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I understand that there may be copies of the 1940 NBC radio broadcast of this symphony floating around.  Can anyone enlighten me?  I'm dying to hear this piece...

David

[Olsen-banden ser rodt]

Apparently, in Denmark there is a well-known comedy film series about a goofy band of criminal would-be masterminds called the Olsen Gang (Olsen-banden.)  One of their most famous routines (Olsen-banden ser rodt [1976]) features a robbery pulled off to the wonderfully noisy overture Friedrich Kuhlau supplied for the play Elverhoj (Elfhill).  Here it is, from Youtube:

http://www.youtube.com/watch?v=HUNEX8Ncnc4&feature=related

In case you're wondering, everyone stands up when the Royalist anthem "King Christian Stood by the Lofty Mast"  appears in the finale...

David

[Seis Danzas Mexicanas]

Well, here's something unusual (and, if you love Mexico, pretty irresistable.)  Four of the Seis Danzas Mexicanas for piano and orchestra by Sr. Antonio Gomezanda (1894-1961)...set to images of the area in Mexico where each dance originates:

http://www.youtube.com/watch?v=ChfChgb8anI

http://www.youtube.com/watch?v=Ch-RDum5iiU

http://www.youtube.com/watch?v=TC51ki3F16U

http://www.youtube.com/watch?v=eWRREgoAhig

The pianist is Alan Marks, the conductor is the late Jorge Velazco.  The Danzas were written 1945-47, but despite a few weird modernist flourishes they are downright old-fashioned and delightful.  I especially like the Waldteufel-ish waltz from Chiapas.

David

I'm looking for a recording of a Lortzing overture I taped off the radio in the 70's, and seem to have lost.  It was almost certainly a German radio recording, and appeared in the States on a radio program called "Music From Germany" hosted by David Berger.  The overture was an occasional piece, either a Fest-Ouverture or a Jubel-Ouverture.  It was a great piece of festive music and I'd love to hear it again.  Anybody have something that might fit this description in their archives?

David

I had a feeling this would be Magnard's year as American Symphony's unsung opera composer, but I thought the choice would be Guercoeur.  Nope, it's Berenice of 1909 (after Racine), I guess Guercoeur was too well-known .  Anyone know if this score also had to be reconstructed after the German soldiers set fire to Magnard's house?

David

This essay accompanied the most recent American Symphony concert: music director Botstein addresses the issue of the continuing resistance to unfamiliar music.  The concert was devoted to the music of 20th century American composer Henry Cowell (anathema, I'm sure, to certain member of this board, and not music I flip to often myself,) but it applies equally well to Botstein's regular forays into the unfamilar Romantic repertoire.  A certain frustration is evident.  You can hardly blame him, especially since he's up against the New York Times and their condescending staff of High Priests of the Masterwork Repertoire.  Here's the link:

http://www.americansymphony.org/dialogue.php?id=480&season=2009-2010

I'm sure most (all?)of us will agree with his points.

David 

Some of you may not have seen that the wonderful and adventurous pianist Earl Wild has died at 94.  Here's a link to his New York Times obituary:

http://www.nytimes.com/2010/01/24/arts/music/24wild.html?hpw

We're remembering him by listening to his recordings of Herz' 'Non piu mesta' variations, the Thalberg 'Don Pasquale' Fantasy, and the Scharwenka b-flat minor concerto.  Breathtaking playing and a great Romantic sensibility...

David

A search of the forum reveals the odd mention of this wonderful composer, but nothing comparable to his merits.  His dates (1884-1961) give no hint of the utter distain with which he ignored Modernist trends in the century where he lived most of his life.  His early successes where in the days of High Romanticism, that's where his heart lay, and he stuck to his guns through years of neglect.

I've only begun to delve into Bowen's large worklist, but I can heartily recommend the viola concerto, Hough's disc of the piano music (mentioned on this list) and the Dutton disc combining the violin concerto and 1st piano concerto.  The violin concerto is a big work from 1913 and will surely appeal to anyone who liked the Coleridge Taylor concerto.  On the same disc, the volcanic 1st piano concerto (written for his own use when he was 19) has every Romantic trick in the book, combined with imagination and plenty of good tunes.  Like Saint-Saens 2 and Scharwenka 1, all the movements are fast. 

Still ahead of me are the recent Hyperion release of 2 more piano concertos, the complete (six) piano sonatas, a horn concerto, Dutton's disc of piano concertos (different coupling from the Hyperion) and lots of chamber music.  A few years ago none of this was available on disc, now there's a small flood.  Not very British sounding, but well worth investigating.

David

1) Armstrong Gibbs: 'Odysseus: Symphony in four movements'  What a find this is, a big choral symphony from 1937-8 not much different in idiom from the Vaughan Williams 'Sea Symphony' (albeit without V W's titanic personality.)  Heartily recommended to those who enjoy Ireland's 'These Things Shall be' and similar conservative British choral works from between the Wars.  Another side to the composer of the luscious light music favorite "Dusk".

2) York Bowen Violin Concerto (but that's for another thread...)

