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 on: May 30, 2019, 07:39:49 am 
Started by northern - Last post by savoir_faire
 Grin Grin Grin Grin

great news!

 on: May 30, 2019, 12:51:52 am 
Started by northern - Last post by relm1
Love it!  Sounds great.

 on: May 29, 2019, 11:24:14 pm 
Started by patmos.beje - Last post by jimfin
With the Elgar, I'm interested  (vaguely) that there are three civic fanfares, as was only aware of one (the one Elgar himself recorded 'live'). As for the Spanish Lady, I wonder whether this will just be the suite or the longer version recorded long ago for the BBC.

Good to see Arne getting a showing too, one of the few 18th Century composers I really enjoy.

 on: May 29, 2019, 05:05:32 pm 
Started by northern - Last post by Dundonnell
Splendid, splendid news!!

I have written here and elsewhere (ad nauseam) about neglected symphonies which merit rediscovery but there are a considerable number of concertos which fall into the same category. The Wordsworth Piano and Violin Concertos are both available on You Tube in off-air recordings (the Piano Concerto in a recording conducted by a very young Simon Rattle) but it will be wonderful to have both on disc.

 on: May 29, 2019, 04:09:04 pm 
Started by northern - Last post by northern
A first glimpse of the new recording (Piano and Violin Concerti, Three Pastoral Sketches):-

 on: May 29, 2019, 07:40:09 am 
Started by Gauk - Last post by adriano
Thanks, Gauk, for this posting :-)
The main theme of Prokofiev's First Piano Concerto could also be such a "huge tune" example.
I actually recorded Pilati's complete works for orchestra (on 2 CDs). The second volume was published by another label (Inedita), which, in the meantime closed down. Naxos did not want to continue with Pilati. A few months ago I was able to re-propose this project to them, which means that this CD will be reissued on Naxos by the end of this year.
Try also Pilati's magnificent Piano Quintet, which is also available on Naxos: a masterwork!

 on: May 27, 2019, 03:57:31 pm 
Started by patmos.beje - Last post by Dundonnell
Thank you very much for this helpful information!

 on: May 27, 2019, 03:17:35 pm 
Started by patmos.beje - Last post by relm1
"The Future" is listed in Michael Kennedy's book, "A Catalogue of the Works of Ralph Vaughan Williams".  Here is what it says:

1908: The Future ('A wanderer is Man from his Birth') for solo soprano, chorus, and orchestra.  Words by Matthew Arnold (1822-88), Unpublished and incomplete.  Manuscript (vocal score) is 32 pages.  It is quite impossible to date this work accurately, but to include it in 1908 after a study of handwriting and other factors of that kind which must be taken into account seems reasonable.  The Manuscript is in the British Library.  Imperfect condensed score.

 The Future
By Matthew Arnold
A wanderer is man from his birth.
He was born in a ship
On the breast of the river of Time;
Brimming with wonder and joy
He spreads out his arms to the light,
Rivets his gaze on the banks of the stream.

As what he sees is, so have his thoughts been.
Whether he wakes,
Where the snowy mountainous pass,
Echoing the screams of the eagles,
Hems in its gorges the bed
Of the new-born clear-flowing stream;
Whether he first sees light
Where the river in gleaming rings
Sluggishly winds through the plain;
Whether in sound of the swallowing sea—
As is the world on the banks,
So is the mind of the man.

Vainly does each, as he glides,
Fable and dream
Of the lands which the river of Time
Had left ere he woke on its breast,
Or shall reach when his eyes have been closed.
Only the tract where he sails
He wots of; only the thoughts,
Raised by the objects he passes, are his.

Who can see the green earth any more
As she was by the sources of Time?
Who imagines her fields as they lay
In the sunshine, unworn by the plough?
Who thinks as they thought,
The tribes who then roam'd on her breast,
Her vigorous, primitive sons?

What girl
Now reads in her bosom as clear
As Rebekah read, when she sate
At eve by the palm-shaded well?
Who guards in her breast
As deep, as pellucid a spring
Of feeling, as tranquil, as sure?

What bard,
At the height of his vision, can deem
Of God, of the world, of the soul,
With a plainness as near,
As flashing as Moses felt
When he lay in the night by his flock
On the starlit Arabian waste?
Can rise and obey
The beck of the Spirit like him?

This tract which the river of Time
Now flows through with us, is the plain.
Gone is the calm of its earlier shore.
Border'd by cities and hoarse
With a thousand cries is its stream.
And we on its breast, our minds
Are confused as the cries which we hear,
Changing and shot as the sights which we see.

And we say that repose has fled
For ever the course of the river of Time.
That cities will crowd to its edge
In a blacker, incessanter line;
That the din will be more on its banks,
Denser the trade on its stream,
Flatter the plain where it flows,
Fiercer the sun overhead.
That never will those on its breast
See an ennobling sight,
Drink of the feeling of quiet again.

But what was before us we know not,
And we know not what shall succeed.

Haply, the river of Time—
As it grows, as the towns on its marge
Fling their wavering lights
On a wider, statelier stream—
May acquire, if not the calm
Of its early mountainous shore,
Yet a solemn peace of its own.

And the width of the waters, the hush
Of the grey expanse where he floats,
Freshening its current and spotted with foam
As it draws to the Ocean, may strike
Peace to the soul of the man on its breast—
As the pale waste widens around him,
As the banks fade dimmer away,
As the stars come out, and the night-wind
Brings up the stream
Murmurs and scents of the infinite sea.

 on: May 27, 2019, 02:11:54 pm 
Started by patmos.beje - Last post by Dundonnell
Well, obviously I very much hope that it is "an undiscovered choral masterpiece". Vaughan Williams certainly wrote several pieces that amply justify such a description. But, I have to confess to a certain initial scepticism. If VW did indeed "put it aside" and not return to it then the question which arises is: why not? How much of the work as it will be presented later this year is actually VW and how much Martin Yates's re-imagining of what VW might have written?

The reconstructions of VW sketches and the orchestration of incidental music etc etc have produced some perfectly attractive music but hardly-in most cases- "undiscovered masterpieces".

My reservations about the efforts (hugely accomplished though these are) and the exercise as a whole remain undiminished, I am afraid.

 on: May 27, 2019, 08:02:25 am 
Started by patmos.beje - Last post by savoir_faire
Regarding the Vaughan Williams "The Future", I do see that the work-which is described as a "rediscovered choral masterpiece"-will be performed by the RSNO in Edinburgh and Glasgow in November. However I can find absolutely nothing about the work online. When was it composed and when "rediscovered"? How long is it?  There appears to be no mention of the work on the RVW Society website. I am intrigued.

Martin Yates said it came from around the same time as the Sea Symphony, and was also on a "Sea" theme. I think it is about 40 minutes - there was some talk of the notebooks which contain the extant music/sketches from VW, and I think what will be heard will be a reconstruction/orchestration of this but it will still "peter out" at the end. It sounded as though VW just put it to one side and never returned to it.

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