The Art-Music Forum
June 28, 2017, 11:48:22 pm
Welcome, Guest. Please login or register.
Did you miss your activation email?

Login with username, password and session length
News: Here you may discover hundreds of little-known composers, hear thousands of long-forgotten compositions, contribute your own rare (non-copyright) recordings, and discuss all the Arts in an erudite and decorous atmosphere full of freedom and delight. To participate, simply log in or register.
 
   Home   Help Search Gallery Staff List Login Register  

Pages: [1] 2 3 ... 10
 1 
 on: Today at 10:27:26 pm 
Started by Elroel - Last post by Elroel
Sometime ago I got a file with a beautiful Song Cycle.
The filename says nothing more than "Gold Songs"

I'm pretty sure it's from an american composer. But who?
It's for soprano and orchestra
Here is that file:
https://mega.nz/#!u8FkgATR!WSK3r92sPd4L9vzn8GyIMXLIs1cnH X4A472rAsTkx1w

Thanks for your help

 2 
 on: Today at 06:34:58 pm 
Started by patmos.beje - Last post by Christo
See: http://www.mdt.co.uk/vaughan-williams-poisoned-kiss-deutsche-staatsphilharmonie-rheinland-pfalz-karl-heinz-steffens-capriccio.html
All, by my reckoning, previously released on CD.  I am only aware of one previous recording of each of the Fantasia on Sussex Folk Tunes
and the Bucolic Suite.
Correct, AFAIK. Andrew Lloyed Webber did the premiere of the Fantasia on Sussex Folk Tunes: https://www.youtube.com/watch?v=aDInLw2MwsA
and the jolly Bucolic Suite is on Dutton. There are two recordings of Muir Mathieson's adaptation of the Three Portraits from The England of Elizabeth (by Previn and Penny, I prefer Previn's) and one or two more of the Poisoned Kiss Overture.

What surprises me, is the dating of the Fantasia: 1924/25, according to the advertorial. Is this a new insight, or simply a mistake? Thus far, it has always been dated 1929 or 1930, if I recall well.

 3 
 on: Today at 05:52:48 pm 
Started by Dundonnell - Last post by Dundonnell
It is frequently very tricky (see how I have avoided the word "difficult" Grin) to describe the general soundworld of a composer's music. This is particularly the case for someone like me who is not equipped to provide descriptions or analysis based on any kind of musical training or technical knowledge. Words like "romantic", "neo-romantic", are used by some to describe the music of certain composers. Others do so in relation to the composers use of tonality or "extended tonality" or the use of serial techniques. So...a British composer like Benjamin Frankel, for example, used "serial techniques" but those are not really noticeable to me when I listen to his music. Humphrey Searle (a pupil after all of Anton Webern) was a "serialist" but always himself asserted that he wrote music which was "romantic". Sometimes people relate a composer's music to that written by somebody else. So, Fricker is sometimes compared-or at least his earlier music is- to Bartok.

I am (after many, many decades of listening to music) reasonably familiar with my own tastes. Reading the posts of other members of a forum gives sone some idea of where their tastes may lie (but one can be surprised Grin). If I use the word "difficult" it is usually in relation to my own perceptions of the music. That may not mean that I do not like it. It probably does mean-as has just be said in relation to Hoddinott's music-that it will require me (and others?) to listen with "concentration". But of course one should listen to all (or most?) music with concentration in order to appreciate it properly or more fully.

As a British music "fan" I set off from the initial premise that I "want to like" the music I am listening to. Sometimes however I find it "taxing" and it does not "get through" to me. Thus, for example, although I adore Searle's first two symphonies I cannot come to like his last three.

The music of Daniel Jones and Grace Williams was written by composers of an earlier generation to Hoddinott or Mathias. That in itself is largely (though not entirely) meaningless. Elizabeth Lutyens was born in 1906 but her music is quite different to theirs! Hoddinott and Mathias were born within five years of each other but I certainly find Mathias "easier on the ear".

I am only too well aware that anything I write can end up as cliche-ridden and therefore less than helpful but one has to start somewhere Grin

 4 
 on: Today at 05:05:08 pm 
Started by patmos.beje - Last post by patmos.beje

Full details of the September Hyperion release, including extracts and downloadable digital booklet, now available: http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68208

 Smiley Wink Cheesy Grin

 5 
 on: Today at 04:42:24 pm 
Started by Dundonnell - Last post by cilgwyn
I think "difficult" is the wrong word,really. I don't actually find Hoddinott "difficult". However,while some of it is lyrical,even richly so,in a dark,celtic kind of way;it also has that abrasiveness,which Dundonnell refers to. I can write,draw,read and carry out various dull,repetitive household tasks  Grin while listening to Daniel Jones,Mathias and allot of Grace Williams,and even Fricker! Hoddinott,however,is a composer I really have to put everything down and listen to. Not such a bad thing,and that's the way I should be listening,anyway! you might say?! Unfortunately,I have other things I need to do in the evening which mean I can't always listen that way! Also,I'm not sure his line of "abrasive modernism",as Dundonnell refers to it (if that's the right term?) really appeals to me. That said,there is undoubtedly allot of gorgeous orchestration there. Indeed,it is probably that mix of "angular modernism","abrasiveness" (or whatever you should call it?) colour and rich lyricism which makes him so,undoubtedly,intriguing and why people like me will keep on trying! Daniel Jones,is,admittedly,more my cup of tea though!

 6 
 on: Today at 01:39:02 pm 
Started by patmos.beje - Last post by patmos.beje

See: http://www.mdt.co.uk/vaughan-williams-poisoned-kiss-deutsche-staatsphilharmonie-rheinland-pfalz-karl-heinz-steffens-capriccio.html

All, by my reckoning, previously released on CD.  I am only aware of one previous recording of each of the Fantasia on Sussex Folk Tunes and the Bucolic Suite.

 7 
 on: Today at 07:47:53 am 
Started by jowcol - Last post by cjvinthechair
Unusual, with a relatively modern composer from a 'major' country, that a scour of the internet produces nothing more in the way of recordings, performances etc..
 He doesn't have a huge output, as the article sourced by Ms. Henrietta makes clear, but there doesn't seem to be a sign of any of it apart from the 6th, & the cello c'to. Shame indeed, they're attractive pieces !
Anyone know better ?

 8 
 on: Today at 03:14:41 am 
Started by Jolly Roger - Last post by dhibbard
 Sibelius also told Jalas that all rough sketches and drafts were to be burned after his death; he did not want anyone labelling these rejected scraps as "Sibelius letzten [sic] Gedanken" (Sibelius's last thoughts).[28]

perhaps, Jalas had those draft copies on the Sym no 8. and decided not to burn them as directed by Jean... who knows....

 9 
 on: Today at 02:38:02 am 
Started by Toby Esterhase - Last post by Toby Esterhase
https://www.youtube.com/watch?v=y7Pl88-sbJc

 10 
 on: Today at 02:37:41 am 
Started by jowcol - Last post by Henrietta Pedal
Many thanks for the Bertomeu cello concerto, Elroel - a most welcome contribution. I see here that it was written in 1989.

http://digital.march.es/clamor/es/fedora/repository/atm%3A836


Pages: [1] 2 3 ... 10
Powered by EzPortal
Bookmark this site! | Upgrade This Forum
SMF For Free - Create your own Forum

Buy traffic for your forum/website
traffic-masters
Powered by SMF | SMF © 2016, Simple Machines