012, 18:07
(Not a physical, can use as a coffee coaster CD, apparently, but there's a commercial -download- of a good deal of his choral music available here (http://bcv-shop.de/komponist/werke/wilhelm-berger.aspx). Found the link in his English-language Wikipedia article.)

Thanks very much, Eric.  I'll investigate. 

For anyone else interested, the full score of Berger 2 is available at IMSLP: http://imslp.org/wiki/Symphony_No.2,_Op.80_%28Berger,_Wilhelm%29 (http://imslp.org/wiki/Symphony_No.2,_Op.80_%28Berger,_Wilhelm%29)

What a lovely work, the Berger.  Thanks, guys......

Jerry

I've uploaded two works form the second quarter of the 19th century: Carl Loewe's Second Symphony in e minor and Bernhard Molique's Cello Concerto. Any more information on the Loewe piece would be greatly appreciated.

According to Loewe-Gesellschaft (http://www.carl-loewe-gesellschaft.de/index.php?id=104125000257), I think, the Loewe was not the premiere, but the modern premiere- first performance in 170 years.

Thanks O Sleuth! Well, I guess that means that the Second Symphony dates from 1834 or earlier, then, which certainly fits with the Beethoven-esque sound of it..

I wonder if the Koch recording of the D minor symphony had notes that say anything about -either- symphony's possible dating...  I am guessing no. (I think it came from 2002 concerts by the same Gesellschaft.)

First thing I looked at, Eric. The notes mention a performance of the Piano Concerto No.2, but nothing about the D minor Symphony's dating and no mention at all of the E minor symphony.

I looked in contemporary journals through Google and couldn't make out quite what I was reading because of the German Gothic script so after a bit stopped trying, unfortunately. Cmoll and Emoll are hard for me to distinguish in that script sometimes (and just as hard for the Google OCR, if not harder :) ).

Thanks everybody for the great German adds last few days, I hope someone will be inspired to put up more of Johann Nepomuk David's symphonies, wonderful stuff. Best, A

Can't we get the program notes for that concert with the Loewe S 2?  That would probably have the movements listed.

Maybe you could try, Jim?

I think they have the program notes for that festival online and they (seem to?...) make no mention, but there could be separate notes for that specific concert. Maybe if one emails the Loewe Gesellschaft?

OK.  I'm tired of being a whiner not a doer.  I'll give it a shot.  Later.  ;D

I just added links to uploads of two very satisfying Brahmsian Piano Quartets by Robert Kahn, a  pupil of Rheinberger who eventually fled to Britain to escape the Nazis.

Looking forward to listening to them- scores to both are @ IMSLP, his music -seems- interesting...

Actually, unless he wrote 3 piano quartets--- hrm!!
Piano Quartets opp. 14 and 41 are there, but not quartet op.30. Interesting... Ah. Yep, op.41 in C minor, very different movement scheme...

Today's upload is a work by Ferdinand Hiller: his Overture Demetrius in a passable of-air recording from, I think, the 1980s. It's a good, solid piece of writing from Bruch's teacher.

Is this a concert overture or the prelude to an opera or oratorio?

It's a Concert Overture, unconnected with any other work AFAIK.

Thank you MVS and others who have posted David symphonies, will post an LP of his Sym no. 5, Ezzolied, and Organ cto

Quote from: allison on Wednesday 06 June 2012, 21:01
Thank you MVS and others who have posted David symphonies, will post an LP of his Sym no. 5, Ezzolied, and Organ cto

These were all uploaded by a member in September last year but the links are no longer working. Reposting would therefore be helpful for new members.

Many thanks  to MSV for the addition of two more David symphonies :) I share his hope that the cpo cycle will not be too long delayed ;D

Unfortunately the university here only has scores for half of David's symphonies- 1 (Symphonie A moll op.18- of course it is rare for a symphony no.1 to be published as "Symphony No.1"), 2 op.20, 6 op.46 and 8 op.59. (And other works, e.g. his organ concerto op.61, and quite a few chamber works...) Still, need to push myself soon to get up there and at least write down the movement headings for no.8 and some other works (e.g. Hartmann 3) for transport here :)

I've added in the Downloads board three works by Franz Lachner (1803-1890): two overtures and a most impressive String Quintet.

Quote from: Mark Thomas on Saturday 09 June 2012, 08:43
I've added in the Downloads board three works by Franz Lachner (1803-1890): two overtures and a most impressive String Quintet.

Thanks a bunch for the new (to me) Lachner to get to know :)

Mark - thank you for the Lachner. The String Quintet is a particularly enjoyable ride, and I love the romantic Andante.  How fortunate to be able to hear this work, especially when it is played so beautifully and with such excellent sound quality.  :) :)

I'll admit to enjoying all of Lachner's music which I've heard but remaining unconvinced by it that he was more than an excellent craftsman. The Quintet, however, is a composition on an altogether higher plane.

For the Kaminski enthusiasts out there (and I'm not sure that I'm one, actually) I've uploaded a recording of a broadcast of his Dorische Musik for String Trio & Orchestra from 1934. I'll be interested in other members' reaction to this piece which I think I find quite impressive, although I'm hard put to say why! Maybe it's the committed performance of the work by the Berlin Philharmonic under my "local" conductor, the CBSO's Andris Nelsons, rather than the music itself!

Posted by Tapiola and moved here:

Moronic review.  I doubt seriously that the reviewer even listened.  I stay quiet about some fetiches on the board out of respect for most members.  As a balance, another review of the concert:
"After hearing the Berlin performance of this work, Wilhelm Furtwängler immediately scheduled it for one of his concerts; the piece also moved a critic to assert that Heinrich Kaminski was "the richest inner life of the younger generation." At once devout and hymnal, jubilant and lyrical, Dorische Musik ["Dorian Musik"] is the expression of Kaminski's affinity with Bach and his response to the ideology of National Socialism. Kaminski, who founded the Order of the Loving, also used his music to express a devotion to art as a revelation of the Divine."
.

I think I need to point out that the review which I posted with my Kaminski upload wasn't one with which I agree but I thought it germane as it was of the actual performance. Of course, it isn't "moronic" in any way, it just makes a lazy judgement and differs from the opinion of Kaminsky enthusiasts; the reviewer clearly had heard the concert judging by references elsewhere in the review, which I didn't include.

