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trying to find where Wikipedia -got- that information , which is what's more important... any Wikipedia article is only as good as its references. I think this worklist is probably taken from the German language Wikipedia Schillings article's worklist, which doesn't help much I guess... will look though and see if I find any information.

Cheers! I actually just read the German article - I didn't really expect to find new information on a German composer in an English article. Probably very prejudiced, sloppy and careless of me? I also saw there's supposed to be a Schillings piano concerto with a very promising title. Meanwhile, I also saw that Hermann Zilcher wrote 2 piano concertos - wouldn't those be ideal for Hyperion? To say something completely off-topic...

Tangentially, to (Very very loosely) paraphrase John Wiser and some others re bad recordings of lesser-known music- don't I wish er, anyway, carry on, carry on...

You're really funny!

...wiki says it's there, it's square, it was assigned the key of G minor and the opus number of 38...

Does anyone of this clever lot know if there is a (commercial...) recording of this piece - or perhaps if one's being planned? I reckon we could do with one!

Cheers,

K

There's been several recordings of his wonderful piano quintet 'over the years', including a fine one in my opinion (by itself) on an Arabesque CD some years back... haven't heard others yet but not surprised if some are better still (for all that I esteem that one and I do.)

This is very true. I first got to know the work through the "fairly recent" DG recording with Pletnev which is, I agree with Alan, really good. My favourite, though, would have to be the one on EMI - a Lugano chamber music festival recording. The fiercest possible playing this music could receive, without losing its lyricism. Other recordings I have on Melodya and Brilliant aren't bad either (although the Melodya sound is as usual horrible, in my humble opinion), and I think I've only missed this Arabesque CD you've just brought up.

It must be hard, in this niche-section of the repertoire, to find "bad" recordings; usually musicians willing to tackle the quintet by Taneyev (and this goes for a lot of other unknown piano quintets as well, I think) have something interesting to "say" about this music, and play it accordingly convincingly.

By the way, I really like the piano quartet and trio as well, but the quintet to me is an absolute masterwork, to be placed next to the Schumann and Brahms quintets.

What's your assessment of the piece?

It has nothing to do with either Strauss or Debussy - as if it had to... It's pleasant, French turn-of-the-century music. Not the most memorable tunes, but if one's looking for that, I suggest they stick to a Rosenkavalier. Impressively orchestrated.

I have it!

According to the OREL Foundation (dedicated to reviving music suppressed by the Nazis) Tyberg in 1928 completed his Scherzo and Finale for the Schubert Eighth.

Presumably for the Columbia competition. But is Schubert's 8th really unfinished? Or was the finale merely used elsewhere?

There can be no doubt about this, since the scherzo in the piano score as well as in the orchestral "Reinschrift" breaks off after a couple of pages.

(Having said this, completions of it with additions of a piece of Rosamunde inserted as the finale, can make for a convincing whole...)

Dear all,

I'm wondering who of you has heard of the Polish composer Apolinary Szeluto? I hadn't heard of him until today, but reading on Wikipedia I saw he was born in 1884, a student of Godowski, and his catalogue of works comprises, among (a great many!) other things,

5 piano concertos
1 violin concerto
1 cello concerto
25 symphonies (!)
70 opera's (!!!)

Apparently he promoted modern music, but that doesn't have to say anything; I wonder if his compositional style is old-fashioned enough for me to like...

I feel slightly ashamed that a 19th/early 20th century composer of 25 symphonies and 70 opera's has remained unknown to me until today. Can someone shed light on his style?

I'm thinking of ordering a fairly new Dux-CD with his violin sonata, cello sonata, and a string quartet. Perhaps someone here has this CD already?

(apologies if he has already been discussed elsewhere on the forum)

Thanks to Silvertrust's sound bites and IMSLP scores I've been able to get an impression of the Goetz. (excuse lack of umlaut) The Goetz is good, but the "grunty" elephantine quality of a double bass added to a small group seems in evidence there, whereas with VW the db blends in better.

There you are right.

And don't worry about the umlaut - I'm not a 100% sure about the correct spelling...

Slightly off topic , I'd like  to enthuse about Goetz' P quartet Op 6, a perfect Schumann era work.

Very nice indeed, but - as with most of his works - looking backward, rather than forward. But then again, that's thankfully not a crime anymore! Reminds me of Prince Louis Ferdinand's chamber music (which inspired Schumann).