David

I'm putting in a request with Santa for next year: "Please, old man, move some enlightened company to record George Macfarren's cantata 'Christmas'.  I know the words are by his crummy-and-often-used librettist John Oxenford, but I'm willing to overlook that -- from contemporary descriptions this work sounds like real fun.  I hope the score and parts survive.  And can you throw in Victorian Opera Northwest's soon-to-be-released recording of Macfarren's opera 'Robin Hood': http://www.victorianoperanorthwest.org.uk/RobinHood.htm "

The following description of 'Christmas' appears in George Upton's 1888 book 'The Standard Cantatas'(!!)  The words of the final chorus are omitted.  I particularly enjoy the way the 'Christmas story' turns into a blood-bath:

"'Christmas,' the poem by John Oxenford, was written in 1859, and was first performed at one of the concerts of the Musical Society of London, on the 9th of May 1860.  The poem itself contains no story.  It is merely a tribute to the season; but at the same time it is not destitute of incident, so that it possesses considerable dramatic interest.

After a short instrumental introduction the cantata  opens with a double chorus in antiphonal style, in which both the bright and dark sides of winter are celebrated.  The second choir takes up the theme:-

     "The trees lift up their branches bare
        Against the sky:
        Through the keen and nipping air
        For Spring's return they seem to cry,
        As the winds with solemn tone
        About them sadly moan;"

And the first choir replies:-

     "Old Winter's hand is always free,
       He scatters diamonds round;
       They dart their light from every tree,
       They glisten on the ground,
       Then who shall call the branches bare,
       When gems like those are sparkling there?"

The two then join and bring their friendly contest to a close:-

2nd Choir.- "Come in, and closely shut the door
                      Against the wintry weather;
                     Of frost and snow we'll think no more,
                        While round the fire we sit together."

1st Choir.- "Rush out from every cottage door,
                   'T is brave and bracing weather;
                     A madder throng ne'er met before,
                    Than those which now have come together.

This double number, which is very effective, is followed by a soprano recitative and romance ("Welcome, blest Season"), tender and yet joyous in character,  which celebrates the delight of friendly reunions at Christmas tide, and the pleasure with which those long absent seek "the old familiar door."  In the next number, an old English carol ("A Blessing on the noble House and all who in it dwell"), Christmas is fairly introduced.  It is sung first in unison by the full chorus, then changes to harmony, in which one choir retains the melody, and closes with a new subject for orchestral treatment, the united choirs singing the carol.  Christmas would not be complete without its story; and this we have in the next number for contralto solo and chorus, entitled, "A Christmas Tale."  It is preceded by recitative, written in the old English style, and each verse closes with a refrain, first sung as a solo, and then repeated in full harmony by the chorus:-

     "A bleak and kindless morning had broke on Althenay,
       Where shunning Danish foemen the good King Alfred lay;
       'In search of food our hunters departed long ago,
        I fear that they have perished, imbedded in the snow.'
       While thus he sadly muses, an aged man he sees,
       With white hair on his forehead like the frost upon the trees.
        An image of the winter the haggard pilgrim stands,
     And breathing forth his sorrows, lifts up his withered hands:
           'The Heavenly King, who reigns on high,
            Bless him who hears the poor man's cry.'

"'Our hearts are moved with pity, thy sufferings we deplore,'
   Said Alfred's queen, the gentle, 'but scanty is our store;
   One loaf alone is left us.'  'Then give it,' said the King,
  'For He who feeds the ravens, yes, He will fresh abundance bring.'
   The wind was roaring loudly, the snow was falling fast,
   As from the lofty turret the last, last loaf he cast.
   An image of the winter, the haggard pilgrim stands,
   And Alfred's welcome pittance he catches in his hands.
          'The Heavenly King, who reigns on high,
           Bless him who hears the poor man's cry.'

"The snow is thickly falling, the winter wind is loud,
  But yonder in the distance appears a joyous crowd.
  The hunters bring their booty, the peasants bring their corn,
  And cheering songs of triumph along the blast are borne.
  Before another morning, down-stricken is the foe,
  And blood of Danish warriors is red upon the snow.
  Amid the conquering Saxons the aged pilgrim stands,
  And like a holy prophet exclaims with lifted hands,
         'The Heavenly King, who reigns on high,
           Bless him who hears the poor man's cry.'"

A graceful little duet for female voices ("Little Children, all rejoice") picturing the delights of childhood and its exemption from care, follows the Saxon story and leads up to the finale, which is choral throughout, and gives all the pleasant details of Christmas cheer, - the feast in the vaulted hall, the baron of beef, the boar with a lemon in his jaw, the pudding, "gem of all the feast," the generous wassail, and the mistletoe bough with its warning to maids.  In delightfuly picturesque old English music the joyous scene comes to an end."

'Tales of Hoffman' is back at the Met Opera, bringing thoughts of the New Orleans-born composer Guiraud, who composed the recits, and arranged and orchestrated what had been left incomplete at Offenbach's untimely death. Guiraud also wrote the recits for his friend Bizet's Carmen after Bizet's death, arranged the Arlesienne Suite No. 2, and completed Delibes last opera.  This paragon of good friends would eventually receive similar services from Dukas and Saint-Saens, who completed his only grand opera Fredegonde after Guiraud died at 54.