There is no obligation on any of us to agree with the enthusiasms of others and it really would be good if some could be a bit more adult in their reactions when someone disagrees with their estimation of a piece's worth. Would Tapiola have preferred that I hadn't uploaded the Dorische Musik at all? As a Kaminski advocate, presumably he's pleased that I did?

Mark, Amphissa had already uploaded the same performance of the Dorische Musik some time ago!  ;)

I think he is interesting but I cannot really warm to him. Anyway, this is the best performance he ever got and it's probably the dream of most enthusiasts of the unsungs to hear such a performance.

I remember having read an unfavourable comment about Kaminski in the Letters of Finzi and Ferguson but 'Kaminski' cannot be found in the index. Can anyone help?

Could I point out that the Kaminski Dorian Music in exactly the same performance was posted by Amphissa on November 13th. That link moreover still works ;D

Unfortunately a search fails to find the post but since I downloaded it then............. :)

Sorry....britishcomposer got in just ahead of me ;D

But the point about a search failing to find the Kaminski is an important one.

Colin, go to the German Music Folder, search for 'Kaminski' and you will find Amphissa's post listed as No. 3!  :)

Not so ::)

Searching for "Kaminski" both from the site Homepage and from within the German Music section of 'Downloads' gives me no return for Amphissa's post.

Strange, at least the search within the German Music section works for me. ???

I must say that I am enjoying the Kaminski Dorian Music immensely :)

For an alternative take on the work-

http://classical-iconoclast.blogspot.co.uk/2011/10/heinrich-kaminski-dorian-music.html (http://classical-iconoclast.blogspot.co.uk/2011/10/heinrich-kaminski-dorian-music.html)

I am not sure that I would go quite so far as Classical Iconoclast (there is a degree to which I think it slightly outstays its welcome) but I am nearer to his opinion than that of the FT reviewer. Whilst I would not describe the latter's review as 'moronic' it is still somewhat arrogant to dismiss the Dorian Music so unequivocally and assert that "you would not want to hear it again". It is exactly such a totally dismissive attitude that can condemn a fine piece of music by an 'unsung composer' to further decades of oblivion. If Kaminski was admired by Furtwangler, Schoenberg and the composer's pupil Reinhard Schwarz-Schilling(himself no mean composer) then he is a composer worth attention.

I too am enjoying the Kaminski Dorisch Musik very much. I have an old archival recording of his Concerto Grosso for Piano and Double Orchestra, but since the information I got from the person who gave it to me has as performers "? for pianist, Cologne RSI, Othmar Maga" I am not sure if it is accurate, or could it actually be the performance on CD here:
http://www.prestoclassical.co.uk/w/145516 (http://www.prestoclassical.co.uk/w/145516)
Does anyone know with better research skills if I should post it or not.
By the way, the Naxos disc of his Musik fur Streicher was not inspiring to me at all. A

Yep, all that and it was already posted! I did a search first of course and that threw up nothing. My apologies. I'm no evangelist for Kaminski and only posted it because I thought that I'd be doing those that are a favour. I rather wish now that I hadn't bothered. 

Mark, I appreciate what was posted by you. I did not know the section headings or the trio performers.  My contention is that a critic just like the one quoted probably had the same thoughts about virtually every composer on this board. Too many "of the cuff" judgements by lazy critics.

There is a un-stated prejudice against any non-Jewish composer who lived in Hitler's Germany. That is completely unfair, undeserved, and "moronic".  Kaminski, Schwarz-Schilling, Pepping etc were excellent composers of a more conservative style. It was not that easy for many people to abandon their country (money, family responsibilities, health, etc.). Then came the serial "Nazis" and these men got the double whammy!
They all deserve a fair hearing outside of Germany.

Musik for Streichorchester is on CPO as orchestrated by Schwarz-Schilling.

Please post the Maga recording of the Concerto Grosso. It is not the one on that CD as linked.  Keilbreth of 1956 is commercially released.

Kaminski of course was of Jewish origin. He was classified as "half Jewish" in 1938 and reclassified as "quarter Jewish" in 1941.

Kaminski's father had one Jewish parent, and his father became a Catholic priest. He quit the priesthood and married Kaminski's mother. Kaminski himself was a devout Catholic. So, calling him Jewish is real stretch.

Such things were defined by blood in that country at that time, not by belief, if memory serves, although I am probably oversimplifying some.

Quote from: eschiss1 on Monday 11 June 2012, 21:10
... I am probably oversimplifying some.

I'm not sure you are; if you were one-quarter Jewish, that was more than enough for the Nazis to unleash the full horror of 'the final solution' at you.

Yet, the Nazi's left Kaminski and family physically un-touched. Everyone suffered in some  way eventually if they did not join the party.

Well, he was forced out of his teaching appointments and his music was banned from public performance in Germany between 1938 and 1941. But even after his re-classification performances were rare to say the least. He was not arrested and sent to a concentration camp......that is true.

This thread has worn me out.  :-\   I've studied Kaminski for decades but I defer to all the experts.

Quote from: Dundonnell on Monday 11 June 2012, 17:58
I must say that I am enjoying the Kaminski Dorian Music immensely :)

Same here, Colin. I enjoyed it first time round, from amphissa's upload, and again now!  :)
 
I do think that if it had been posted as a piece "by Arthur Harrison - a 'lost' British composer of the 1930s" - we would all be saying what an exciting discovery it is, and bemoaning his scandalous neglect. Or am I being a tad too cynical?  ;D

I've posted two significant works for string orchestra by the Württemberg composer August Halm (1869-1929), a Symphony and a Concerto. Both are around 25 minutes long and share the generally rhapsodic atmosphere which also permeates his A major Symphony for full orchestra released by Sterling a few years back..

Thanks for the Halm!
Had a look at a Google preview of Rothfarb's August Halm: A Critical and Creative Life in Music (2009, University of Rochester Press) which gives some information on the dating of the D minor symphony (referred to by Halm as his "Stuttgart" symphony, after its place of premiere)- the 2nd movement was composed mostly in 1894, published in piano form in 1904 ; Max Fiedler performed it in Boston April 23 1910- nothing I can find about whether the whole thing was completed before or in 1910, but I'm guessing perhaps in... (and Halm tried to get Fiedler to schedule a performance of the concerto in C - major - for obligato piano with strings  according to his letters. (Ah. This is not the work we have- he also mentions the 1915 concerto in C minor for strings only as a separate work. Wonder if the 1911 work has been performed recently-ish ...)