What at pity Brahms didn't  write  a 2vc quintet.

He did - after which he destroyed it in favor of a recast for 2 pianos (which he later on moulded into the famous piano quintet).

A fairly convincing reconstruction has been made by I believe an English musicologist, penned down in a bomb shelter during WW2 - or so the story goes. I have both recordings of this cello quintet, and turn to it more often than I do to the sonata for 2 pianos; I would not want to be without it. The credibility of the work is comparable to that of the nonet (Praga) which has been reconstructed from his 1st serenade - a sort of "refreshing" look on things. It remains guessing, of course, but educated guessing, nonetheless.

Glad to hear V Neumann is sung. Hope his Bruckner and Mahler become even more sung.

I think he is sung - perhaps a huge mistake on my behalf, because I have his Mahler cycle on Supraphon. Don't know his Bruckner! Is it that good?

Hey, do you want me to take my cricket/baseball bat home?

This thread is strictly  p with v v va vc.

All Trout quintet combo people, please go and start your own thread!

How about the Vaughan Williams with dbass- great late rom stuff, very early(pre 1910), non pentatonic folksong style.

If you don't mind talking about quintets with double bass, let's not forget the Götz. A bit of an oddball, if you take into account it was written about the same time as the Brahms piano quintet. I think the Götz and Vaughan Williams quintets must be counted among the last of their kind, since it was mainly the early romantics who used that scoring (Onslow, Farrenc). The Vaughan Williams piece is nice, but (like the Götz and the Schubert quintets!) rather light-weight. Perhaps this setting just doesn't agree with more serious, late-romantic music?

Please forgive this slight deviation from the strict remit of the

...topic...

Vaclav Neumann. Unless Celibidache qualifies as unsung.

Celibidache is now pretty 'sung', I would have thought.

Not only that, Neumann is rather sung as well, in my opinion. If you mean Václav, and not Horst or Peter.

In any case, if one's allowed to nominate Neumann, then I go for István Kertész, basing my nomination on his complete cycles of symphonies of Brahms, Dvorák, and Schubert (he was one of the first conductors to tackle the complete Dvorák and Schubert). The sound he was able to get out of the VP and the LSO is simply amazing, and his interpretations to me show a man with great understanding of all aspects of the music he conducts. I'd like to illustrate this with a quote found on wikipedia - so I can't vouch for whether it's 100% true. Point is, as with most quotes, it could have been said:

Barry Tuckwell, the principal hornist of the LSO  spoke of the élan and enthusiasm Kertész could coax out of the orchestra, many of whom Tuckwell regarded as "old codgers not bloody likely to dance to any youngster's tune."

His legacy of recordings really becomes a source of astonishment, when you think he was little over 40 when he died. I was, thus, very happy to see BBC/Medici Arts issue some of his live recordings with the LSO.

His complete Brahms is very good, although I find his live recordings better. His complete Dvorák is another matter entirely: I place it (with distance!) above the cycles of Kubelik, Pesek, and Rowicki. His Schubert cycle is simply the best as well (next to the completely different historically more "correct" recordings, of course). He apparently had a good go at Mozart operas and Hungarian repertoire (Liszt, Kodály, Bartók) as well, but since I'm a fan of neither, I can't really be judge there. So, there you have my nomination. I'd like to think that, hadn't he died so young, he'd become one of the greatest conductors of the 20th century with the general public.



A note about the spell check - I find it more and more amusing, but you'd have to keep your guard all the time when spell checking, otherwise:
István Kertész > Estevan Kettle
hornist > horniest
wikipedia > wiped
Kubelik > Kubrick (well, at least they're both artists)
Pesek > Pesky (this does kind of sum up his recordings)

Naxos wants to record all 4 Eggert symphonies.  The E-flat and C-major have been recorded already (release pending); the C-minor and G-minor were to be recorded late September 2010.  The problem is that the conductor who recorded the major-keyed symphonies can not record the minor-keyed symphonies due to contractual reasons.

I've never heard of a contract that stipulated that a conductor couldn't record minor-key symphonies! 

Thank you for that, Jim. I actually laughed out quite loudly reading that (at my laptop, with classical music in the "back"ground), and now consider myself to be 100% nerd.