What does Guiraud sound like on his own?  Well, there's a charming little Caprice for violin and orchestra recorded by Graffin on Hyperion, but more substantially, a symphonic poem: 'Chasse Fantastique' recorded in lp days by the Louisville orchestra under Jorge Mester, and available to listen to here:

http://artofthestates.org/cgi-bin/piece.pl?pid=275

A wonderful piece, full of energy and good tunes.  It reminds me of 'The Sorceror's Apprentice', which was written about 5 years later.

Best, David

A search of the forum turned up a few comments and recommendations, but I'm interested in exploring the music of Herr Thuille in more depth after hearing the Romantic Overture played last Sunday.  I wondered what recorded pieces and performances people recommend.  If I don't reply immediately, it's not lack of interest...I'll be out of the country through Sunday.

Gee, maybe this belongs in the main forum...

David

New York area fans of the Natursymphonie (and who isn't!) are reminded that American Symphony Orchestra will give a performance of von Hausegger's symphonic poem 'Wieland der Schmeid' at Avery Fisher Hall, Lincoln Center this Sunday.

As if that weren't tempting enough, also included are a Thuille Overture, the American premiere of Robert Fuchs' 1st Serenade, the Goetz Violin Concerto, and the Strauss Symphony, Op. 12. 

Here's the link:

http://www.americansymphony.org/concert.php?id=43

David

I collect ocean liner memorabilia, especially items relating to the Inman and International Line (later American Line) steamer 'City of New York'.  I was just looking over the Saloon (First Class) passenger list from the maiden voyage of the 'C of NY', which sailed from Liverpool to NY on Aug. 1, 1888, and I see the name "Mr. Fredk. Cliffe".  Anyone know if our composer made a voyage to New York in 1888?

David

For those in the NYC area, next Wednesday is the American premiere of D'Indy's Fervaal at Avery Fisher Hall.  I imagine there are plenty of tickets available, many probably at discount prices.

http://www.americansymphony.org/concert.php?id=42

The old French radio recording, btw, turns out to be about 55% of the whole...all minor characters, non-heroic scenes excised, as well as numerous micro-cuts.  The orchestra called for is enormous: strings, 4 flutes, 2 piccolos, 3 oboes, cor anglais, 4 bassoons, 4 saxophones, 4 horns, 4 trumpets, 4 clarinets, bass clarinet, double bass clarinet, 8 saxhorns, 4 tenor trombones, bass tuba & 'cornet a Bouquin' (a folk instrument, je pense.)  The orchestral price tag alone means we won't hear this one often, & the title role is murder on the tenor...
David

Tomorrow, Sept. 16th is Mexican Independence Day, so I thought I might suggest a little appropriate music.  All of these pieces are 20th century, but none are terribly 'modern'.  The composers are not particularly unsung in Mexico, but few are household names outside their homeland.

Carlos Chavez: Chapultepec "Republican Overture"  Such fun, full of popular tunes and high spirits.

Blas Galindo: Sones de mariachi.  Speaks for itself.

Manuel Ponce:  Piano Concerto. Very Romantic, not too Mexican

Ponce: guitar sonatas (Segovia)  So lovely...

Ponce:Ferial (tone poem?)  Big and gorgeously scored

Antonio Gomezando (d. 1964)  Seis Danzas Mexicanas and the Fantasia Mexicana, both for piano and orchestra.  A total riot, Lecuona meets Waldteufel meets the mariachis.

A glass of Xtabentun, anyone?

David

You can go along time without hearing something "unsung" or even "seldom sung" at the New York Philharmonic, but there are other, more adventurous (as regards Romantic repertoire) groups here, too.

The Metropolitan Opera will do Ambroise Thomas' "Hamlet" in the spring.  This opera seems to be making something of a comeback, happily.

American Symphony Orchestra, under the inexhaustible Leon Botstein, will give us a real rarity on October 14...d'Indy's opera "Fervaal" in concert.  (There's never even been a commercial recording of this one.)

Then on Nov. 15 Botstein's conducting a program that should be dedicated to this List:
Fuchs, Serenade, Op.9
von Hausegger, Wieland der Schmeid (symphonic poem)
Goetz, Violin Concerto
L. Thuille, Romantic Overture
R. Strauss,Symphony Op.12

Last, but not least, the Jupiter Symphony Chamber players will sprinkle their programs with a variety of unsungs: Raff Sextet on 10/26/09, Rott C minor quartet on 09/21/09, Klughardt String Quintet on 11/23/09, Dohnanyi Sextet on 12/14/09, Dubois Quintet (with piano and clarinet!) on 01/18/10, Hummel Clarinet Quintet on 03/01/10, and Thuille Piano Sextet on 05/17/10, etc.

Details can be found on the websites of the respective organisations.

A bit upstate from NYC, but well worth the trip from anywhere.  When else will you get to hear and see Meyerbeer's masterpiece staged!?!  Leon Botstein will conduct.  (He's conducting D'Indy's 'Fervaal' at Avery Fisher Hall in October.  What would we lovers of French opera do without him?)

http://fishercenter.bard.edu/calendar/event.php?eid=106382