(BTW seems to be an interesting book which, following Halm's own preoccupations, has lots of close analysis... not a complaint.)

Thanks, Eric. I found it impossible to establish composition dates for these works of Halm's which is why I resorted to the earliest publication dates I could find.

No good answer on where the Kaminski Concerto Grosso recording originated, so will withdraw it.

Having listened, I believe it to be the Keilbreth recording with the Koln Radio Orchestra from 1956 and released commercially.

Rothfarb's book may be more help in its actual paper form though there are signs even so from the previewable version that he is not able to solve all worklist problems (hair-puller involving Halm's quartet in B-flat which I am not positive is by August Halm (as against Anton Halm, an earlier composer- the score just says "A. Halm", -so- very helpfully in this.) is not resolved to -my- satisfaction by Rothfarb... or at least, by what I can see in his book, to be fair... though it is almost always more useful to have access to manuscripts, letters etc. than just to publisher info in establishing certain things about a composer's output, such as, is a certain piece by a composer at all (R. Radecke vs. R. Radecke... well, maybe I should explain that one- some other time.)

I've uploaded to the German Music thread in the Downloads board nine works written in the 20th century, but in a completely 19th century idiom, by the obscure Horst Platen (1884-1964). On the showing of these nine compositions Platen, who was best known as a conductor, was no unrecognised genius but he seems to have been a good craftsman and his music is never less than engaging. The larger pieces: the Violin and Piano Concerti, the Musik für Orchester and the Violin Sonata all keep the listener's interest and the shorter pieces often have a certain rapt quality which is very attractive. Platen was a good melodist and the Violin Concerto in particular is a fount of good tunes. If anyone out there can put some flesh on the bones of either Platen or his music then I'd be very interested.

Gosh, Mark! What a heap of music by a composer who has been utterly unknow to me! Did you record these pieces yourself? If so, do you remember when? I record from German radio stations for about twenty years and have never heard anything by him. (Well, my radius was restricted to NDR, WDR and Radio Bremen until internet made things easier.)

No, none of these are my own recordings. They all date from the 1960s I think.

Quote from: Mark Thomas on Thursday 14 June 2012, 19:04
No, none of these are my own recordings. They all date from the 1960s I think.

Many thanks for these works by Platen, Mark. This is the height of romanticism, and I love it!  :) :)
The beautiful, flowing melodies just seem to come from nowhere. The two intermezzi are very sweet. There's a distinctly 1930s romantic movie quality at times, a la Steiner or Korngold (es. in the Prelude), and I can't understand why this music and its composer are not better known. Maybe - as you suggest - he's not an undiscovered musical genius, but it's easy on the ear and full of attractive melody, and appeals to us romantic types!  ;D

I'm delighted that Platen has struck a chord with several people. I've always been fond of his music, which I got to know from these recordings given me by an old friend who has been collecting German radio broadcast recordings for many years and has a huge collection. Many of my uploads come from him.

My next one doesn't, however. It's of a broadcast of Bernard Hermann conducting a performance of Raff's Symphony No.3, the Im Walde. No, not the famous LP recording he made of No.5 Lenore, but a 1949 radio broadcast of the wonderful Third Symphony. Herrmann was a great devotee of Raff and thought it a disgrace that his reputation was then at such a low ebb. For more about Herrmann and Raff, you can read the page on him at raff.org (http://www.raff.org/records/herrmann.htm) but better still download his performance of the Third Symphony and enjoy that.

I -knew- I'd heard his name- Sibley library uploaded score and part of Platen's rather impressive-looking C-sharp minor violin sonata of 1906 (published- hrm- sometime between 1908 and 1920...) back in March 2010 to their site.

Platen's Violin Sonata is amongst the pieces I've uploaded, Eric.

I -really- have to stop assuming I've already checked these things- or something.  Downloading now with many thanks.

I've now added a second Raff symphony to the German Music thread - this time a very good performance of the Fourth Symphony from the English Chamber Orchestra conducted by Alun Francis, broadcast by the BBC almost exactly twenty years ago on the centenary of his death.

Quote from: Mark Thomas on Saturday 16 June 2012, 08:55
broadcast by the BBC almost exactly twenty years ago

2012-1982=30.  ;)

True, but I was away when we did maths at school.

I tried to download the Kunzen file but it appears that they force you to download the "ilivid download manager" first.  Is that true?  I really don't need another download manager cluttering up my system so would appreciate knowing if there's another way to get it.  Thanks

Jerry

Quote from: Mark Thomas on Saturday 16 June 2012, 15:07
True, but I was away when we did maths at school.

It's fine, Mark. I was there when we did slide rules...

And when I say that we used "log tables" at school, people today think I mean furniture!  :D

Moving on from these heart warming expressions of sympathy with my mathematical shortcomings, for my 2000th post here I have uploaded a recording of Urs Schneider conducting Raff's Seventh Symphony, In the Alps. In contrast with Schneider's, in my opinion, woefully lacklustre rendition of the work on his Marco Polo recording, this is an altogether more successful and vigorous account in a concert performance in St Gallen in 2001, subsequently broadcast on Swiss radio. My review of the evening is here (http://www.raff.org/news/reviews/2001/stgallen.htm).

Thank you, Atsushi for the Duet from Horst Platen's Der Heilige Morgen. What a joy - rapturously ravishing!

Thanks also, Atsushi, for the enjoyably colourful Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Lay of the Love and Death of Cornet Christoph Rilke). However, from the dates which you give I think that you might have confused the composer Hans Grimm (http://de.wikipedia.org/wiki/Hans_Grimm_%28Komponist%29) (1886-1965) with his contemporary, the author Hans Grimm (http://en.wikipedia.org/wiki/Hans_Grimm) (1875-1959). From the Wikipedia article on the composer, the symphonic poem was published in 1938 and premiered in 1942.

I've uploaded a set of orchestral variations by Erwin Dressel (1909-1972), written in a determinedly romantic idiom. He was mainly a stage composer but, according to Grove, he wrote four symphonies in 1927, 1929, 1932 and 1948 and it would be fascinating to hear one of them. I can't establish the composition date of these Variations on an old English Folksong unfortunately.

Mark, I wonder whether you have Werner Andreas Albert's recording of the 'Italienische Suite' by Raff?
I think his interpretation surpasses both commercial recordings and I would love to hear it in somewhat better sound quality than I have.

