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Cipriani Potter on CPO

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JP
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« on: March 18, 2021, 10:42:32 am »

Morning all,

I've been meaning to join the forum for a while and since I now have a "gift" to bring to the party, I thought it was time I took the plunge! I'm sure several members will be as delighted as I am to see that CPO are shortly releasing a recording of several Cipriani Potter works under the baton of Howard Griffiths. Made my day when I spotted it this morning - I do hope it's the start of a cycle.


https://www.jpc.de/jpcng/cpo/detail/-/art/cipriani-potter-symphonien-nr-1-2/hnum/8992773

All the best, Justin
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« Reply #1 on: March 18, 2021, 11:51:39 am »

Morning all,

I've been meaning to join the forum for a while and since I now have a "gift" to bring to the party, I thought it was time I took the plunge! I'm sure several members will be as delighted as I am to see that CPO are shortly releasing a recording of several Cipriani Potter works under the baton of Howard Griffiths. Made my day when I spotted it this morning - I do hope it's the start of a cycle.


https://www.jpc.de/jpcng/cpo/detail/-/art/cipriani-potter-symphonien-nr-1-2/hnum/8992773

All the best, Justin

A very warm welcome to you, Justin! We'd appreciate your joining, even without that gift. However, since you mention it, yes, it's a great piece of news and I know that many friends here will fervently agree with your wish that this release is just the first in a cycle. Howard Griffiths is just the right man for the job, too!

 ;D
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« Reply #2 on: March 18, 2021, 11:55:40 am »

Morning all,

I've been meaning to join the forum for a while and since I now have a "gift" to bring to the party, I thought it was time I took the plunge! I'm sure several members will be as delighted as I am to see that CPO are shortly releasing a recording of several Cipriani Potter works under the baton of Howard Griffiths. Made my day when I spotted it this morning - I do hope it's the start of a cycle.


https://www.jpc.de/jpcng/cpo/detail/-/art/cipriani-potter-symphonien-nr-1-2/hnum/8992773

All the best, Justin

Fantastic news and a big welcome to AMF!

I hope as well that it's the beginning of an integral cycle of Potter's nine symphonies. Great to see some other works being included...



The highly respected Cipriani Potter left behind a rich compositional oeuvre. Born in London in 1792, Potter received his compositional training from Thomas Altwood, William Crotch and Joseph Wölfl. Later he travelled to Vienna where, on Beethoven's advice, he continued his studies with Aloys Förster. Back in England, he soon advanced to become a composer and pianist in great demand. At a commemorative event of the Musical Association in London, his nine symphonies were praised - especially the first in G minor, which can be heard here on our new release. The very first movement demonstrates the dramatic instincts of Potter, whose favourite pieces included tense works such as Mozart's overture to Don Giovanni. Potter was the first notable composer from England to compose symphonies after experiencing Mozart's late work and Beethoven's orchestral music. The furious Allegro con spirito opening of his G minor symphony is a bold stroke of genius full of melodic invention combined with skilful thematic treatment. A phenomenal pianist, Potter also repeatedly presented cabinet pieces for the piano. His "Introduction" with the subsequent "Military Style Rondo" from 1827 offers a sonic delight in which Potter's humorous side, described by many, comes to the fore.



 ;D
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« Reply #3 on: March 18, 2021, 04:28:49 pm »

Thank you both, Lionel and Albion, for the warm welcome to the forum.  :)

I was also delighted to see that Howard Griffiths is the conductor. I remember thinking, when I listened to his fine recordings of the Ferdinand Ries symphonies some years ago, that he would be the perfect artist to take on Potter's music.

If he, the BBC National Orchestra of Wales and CPO can match the musicianship, excellent sound quality, and the sheer verve to be found in those discs I think we're in for a treat - and a valuable addition to the recorded library of British music too, of course.
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« Reply #4 on: March 18, 2021, 05:26:22 pm »



Oh well, if you have that 4CD set of the complete Ferdinand Ries Symphonies it's clear you are among like-minded friends on this forum! I have it too, along with the complete collection of Spohr Symphonies on Hyperion under Howard Shelley. (What is it with Howards?)   
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« Reply #5 on: March 18, 2021, 08:14:03 pm »



Oh well, if you have that 4CD set of the complete Ferdinand Ries Symphonies it's clear you are among like-minded friends on this forum! I have it too, along with the complete collection of Spohr Symphonies on Hyperion under Howard Shelley. (What is it with Howards?)   

Ditto. Spohr, Ries, Potter - what's not to love? Oh, but then perhaps they're not "masterpieces", lol, who cares?...




...what a load of old cobblers.

 ;D
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« Reply #6 on: March 18, 2021, 08:39:23 pm »


...what a load of old cobblers.

 ;D

Do you mean


or



?
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« Reply #7 on: March 18, 2021, 09:11:19 pm »

I think you know precisely what I mean...



 ;D ;D ;D
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« Reply #8 on: March 18, 2021, 09:52:23 pm »

I think you know precisely what I mean...



 ;D ;D ;D

 ;D

I think I probably do.  ;)

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JP
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« Reply #9 on: March 19, 2021, 09:30:50 am »

It does feel like we're living through something of a Golden Age in terms of recordings of neglected repertoire. Ries was just a tantalising name in The Concise Oxford History of Music when I was a teen - and even when Marco Polo first arrived on the scene and recorded his No. 4, I'm sure admirers of Spohr never dared dream that there would be three complete sets of the symphonies available within a few decades. Long may it continue!
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« Reply #10 on: March 19, 2021, 11:48:46 am »

It does feel like we're living through something of a Golden Age in terms of recordings of neglected repertoire.

