Expected in a couple of months' time is this mouthwatering release:
http://www.toccataclassics.com/cddetail.php?CN=TOCC0277 (http://www.toccataclassics.com/cddetail.php?CN=TOCC0277)
I'm positively drooling even now! Great news indeed.
Now THAT'S something to look forward to. Knowing the fine Symphony from a German radio broadcast, I'm particularly excited by the prospect of hearing the three overtures. And I see that it's "Complete Orchestral Music. Volume 1". What a tantalising prospect.
I don't know...the Siberian Symphony Orchestra leaves me cold.
David
Ouch!
Actually they're red-hot right now, so the snows are probably melting in Omsk...
If this is Complete Orchestral Music Vol. 1, what will be on volume two? I know only of the Adagio for cello and orchestra, an intermezzo and 3 Allemandes. Those wouldn't be enough to fill another CD surely. Could someone correct my ignorance, please?
The only other orchestral works I have been able to find are two overtures for large orchestra: to Orpheus, Op. 16 (Breitkopf & Härtel 1865) and to Medea (Leuckart 1873), both available for downloading from the University of Rochester (urresearch). A German biographical article also mentions a suite in C major, Op. 7 from 1866.
The Op. 22 Medea overture is included on the Toccata CD, as is the Op. 16 overture (Prometheus, not Orpheus). The Op. 7 Suite is listed on Wikipedia as being for piano 4-hands, though the composer may well have later orchestrated it.
Yes, it's a puzzle. Apart from the pieces which Gareth mentions, I suppose there might be independent orchestral numbers in the three psalm settings for choir and orchestra Opp.25, 26 and 43. I can't find anything else involving an orchestra in Dean Cáceres' Bargiel Werkverzeichnis. I did wonder whether the superb Octet Op.15a might have been orchestrated, but apparently not. There's nothing for it, we'll just have to wait and see.
they might have to fill out vol.2 with works by someone else, though if they were to record an _entire_ Bargiel unrecorded choral/orchestral work (I assume some of them are?) as coupling to the purely-orchestral works - well, given that some who'll buy orchestral music won't buy vocal, etc., there might be a problem there (... wonder if people programming Mahler symphonies when he was unsung had to stick with the instrumental ones until he started getting a foothold again?...)
No, vol.2 will be an all-Bargiel disc. That's how Toccata releases work.
Apologies for my undue haste which resulted in several errors - I meant to write Prometheus rather than Orpheus, and of course I ought to have checked first what other pieces are on Vol. I. And the suite apparently dates from 1853/4, not 1866. See here: http://www.musikmph.de/musical_scores/vorworte/602.html (http://www.musikmph.de/musical_scores/vorworte/602.html)
I predict that this vol.1 is going to be a release of major importance, finally proving beyond doubt that great symphonies were written between Schumann and Brahms (as if we didn't know that already).
The signs are good for this forthcoming release. This is an excerpt from a MusicWeb review of a recent Shebalin CD on Toccata referring specifically to the quality of the Siberian Symphony Orchestra:
The orchestra rewards its artistic director and chief conductor Dmitry Vasiliev with alert playing of vitality and substantial expressive character. Impeccably prepared by Vasiliev the unison of the orchestra is evident. Unquestionably this is a marvellous orchestra and an invitation to the BBC Promenade Concert series cannot come too soon.
The Siberian Symphony Orchestra is based in the Siberia capital of Omsk, Shebalin's place of birth and where this recording was made at the Philharmonic Hall. This is the second Toccata Classics recording I have heard from that hall which underwent substantial redevelopment in 2010/11 and comes across as having a quite spectacular acoustic. The recording is vividly clear with substantial presence.
Thanks, Alan. I'll add it to the list.
David
Audio samples and downloads are now available here (CDs to follow in a few weeks):
http://www.toccataclassics.com/cddetail.php?CN=TOCC0277 (http://www.toccataclassics.com/cddetail.php?CN=TOCC0277)
If ever there was a must-buy, this is it. Sounds tremendous.
The Symphony will turn out, I am sure, to be one of the most important products of the so-called 'Dahlhaus gap' - the 25-year period between Schumann 4 (revised version 1851) and Brahms 1 (1876) during which (according to German musicologist Carl Dahlhaus) no symphony of lasting significance was written. In effect, the story of the symphony in this period is being re-written through the efforts of recording companies such as Toccata, cpo, Chandos, Hyperion, Naxos, etc.
Watch out also for Chris Fifield's forthcoming book which will draw some startling conclusions...
On what basis is this symphony judged to be surely "one of the most important products of the so-called Dalhaus Gap"? From the brief audio samples or an analysis of the score? It's a bold statement.
I haven't seen the score, but a recording of a radio broadcast of the Symphony has been circulating for years. That gives a good idea of the high quality of Bargiel's score and I'd say that, comparing the audio samples with that earlier performance, this new recording will make an even more powerful case for the work.
Mark is right. I too have known the old radio recording for some years and suspected that, given a more committed performance, what would emerge would be a symphony of real stature. That is precisely what has happened with this Toccata release (which I have heard). It is a work which, while fully cognisant of the classical tradition in which it stands (Haydn - Beethoven - Schumann), yet demonstrates that that tradition was by no means played out. Listening to the outer movements in particular, an experience from long ago came to mind - the Carlos Kleiber recording of Beethoven 5. If I say that the SSO under Vasiliev reach similar heights in this marvellous work, friends may gain some idea of the enhanced stature of Bargiel's Symphony as a result of this new release.