Many thanks to Mark for the upload of Schneider's Raff 7 - a marvellous performance! And in very good sound too. Pity it's never been released commercially.

I have now updated the Kunzen Symphony link with a Mediafire one.
I hope it's easier to download from there.

Cheers,

herrarte

  I thank you too Mark for your uploads.  I listened Raff's seventh after a long absence. 
This concert performance is very fine!!  It's became my best recording of this symphony :D 

Congratulations, Mark, on your 2000th post!   And a thanks for moderating this wonderful forum.

Also thanks to you and Atsushi for the latest German uploads.  What a lovely Father's Day gift.....

Happy Fathers Day to all.

Jerry

  You are welcome Jerry,
  Oh yes, today is a father's day!  Happy Fathers Day to you and all :)

Quote from: Mark Thomas on Sunday 17 June 2012, 11:39
I've uploaded a set of orchestral variations by Erwin Dressel (1909-1972) [...] I can't establish the composition date of these Variations on an old English Folksong unfortunately.

Mark, Fred K. Prieberg's Handbuch Deutsche Musiker 1933–1945 (a large work documenting the interlacing of German music scene and National Socialism) lists Dressel's "Fröhliche Musik" for Orchestra Op. 40 as composed in 1935, so it is much likely the Orchestral Variations Op. 41 you uploaded must be from 1935/36.

I'm getting errors with the Kunzen download, Herrarte.
the Filepost link takes me to a page where a 'captcha needed' comes up disallowing a download of the file. Could you repost to a friendlier service, like Mediafire?
Thanks.

Thanks to all for the thanks.

BritishComposer: I'm afraid that I'd don't have Werner Andreas Albert's performance of the Italian Suite, but I do have several other of his Raff broadcasts and will upload them over the next few weeks. I do agree that they are often preferable to the commercial recordings we have and it's a great shame that cpo are unable to release them.

Holger: many thanks for helping with the dating of Dressels' Variations. Most helpful.

Semi.Serio: The Robert Kahn Quintet is a great and welcome surprise. I relish the prospect of hearing it. Thanks.

Many, many thanks to Paul Corfield Godfrey for the Max Bruch Psalm 23 :)

What a splendid work by a grossly underestimated composer :) Bruch really knew how to compose grand choral music. Though some may imagine that my tastes lie heavily within the 20th century ;D I do love this sort of late 19th century German Romanticism.

Do we know when Psalm 23 was actually written ???

Fifield's book does not list this Bruch work, though it does list an arrangement by Bruch of Schubert's Psalm 23, I think?...

Quote from: Dundonnell on Monday 18 June 2012, 16:52Do we know when Psalm 23 was actually written ???

It is No.2 of Drei Neue Männerchöre mit Orchester, Op.68 (1896).

:)

Thanks :)

Oh ok- that clarifies :). Sorry!

They were written for the Arion Society in New York, according again to Fifield (Google preview from his "Max Bruch: His Life And Works" (Boydell, 2005); page 261. Apologies if I've gotten that wrong, sir! )

From paul corfield godfrey:

Rudolf Wagner-Régeny (1903-1969) - The Burghers of Calais (1939), opera in 3 Acts

1986 BBC studio recording (broadcast June 1987)

I'm not going to be able to post any more music for a few days and so I thought that I'd indulge in a little Raff-fest.

Now available for download are a number of  broadcasts of Raff's orchestral works recorded by Werner Andreas Albert in the 1990s but never released by cpo because of contractual difficulties: the Festival Overture, the Elegy and the four Shakespeare Preludes. In each case I think they are superior interpretations to those available commercially on Marco Polo or from Stadlmair on Tudor. If anybody has any more of Albert's broadcasts of Raff repertoire then I'd be hugely grateful if they were uploaded.

There is also the Overture and an Entr'acte from a broadcast performance of the opera Benedetto Marcello and a Swiss broadcast of a fine performance of the Ein feste Burg Overture.

The real rarities are ten short orchestral numbers from the Oratorio Welt-Ende - Gericht - Neue Welt, including the four mini-tonepoems illustrating the Four Horsemen of the Apocalypse. These come from a complete performance on a limited circulation LP. The German regional orchestra plays the music well enough but the interpretations are, to my taste, far too stolid and earthbound. Treat them as tasters, therefore, because some of these pieces have just been recorded for a new CD of Raff orchestral music due out next year in performances which will bring them truly to life (or death in this case!)

Anyway, enjoy!

Mark, many thanks for all these Raff recordings, especially the Shakespeare Preludes. Sullivan conducted the British premiere of Welt-Ende at the 1883 Leeds Festival, but worried that it was "not sufficiently effective to suit the taste of a British audience - it is wanting in character and brightness". To me, the music seems to have plenty of colour and character and it is nice to have the opportunity to judge (at least partially from the orchestral extracts) for ourselves!

:)

Quote from: Mark Thomas on Wednesday 20 June 2012, 15:23broadcasts of Raff's orchestral works recorded by Werner Andreas Albert in the 1990s but never released by cpo because of contractual difficulties [...] I think they are superior interpretations to those available commercially on Marco Polo or from Stadlmair on Tudor.

Picking up from the last post, I'm amazed at just how much extra drama Albert is able to wring from the Shakespeare Preludes: he really makes a strong case for them as repertory pieces, rather than curiosities. What a pity that these performances could not have been commercially issued - I enjoy the Tudor recordings, but there is something of the "it's another piece by Raff and we're recording a series of discs which we've got to sell so we'd better get through it somehow and make a half-decent job" about them. Under Albert, everything comes alive: the crackling woodwind writing in The Tempest and Macbeth, the more compelling pacing of Romeo and Juliet and Othello. Excellent!

;D

Don't like to say I told you so, but....  ;D

...which raises a general point about the recordings of Raff's orchestral music that we have had up to now. Grateful as I am for them all (and I am, genuinely), I simply wonder how much more a really great set of performances would tell us about all this wonderful music.

Schneider's (live) Symphony No.7 also has the whiff of magic about it...

This is exactly true of so much "unsung music" by "unsung composers" :( If the music is performed by a second-rate orchestra/conductor who may fail to be be able to deliver the music as it could sound in the hands of better musicians an impression of medocrity may be left.