It does, rather, doesn't it? And, as Albion observes, "...perhaps they're not "masterpieces", lol, who cares?"

I don't know about you but, I suspect like most folks, I don't want to listen to masterpieces (howsoever you define the word) all the time. As the Duke of Dunstable asks in Gilbert and Sullivan's Patience, "toffee in moderation is a capital thing. But to live on toffee - toffee for breakfast, toffee for dinner, toffee for tea - to have it supposed that you care for nothing but toffee, and that you would consider yourself insulted if anything but toffee were offered to you - how would you like that?"

For 'toffee' read 'masterpieces' and there you have it! A surfeit of masterpieces is not any better for you than a surfeit of lampreys.

 ;D
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« Reply #11 on: March 19, 2021, 01:08:29 pm »


It does, rather, doesn't it? And, as Albion observes, "...perhaps they're not "masterpieces", lol, who cares?"

I don't know about you but, I suspect like most folks, I don't want to listen to masterpieces (howsoever you define the word) all the time. As the Duke of Dunstable asks in Gilbert and Sullivan's Patience, "toffee in moderation is a capital thing. But to live on toffee - toffee for breakfast, toffee for dinner, toffee for tea - to have it supposed that you care for nothing but toffee, and that you would consider yourself insulted if anything but toffee were offered to you - how would you like that?"

For 'toffee' read 'masterpieces' and there you have it! A surfeit of masterpieces is not any better for you than a surfeit of lampreys.

 ;D

Yes, I totally agree. I remember reading an article some years back which considered the "masterpieces only" approach to music in the context of other artistic fields. How poor our museums and galleries would be if we only displayed paintings by the great masters in any particular period! I'll have to see if I can find it again and post a link if I can.

A couple of evenings ago I spent a happy hour or so listening to septets by Alexander Fesca. There was nothing ground-breaking in them, no great depths of emotion were plumbed - they were altogether Biedermeier, altogether charming, played extremely sympathetically, and they fitted my mood perfectly. From a listener's point of view I couldn't have been happier by the end of the disc. It was 60-odd minutes extremely well spent.
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« Reply #12 on: March 19, 2021, 03:33:11 pm »


It does, rather, doesn't it? And, as Albion observes, "...perhaps they're not "masterpieces", lol, who cares?"

I don't know about you but, I suspect like most folks, I don't want to listen to masterpieces (howsoever you define the word) all the time. As the Duke of Dunstable asks in Gilbert and Sullivan's Patience, "toffee in moderation is a capital thing. But to live on toffee - toffee for breakfast, toffee for dinner, toffee for tea - to have it supposed that you care for nothing but toffee, and that you would consider yourself insulted if anything but toffee were offered to you - how would you like that?"

For 'toffee' read 'masterpieces' and there you have it! A surfeit of masterpieces is not any better for you than a surfeit of lampreys.

 ;D

Yes, I totally agree. I remember reading an article some years back which considered the "masterpieces only" approach to music in the context of other artistic fields. How poor our museums and galleries would be if we only displayed paintings by the great masters in any particular period! I'll have to see if I can find it again and post a link if I can.

A couple of evenings ago I spent a happy hour or so listening to septets by Alexander Fesca. There was nothing ground-breaking in them, no great depths of emotion were plumbed - they were altogether Biedermeier, altogether charming, played extremely sympathetically, and they fitted my mood perfectly. From a listener's point of view I couldn't have been happier by the end of the disc. It was 60-odd minutes extremely well spent.

The relevant quotation from the "original" Sydney Grew (Our Favourite Musicians: Stanford to Holbrooke, 1922) footnotes every one of my posts...

 ;)
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« Reply #13 on: March 19, 2021, 06:40:18 pm »


The relevant quotation from the "original" Sydney Grew (Our Favourite Musicians: Stanford to Holbrooke, 1922) footnotes every one of my posts...

 ;)

A good point, well made.  :)
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« Reply #14 on: March 20, 2021, 04:31:41 pm »


It does, rather, doesn't it? And, as Albion observes, "...perhaps they're not "masterpieces", lol, who cares?"

I don't know about you but, I suspect like most folks, I don't want to listen to masterpieces (howsoever you define the word) all the time. As the Duke of Dunstable asks in Gilbert and Sullivan's Patience, "toffee in moderation is a capital thing. But to live on toffee - toffee for breakfast, toffee for dinner, toffee for tea - to have it supposed that you care for nothing but toffee, and that you would consider yourself insulted if anything but toffee were offered to you - how would you like that?"

For 'toffee' read 'masterpieces' and there you have it! A surfeit of masterpieces is not any better for you than a surfeit of lampreys.

 ;D

Yes, I totally agree. I remember reading an article some years back which considered the "masterpieces only" approach to music in the context of other artistic fields. How poor our museums and galleries would be if we only displayed paintings by the great masters in any particular period! I'll have to see if I can find it again and post a link if I can.

A couple of evenings ago I spent a happy hour or so listening to septets by Alexander Fesca. There was nothing ground-breaking in them, no great depths of emotion were plumbed - they were altogether Biedermeier, altogether charming, played extremely sympathetically, and they fitted my mood perfectly. From a listener's point of view I couldn't have been happier by the end of the disc. It was 60-odd minutes extremely well spent.

One word for what you describe when repeated over and over and over again is "dilettantism".

That's the flip side of what happens with the ongoing deluge of new recordings being issued.

You flit about from flower to flower with great pleasure and entertainment in the immediate effects.

But meaningful absorption never occurs, which demands a clear choice of commitments.
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