To sum up: buy it and see!
QuoteListening to the outer movements in particular, an experience from long ago came to mind - the Carlos Kleiber recording of Beethoven 5.
Spot on, Alan. I felt the same.
"Buy it and see"
I will do to be sure - I was already sold but these glowing recommendations have spurred me on even more. Thanks.
QuoteSpot on, Alan. I felt the same.
I had the B5/C.Kleiber LP when it first appeared. Nothing has matched it since in that work. But this Bargiel CD really is something else...
Dear friends, it's increíble that these fascinating works don't released before! Toccata&Sterling, etc, to do important saves of these masters of the past. Toccata may be release Bargiel in november?
Welcome, Aramiarz! Yes, the CD will be released in November.
Dear Alan
You are very kind for your words! This symphony was dedicated to great Joachim, in few days I will share with you one very interesting situation about Bargiel. It's curious that Bargiel death the same year that Brahms in 1897.
I have been listening to this symphony on youtube
http://www.youtube.com/watch?v=8anwH-9cwU0 (http://www.youtube.com/watch?v=8anwH-9cwU0)
and am very impressed, in spite of a lot of background noise in the later movements which mar the listening experience just a little bit. The symphony is indeed very fine and I am often reminded of a Beethovian influence in the music, particularly in the opening movement which immediately grabbed my attention. I can also see how Bargiel might have been influenced by Schumann, Mendelssohn and Brahms. Notwithstanding these comments, Bargiel still has his own distinctive voice. I agree that this is a must-buy CD and I am putting in my order.
You should find the Toccata recording much more exciting, Dennis. I look forward to your report...
I've had this new Toccata release of Bargiel for several days now - and it hasn't left the cd player. The symphony is a wonderful, beautiful, enchanting work. It may not be Beethoven's 10th, or Schumann's 5th, but it's still a delightful surprise. It really moves - I never get bored or restless. The orchestration is typical of the period - fully functional, robust, and appropriate. It never sounds thin. Like Schumann, he uses the horns to marvelous effect. I love this symphony - of all the undiscovered works I've heard from this period (and I've heard a LOT), this is one of the best. It may be derivative and not terribly original, but I couldn't care less. The score and parts should be made easily available to amateur orchestras - this they could handle better than the Beethoven, Brahms, Tchaikovsky they think they can play. The overtures on the disk are really well worth knowing, too.
The orchestra plays adequately. Intonation is good, brass solid. Some of the string attacks are smudged, but generally ok. The bass section is terrific. The recorded sound is on the dry side, but clear and never distorted.
Can't wait for volume 2.
QuoteThe orchestra plays adequately
Oh, they're much better than adequate. Otherwise, I agree with everything you say.
Well I finally managed to get this cd and for me it's a case of don't believe the hype or perhaps take heed of the warning signs! I liked the music, this sort of mid-romantic stuff is right up my street but it's so derivative with a few almost as bold plagiarisms of Beethoven as poor old Ries was guilty of... plus several other predecessors or contemporaries! Even the liner notes finally admit this after stating in one breath that Bargiel is by no means an epigone, then more honestly listing a bunch of (more talented!) composers whose fingerprints he adopted and less successfully (my addition in emphasis). I just can't understand how just by virtue of the work(s) being well put together (he did teach at a music conservatory after all so hardly surprising!) this derivative music amounts to "one of the most important products of the so-called Dalhaus Gap". In fact citing this symphony to my mind just provides evidence for Dalhaus's claim. Don't get me wrong, I don't agree with Dalhaus any more than you do but maybe we should be careful about what claims and what works we use to argue against him because in this case I sincerely think it undermines our position as opponents of his hypothesis. :-\
As for the performance I think it is more than adequate but only that, not what I would call good let alone inspired, probably more rehearsals would have helped. And what about the recording? Thin sounding strings and that boomy bass that totally messes with the overall sound "stage". Not good, not good at all and a surprise to me coming from Toccata. I don't know whether the sound problems is the orchestra itself lacking enough players in the strings or the venue or the engineers but its a shame it wasn't picked up and rectified somehow.
Not fond of it? ;D
David
:D
Perhaps I came across as less happy with the music than I am! I do like the music, a lot. It's from my favourite period of music and it does, very neatly, everything I would want it to do. I just don't think it's very individual nor do I think the symphony (or the overtures) is of any historical-musical significance in terms of the development of the genre in the C19th. It's a nicely written, mid-century symphony, that makes no challenges on the listener or to the genre and displays the magpie tendency of its composer all too readily, like many such "second tier" works from that time. Which is fine by me. :)
The playing and sound are disappointing though, I think.
Well, I disagree with almost everything that khovorod says - especially about the playing, which is incandescent. But it's good to hear an opposing view.
Is there any news what might be on vol.2? I've been asked over on IMSLP whether there are any recordings of his Psalm 61, and it occurs to me I'm not sure if any of his choral/orchestral music has appeared commercially (... or broadcast?? ... has it?...) at all, yet- that could be an interesting coupling?..., if a (not un-precedented) stretch on the title of the series.