The supreme talent of a Toscanini or a Beecham was to take such music and perform it with conviction, enthusiasm and that element of magical inspiration which is required.

The Raff I have on disc is Friedman(No.1), Stadlmair(Nos.2 and 6), d'Avalos(No.3), Wetton(Nos.3 and 4), Schneider(Nos.3 and 10), Butt(No.5), Albert(Nos.7-11).

I am sure that I could probably do better :)

This is not wholly hypothetical- one could compare Toscanini's Martucci performances, of which a few survive and have been released on CD, with those since... (not German composers there, but the subject follows on from the preceding comment. Sorry...)

Thank you, shamokin88, for the Erbse uploads. I'm completely unfamiliar with this composer and am glad to have the opportunity to explore his music now, at least in part.

As far as his disappearance mid-career, New Grove has the following to say:

When his opera Julietta op.15 (1957), first performed at the Salzburg Festival in 1959, received negative reviews from some critics, he partially retreated from public musical life.

Quote from: Dundonnell on Thursday 21 June 2012, 01:23
The supreme talent of a Toscanini or a Beecham was to take such music and perform it with conviction, enthusiasm and that element of magical inspiration which is required.

Actually, their talent was to take virtually any music and turn it into gold.

My point here is this: Raff's music belongs indisputably with that of the canonical great composers - and would thus benefit from top-flight music-making. Even Brahms or Bruckner can be made to sound second-rate in second-rate performances...

Quote from: Alan Howe on Thursday 21 June 2012, 20:54
The supreme talent of a Toscanini or a Beecham .....their talent was to take virtually any music and turn it into gold.
..........

I couldn't agree more, Alan, on all points.

The neglect of these brilliant Shakespeare pieces is emblematic of Raff's situation. Here in Australia, you'd be searching high and low among the archives for a concert performance of anything by Raff (I wonder if his symphonies have ever been performed here!). We remain deluged by Brahms, Beethoven and Tchaik. :(

To be fair to Australian Orchestras, one did very well, I'd say, by some works by Benjamin Frankel and others on some cpo releases some while back. Anyways.

Hrm. Then there's the two George Raff (http://en.wikipedia.org/wiki/George_Raff)s (19th century and ca.1930, the latter mentioned in digitally-scanned articles in the Brisbane Courier from that year- 4 March 1930 page 22 ... distant Raffish-erly relatives? :) ... not related to music though, though there is an article about radio on the same page.

Still don't know if any Raff orchestral music was performed in Australia- hrm- but when World's End was performed at the Leeds Festival in October 1883 (together with, among other works, Barnby's Psalm 97 (http://imslp.org/wiki/The_Lord_is_King_(Barnby,_Joseph)) :), mentioned in the article too ), this fact was reported in the Brisbane Courier. This maybe should not surprise.
(Google searches hint- need to confirm- that George Raff (one or both of them?) may have owned or partially owned the aforementioned journal, so references to him, and occurrences of the _word_ Raff, would be common enough in a Google search of the scan files at Trove.nla.gov.au .)

Quote from: Latvian on Thursday 21 June 2012, 17:37Thank you, shamokin88, for the Erbse uploads. . . .

Yes thank you Shamokin88 for all the Erbse! It is truly wonderful to be able to hear more of his work at last.

The Thirteenth Symphony of 1998 is the last one listed in my edition of Grove's Dictionary, but since it also says there that "he wrote at least one symphony every year" he may well have composed further symphonies following the thirteenth between 1998 and 2005 - does any one know?

Rather unexpectedly Erbse in his will endowed an annual prize for "rock musicians from the Salzburg area":

http://www.confused5.com/erbse/preis.html (http://www.confused5.com/erbse/preis.html)

Since I have no idea what "rock music" is I will say no more!

But I found a valuable autobiographical article from him at the same site, with a few photographs:

http://www.confused5.com/erbse/ (http://www.confused5.com/erbse/)

It seems it was a serious accident while climbing which set him on the road to writing so many new symphonies from 1990 onwards.

Expectedly :) the Halm string symphony is a delight. Thank you!

Can I suggest that we decide whether Johann Nepomuk David is to be regarded as an Austrian or as a German composer(he was born in Austria but spent most of his life in Germany)

The links to recordings of his music are now being posted in both

the Austrian Downloads section(Arbuckle's uploads of the Symphony No.5, the Organ Concerto, Spiegelkabinett Waltz and the Cantata "Ezzolied" of 16 September)

and, more recently, in the German Music Downloads section (MSV's uploads of the Symphony No.2, Symphony No.3, Symphony No.4, Symphony No.7, Symphony No.8, Sinfonia breve and allison's of the same works, minus the Spiegelkabinett Waltz, (6 June) as posted by Arbuckle).

Although David was born in Austria, the website devoted to him describes him as being "deutsch-österreichisch", so clearly some further research needs to be done. My instinct is to group everything in the Austria folder, but I'll discuss this with Mark Thomas when he returns from his current trip.

there's a US-specific political (sort of) bad joke here (about German, Austrian, and David-ian branching) that I really should just let drop :)

  MVS,  Again thanks a lot for your upload of David's second. I very impressed this fine work. Sometimes sounding like Mahler and Bruckner. It's on a great tradition of late romantic music. Thanks again :)

I'm no David expert but, as I understand it, although he spent most of his life in Germany, he remained an Austrian citizen. If I may be allowed to make a comparison with Raff: he was born in Switzerland, lived most of his life in Germany but held German (well Württemberg) citizenship all his life. Despite the claims of the Swiss, he is clearly a German composer. The corollory is that David, because he never renounced his Austrian citizenship, should be regarded as Austrian, despite being domiciled in Germany.

I agree - I think. Unless he held dual nationality...

Thanks so much Mathias for uploading the recording of Werner Andreas Albert's performance of Raff's Italian Suite. Personally, it's doubly welcome as I visited Raff's memorial in Frankfurt yesterday. Can't wait to hear it when I get home.

You are welcome, Mark! I am pleased to be able to offer this little present to THE Raff authority!  :D

Would you like to have the other suites, too? I can offer Opus 101, 194 and WoO 45 with Albert.

Yes, yes & yes PLEASE! thank you so much!

If Johann Nepomuk David is to be regarded as an Austrian composer-which I agree is the appropriate option-then the postings with links to uploads of his music should be moved into the Austrian section.   Sorry ;D

Quote from: Mark Thomas on Sunday 24 June 2012, 20:36
Yes, yes & yes PLEASE! thank you so much!

Honestly, I didn't hold them back consciously! I just wasn't aware until now that these recordings hadn't ever been released commercially!
I was sure you would all yawn if I had uploaded any Raff because I thought you all have these recordings!  ;D

Please, give me a week or so, Mark!  :)

Who might be considered a "popular only under the Nazis" composer?  Recordings of such have got to be mighty rare.

Ve vill play zis musik, und you vill ENCHOY it!!! ;D

Hrm. Maybe relevant there- not sure- is Kater's The Twisted Muse: Musicians and Their Music in the Third Reich (http://books.google.com/books?id=GC0LGe3uzK0C) (Oxford University Press, 1999).

There is a serious point here....although I really do think that it requires a separate thread to itself.

There were German composers who flourished between 1933 and 1945 but whose reputations, rightly or wrongly, were badly damaged by their associations with the National Socialist regime. Their music is, in some cases, being re-examined today as, also, are their individual records of co-operation with the regime.
Only this month cpo released a disc of music by Paul Graener, for example.

It is quite impossible to generalise. From Richard Strauss, to Hans Pfitzner, to Max Trapp.....the individual stories are different and, often, complex. Composers are not always politically aware and some were characterised by extreme naivety.

The only name I shall throw into the mix at present though would be that of Max Trapp.  His music was barely heard, as I understand it, after 1945. Trapp's Symphonies Nos. 2 and 6, his Concerto for Orchestra, the Cello Concerto and one or two other works can be downloaded from this site.

Only by listening to the music-as we listen to that by Soviet-era composers- can we or should we reach an assessment on its merits.

I have always believed (and this is a touchy spot for me) that none of us should in any way judge composers who had to live through Hitler or Stalin. Especially America and Britain, have no idea whatsoever what these people faced. They had families, needed to eat, needed health care etc.  If we judge the Germans composers in this way, so too should Prokofiev, Khachaturian, Shostakovich (both party members), etc. never be performed in the west. Stalin was an even worse murderer than Hitler, yet we have recordings of all sort of Staliniana.   I find it interesting that no German composer close to the stature  of Prokofiev, Shostakovich, etc. ever wrote a Hitler Cantata!

Music and the Nazis.

This, of course applies to various Austrians and Czechs as well, let me suggest those who lived in Germany as it was, geographically, up to the outbreak of the war in 1939. Two pieces - at least - seem to be under a ban.

First, Franz Schmidt's final, uncompleted work, taken in hand and finished by Franz Anton Wolpert, German Resurrection or Deutsche Aufferstehung if my high school German of a half century back serves. This was a big choral/vocal work in praise of the Anschluss. I cringe at the thought of the text and do not believe that it has been heard in seventy years. It was Schmidt's effort to ingratiate himself with the new regime.

Close to the end of the war Hans Pfitzner composed a short orchestral piece dedicated to Hans Frank, the
top Nazi in the so-called Gouvernement General in Poland. It was entitled Krakauer Begrüssung and sufficiently rose his publisher's postwar hackles so that the opus number Pfitzner assigned to it was used instead in their catalogue for a new version of Das Christeleflein. No mention of the Frank opus. This same Pfitzner turned down a commission to compose new music for Midsummer Night's Dream because, in his judgment, the Mendelssohn could not possibly be improved upon. His refusal raised different hackles. 

I make no claim that these were "popular" pieces in the Third Reich - far from it, I expect. But they are both so tainted that they have not been heard in 67 years, minimum. Perhaps they could be presented with the Funeral March for Hitler that Robert Stoltz thoughtfully composed just before he left?

Edvin Komauer and Walter Abendroth - not Hermann - enjoyed official patronage.

Graener's situation was peculiar, too, for his inability to document fully his Aryan descent, costing him a teaching job.

Fidelio Finke was a Sudeten German who had to leave home after the war yet was given his only recordings by the DDR's Eterna label. Who knows?

And Kaminski was banned for a while but was eventually deemed sufficiently Aryan so that his music could be heard after all, just not for NSDAP events. How satisfying could that have been?

My guess is that we must consider each person trapped in those circumstances individually and ask ourselves what might we have done if faced with the pressures and the temptations they experienced.

It is curious that Fascism, whether in Germany or elsewhere, failed to generate the sort of musical treasures that bear Stalin's name, nothing for Salazar, nothing for Franco, nothing for Mussolini or the lesser fry - just Evita !

Best to all. 

   

Interesting and thoughtful summary, Edward.  Thanks.

Jerry

I wouldn't argue otherwise and am greatly interested in the music of quite a few of these composers for what my personal opinion is worth. (Hessenberg may not or not quite ... ?? ... belong in the list but I am -definitely- interested in his muse, his middle string quartets (e.g. no.4 in E minor/A minor op.60) and somewhat similar works (cello sonata in C op.23, string quartet no.3 in A, ...) especially- and thanks again for the upload of his most intriguing string trio op.48 ...)

As to Mussolini, I've found it interesting that Montemezzi was killed by Italian resistance partisans (if I recall) - so someone thought that the composer of a cult favorite opera (Amore di tre re) of the 20th century had suspect political leanings, at least...

Someone wanting to track popularity might also want to have a look at the war-straitened 1940s issues of Hofmeisters Monatsberichte (for instance), too...

Speaking of Trapp and Butting - already downloaded many of the Butting works now here but Trapp's cello concerto and 6th symphony are two of the works that I fear I do wish to ask the happily returned Arbuckle if he'd be willing to reupload (the whole Butting/Trapp folder he uploaded November 8 2011 :) ) Thanks!

(Fortunately for me- though I'd rather have chosen the means and reason myself ;) - I no longer have the same space issues with my iPod)

Italo Montemezzi? He died long after the war ended. Where did you see that he was shot?

Have reposted the Butting and Trapp things, Eric. Good listening!

Thanks!

BTW about Trapp's 2nd symphony, the same conductor and orchestra - Hermann Abendroth/Berlin Philharmonic - are mentioned as performing? having performed? (the former I'm fairly sure) the work in a new edition (einer Neufassung) in the June/July 1943 issue of Musik im Kriege, page 65. (The whole issue as scanned at archive.org (http://archive.org/details/Gerigk-Herbert-Musik-im-Kriege) (may only be visible in the US and similar. PDF and other formats. Excerpt of the relevant passage, from a briefish article on Berlin concerts by Herbert Gerigk:

Die 2. Sinfonie von Max Trapp kam unter Hermann Abendroth mit den Berliner Philharmonikern in einer Neufassung heraus, die vor allem eine Vereinfachung der ursprünglichen Riesenbesetzung enthält.

I have now uploaded the remaining Raff Suites in Albert's recordings with the Philharmonia Hungarica from the 1990s. Enjoy!  :)

I feel as if my birthday has arrived a week early. Thank you so much!

You are welcome, Mark! Perhaps this lifts your black mood a bit!  :D

I am afraid that's all I have from the glorious couple Raff-Albert.

Sorry for uploading unsplit files. It took me a whole year to digitise all my old cassette tapes and it would take me another year to split everything properly...  :(

Yes my black mood of yesterday is now quite dissolved, thanks! I'm away from home for a few weeks, but when I get home I'm very happy to split these suites into separate movements if you'd like me to.

You need not do it especially for me but I was concerned because most UC members prefer split files.

It'll be a few weeks before I can do anything anyway...

Re: Trunk, et al., it's a very interesting question about whether we should honour this music even by listening to it today. Given that a good deal of Trunk's music was written pre-Nazi era (I'm just downloading the Piano Quintet, for example), I think it's slightly presumptious for people to "ban" it on the grounds of what he signed up to later. The same, after all, would go for Prokofiev who, if I'm not mistaken, wrote a piece in honour of Stalin, no less a monster than Hitler. But it's rather easier for "history" to condemn lesser composers than greater ones whose music, quite obviously, it would be more costly to discard on the grounds of political/historical importunity. Well, I'm going to give it a listen ...

Quote from: isokani on Saturday 30 June 2012, 21:27
Re: Trunk, et al., it's a very interesting question about whether we should honour this music even by listening to it today. Given that a good deal of Trunk's music was written pre-Nazi era (I'm just downloading the Piano Quintet, for example), I think it's slightly presumptious for people to "ban" it on the grounds of what he signed up to later. The same, after all, would go for Prokofiev who, if I'm not mistaken, wrote a piece in honour of Stalin, no less a monster than Hitler. But it's rather easier for "history" to condemn lesser composers than greater ones whose music, quite obviously, it would be more costly to discard on the grounds of political/historical importunity. Well, I'm going to give it a listen ...

Many thanks for your wisdom and eminently pragmatic good sense here. Let's also remember that, following what might reasonably be regarded as the crowning glory of his achievement as a composer, Das Buch mit sieben Siegeln, the German composer Franz Schmidt was asked to compose a work in honour of the achievements of the Third Reich and he agreed to do it, knowing, however, that he was dying and, despite whatever pressure might have been placed upon him in the meantime, he would never fully realise that non-ambition...

Banning the music of any composer is to my mind an action, whether perpetrated by a state or by an individual, which tells you more about the banner than the banned. What purpose is served now by denying an audience to music written by a long dead composer whatever his faults as an individual? It's an action as empty of real meaning as the current fad for politicians to apologise for events which occurred hundreds of years ago.

Indeed...

Will see if I can find out anything about the publication or other dates for Unger's works.
BTW Zilcher's 2nd violin concerto was his opus 92, published in reduction in 1943. I know it was uploaded quite some while back, but I think I only just figured that out. :)

Surprisingly, there's a East German CD, it seems, with works by Stephan (Musik für Sieben Seiteninstrumente) and Unger, containing Unger's opus 39 for piano quintet (1979 recordings, remastered, if I read right.) Wolfgang Kaiser, Anita Felzmann (in the Stephan) and members of the Collegium con Basso. Hopefully the recordings of the Unger in the downloads section were all from the same concert (despite the two different string quartets) and therefore the quintet couldn't have been from this CD. Will see if I can find out the timing of the quintet on the CD somehow, though.

The op. 39 definitely WAS from the same concert, I faded out the applause and the announcer.  ;D

ah good. btw the Munich? BSB library claims the date of composition of opus 39 is 1921; that's one down :)

I've seen a good number of works by Trunk (less by Unger) mentioned in 20th-century issues of HMB, it will be interesting to hear these (three to start with, will download more later *g*). So thanks!

Thanks, Eric, I have amended my post!  :D

Thanks, yet again, BritishComposer for an upload. This time it's Kupkovic's Piano Quartet which, as you say, is anachronistically Mendelssohnian although I think that there's more than a hint here and there of minimalism a la Glass or Adams. Fascinating.

Quote from: Mark Thomas on Saturday 30 June 2012, 21:52Banning the music of any composer is to my mind an action, whether perpetrated by a state or by an individual, which tells you more about the banner than the banned. . . .

I have long had a soft spot for poor old Richard Trunk (1879 to 1968); all he really wanted to do was write beautiful music for male-voice choirs and a bit of chamber-music as well. But he is now very much a non-person.

And then there is Webern's climbing companion Ludwig Zenk (1900 to 1949). I posted one of his pianoforte sonatas here a few months ago, as broadcast by the B.B.C. in 1964. But since those days he too has fallen into extreme disfavour, and even Grove's Dictionary has expunged his very name!

Quote from: Lionel Harrsion on Sunday 05 February 2012, 14:38
I heartily concur with the views expressed by Mark and Alan on Wilhelm Berger's chamber music.  The Clarinet trio is interesting and attractive although I'm not convinced that he has fully absorbed the Reger-like chromatic language into his structural argument -- but maybe that's an aberrant perception based on the strength of a single hearing;  I'll be giving it another go, to be sure.  The String Quintet, on the other hand, seems to me to be a masterpiece of the front rank -- "and I am unanimous in that".   ;)  Many thanks to britishcomposer for the upload.

Ditto on the Quintet.  Now I'm really interested in the performers on that.  That was a professional bunch, not a ragtag assortment.  Is there some sort of archive where I can get that information?

What with it being the 4th of July, and me off work, I have been downloading various odds and ends.  I particularly wanted to get the Volbach Symphony.  Is there any information anywhere on the tempi of the scherzo and finale movements?  I believe Ilja posted somewhere he had a copy of the score.

Volbach symphony:
from here (http://books.google.com/books?id=4ggvAQAAIAAJ&pg=PA517): (program notes to the first performance of the work in Boston (subsidiary clause important there) on December 25 (rehearsal) and 26 (concert), 1914. Karl Muck, conducting. If you can read the notes, I expect, as often with the Boston Symphony notes of the era, there's much more interesting than just the movement headings- those notes tended towards the -very- informative; a program for a Gernsheim performance listed many of his works together with premiere dates, .. etc. ... .. .anyway. According to the notes the premiere tout court of the Volbach symphony was June 5 1909 in Stuttgart, by the way. It was performed in Philadelphia in 1910, so by Boston premiere I do not mean US premiere. The notes give dedication and some description of each movement- Tovey didn't write them but they're still quite good :) )

1. Lebhaft und trotzig
2. Presto
3. Adagio molto
4. Mächtig, feierlich - Lebhaft, bestimmt.

Elroel....

The first of the two links for the Cilensek Symphony No.1 is coming up as "invalid" :(

I am having the same problem.

About some of Trapp's works-
the violin concerto is oddly tracked but I shouldn't have complained that it was incomplete (if I did)- the first track is the announcement, the second track is the beginning of the Lebhaft, the third track is the end of the Lebhaft and (at least part of- I need to listen to the rest soon) the remaining movements.
The Symphonic Prelude sounds like it might be influenced in part by (Brahms, some other composers) but also Reger, especially Reger's Symphonic Prolog to a Tragedy (op.108 in A minor).

I think especially of a theme about - 6:50? - into the performance of the Trapp op.44 that reminds me of a theme that begins, Andante sostenuto (sempre sonore ed espress.), on page 33 of the miniature score of the Reger (and begins a passage of 16 bars which ends the exposition of the one-movement sonata form piece. This theme appears, in A major instead of C, at the end (page 84 in the MPH reprint score) slightly changed. Lovely melody well-chosen for a resolution of a half-hour work, to my mind.) The resemblance was at least briefly so close that I had to stop my music player to figure out why I was actually humming something else, and what (it didn't take -that- long. I don't like the Trapp as much as the Reger- and they're very different works anyway - but it's good to become acquainted with the former.)
Wonder if there are tapes out there of Trapp's more famous (or maybe infamous in the latter case, though I expect I'll like both...) symphonies (#s 4 and 5)...

I have just gone to  try and download this item but whereas all the other 'Trapp' items listed in the posting are in the folder, as given by the Mediafire link, the Cello concerto is missing (or is it me?!)

Any help appreciated!

Richard

I apologize, missed it, the Trapp cello cto is there now.

Just picked up your post - many tks

Richard

Elroel, I have a question about the Meyer Poem for Viola and Orchestra.

You say it is from Nova 8 85 136

But here is the listing of pieces for Nova 8 85 136.
http://www.ddr-hoerspiele.net/lp/MusikVonGrossen.html (http://www.ddr-hoerspiele.net/lp/MusikVonGrossen.html)

On side 2 we see --

Ernst Hermann Meyer
Nr. VIII Notturno
Adagio aus ,,Leinefelder Divertimento"
Ralf-Carsten Brömsel, Violine
Jugendsinfonieorchester der Spezialschule für Musik der Hochschule ,,Carl Maria von Weber" Dresden
Dirigent: Klaus Dieter Stephan

So, now I must ask if the music we download is the Notturno No. 8, or if it is the Poem for Viola. And if it is the Poem for Viola with the performers you list, what is the source of the recording, because it is not Nova 8 85 136.

My apology for making this more complicated.

Quote from: eschiss1 on Thursday 01 December 2011, 03:21
Also, re Bungert, will try to find out more but I do see his violin sonata mentioned in a review of a book about Bungert from 2005 - see here (http://www.literaturkritik.de/public/rezension.php?rez_id=9543). Edition Silvertrust, I see, has a new edition of the piano quartet out... (it can also be downloaded at IMSLP.)
Torquato Tasso overture op.14 published about 1886 if not earlier. Variations and Fugue also @IMSLP (in B-flat minor, not D-flat major, for what that's worth!)

The Bungert Oratorio Mysterium really isn't that bad.  I wonder if that's what the operas sound like.

Quote from: swanekj on Tuesday 31 July 2012, 20:43
The Bungert Oratorio Mysterium really isn't that bad.  I wonder if that's what the operas sound like.

Really? For me it's unsung music that deserves to remain unsung. However, I'd still like to hear the operas...

Me too, but I'm not holding my breath....

Belatedly about Fritz Reuter, I think his dates b/d are 1896-1963. That's a small something, anyway. (Source: viaf.org or more likely DNB, then viaf.org passing on DNB - German National Biography - information - will recheck later - sorry. There are indeed several Fritz Reuter(s) listed there, but that one has musical works attributed to him.)

MusicSack lists three Fritz Reuter(s): two violin makers (may be the same person) and this (http://musicsack.com/PersonFMTDetail.cfm?PersonPK=100013134) person (1896-9-9 to 1963-7-4, born Dresden or Lobtau, died same.)

From here looking up people who were born in 1896 we have Wikipedia entry for Fritz Reuter, composer (http://de.wikipedia.org/wiki/Fritz_Reuter_(Komponist)) (German). (Well, that worked well. Hrm. The Dutch article linked to lists two concertos, but neither mentions symphonies like the 3rd symphony uploaded here. Still, quite possibly the same person.) (Oh, looking at the index of German downloads I see that we already have the vitae... all I saw in the entry was that no information was available. Ah well. Sorry!! Hope the two Wikipedia articles are useful to someone.)

You are fully right, Eric. I didn't know you were searching or having doubts: I knew that and could have told you. Reuter's Third Symphony is from 1958, it is called "Die Heitere" (so, "Serene" or so) and it's in A Major. I also have some other works by Reuter which come from a Nova LP:

interestingly, in the index it's given the date 1907, suggesting that there's some confusion with Reuss-Köstritz's 3rd symphony (1907 would make it the work of an 11 year old- true, not only not impossible but not even unheard-of precocity, but should raise an eyebrow) :) I don't think I've downloaded the Reuter yet but will probably tonight and look forward to listening to it.

Hello everybody,

Just arrived back home after two weeks holidays.

Amphissa asked about EH Meyer in combination with a Nova record.
I was wrong when I told it's from 8 85 136. It is actually from 8 85 134.

I'll correct the doenload

Sorry,


Elroel

Thanks very much Mathias for Walter Braunfels' Präludium und Fuge.