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1  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Re: Rózsa: The Private Life of Sherlock Holmes (50th anniversary special edition) on: May 27, 2021, 11:51:57 pm
 
Another point worth making on the Quartet release, is it contains a suite, called Fantasy on the CD, which was prepared by English film music expert, Christopher Palmer, presumably with Rózsa's approval or instructions. Rózsa conducts the The Royal Philharmonic Orchestra in this suite.  The suite, apart from being a riviting take on the score, in the slow movement of the Violin Concerto accentuates the woodwind in a way that it is not accentuated in any recording I have heard, and, I think, I have heard all available recordings of the Violin Concerto .  The accentuation is absolutely gorgeous but, to my mind, has the unfortunate effect of diminishing the slow movement in all other recordings, insofar as they relate to the passages accentuated.  I do not believe there was any change to the score, I presume it must be down to the acoustics in the recording studio. As Rózsa conducts the suite, he must have approved the accentuation.

Only the first and second movements of the Violin Concerto appear in the Fantasy and the first movement contains the violin part, which is not the case when the first movement appears in the film.

Polydor released 3 LPs called Rózsa conducts Rózsa in the 1970s with excellent suites of music from many of his film scores over his long career.  The Sherlock Holmes Fantasy appeared on Volume 1.  The release of these on CD has long been asked for by those who love or admire Rózsa's music.  I happily was given an excellent private rip from immaculate sounding LPs.  However, if they were ever released on CD I would buy them in an instant.

The Fantasy has been available for more than a decade on YouTube.  The accentuation I am talking about begins at 4:04 but will be meaningless unless one knows the slow movement from other recordings.

See:  https://www.youtube.com/watch?v=5G2eEdznS2I
2  MUSIC OF ALL ERAS / Individual composers / Re: Sir Arthur Sullivan (1842-1900) on: May 27, 2021, 08:07:51 pm
Let me offer a very enthusiastic welcome to you as the latest convert to the music of Sullivan! I don't doubt that Albion will want to add a word of two as well. As someone who's been a fan for upwards of 60 years, I can tell you that once you are hooked, you can never escape the charm and power of Suillivan's music! Grin

Yes I am hooked, after spending most of my life unenthusiastic. Cheesy Grin
3  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Re: Rózsa: The Private Life of Sherlock Holmes (50th anniversary special editio on: May 27, 2021, 07:55:40 pm
Thank you, patmos.beje, for the heads-up. We can all think of examples of film music being repurposed as concert music but is this a unique example of a composer expanding and re-using a concert work for use as film music? Rózsa is a fine composer and the Violin Concerto is a rollicking good piece. Is it worth shelling out the extra cash for this, though? Do I get that much more for my money (other than re-mixes of chunks of the concerto)?


Apologies for not responding to this question until now.

I would include the Sherlock Holmes score in my top 10 favourite Rózsa film scores.  It is generally regarded as one of his best scores which, from a composer who wrote many top quality film scores, is a high recommendation.  If one is not interested in Rózsa or film scores there is no reason to purchase this, or the better sounding Tadlow re-recording.  However, the score contains several attractive themes, including an Elgarian sounding one, to represent London and Scotland, where Queen Victoria appears near Loch Ness!  (Rózsa also includes Elgarian sounding themes in his scores for his war movies  Five Graves to Cairo and, in my opinion, Sahara).  The themes of the Violin Concerto appear as they are in the film score, not modified in any material way.  However, the opening themes of the first and third movements are for the orchestra alone but most times the gorgeous slow movement appears, it appears as it does in the Violin Concerto (i.e. with violin).  The film score is an interesting way to hear the Concerto in a different and larger context. Whether one gets much more for your money than the Concerto alone is a subjective judgement.  For me, I get my money’s worth!
4  MUSIC OF ALL ERAS / Individual composers / Re: Sir Arthur Sullivan (1842-190 on: May 27, 2021, 07:33:36 pm
 
Prior to 2019 Sullivan was a composer I had little interest in.  I always had The Mikado and H.M.S. Pinafore on my portable music players and I did buy The Golden Legend when Hyperion released it, but I was not fond of it.

I tried for years to find the ‘Sullivan’ choral piece that is performed, in extracts, in the 1951 Robert Donat film The Magic Box.  I only learned, a couple of years ago, the piece was in fact by William Alwyn, in the style of Sullivan!  This is mentioned in a biography on Alwyn which I found in Google books.  The biography, if I remember correctly, says Alwyn played Sullivan in the film but elsewhere Muir Mathieson is credited with the role.  ‘Sullivan’ conducts the piece hence my conclusion that it was by Sullivan.

However, at the beginning of 2019, seeing The Light of the World CD enthused about on this site, I purchased it along with a couple of other Dutton CDs of Sullivan’s orchestral music.  This led to me exploring all the operettas and stage works.

I keep a list of CDs and Digital downloads I purchase every year.  I see that in 2019 I purchased 33 CDs and downloads.  The first 19 were Sullivan CDs!  There were another 2 Sullivan CD purchases and a lot of Sullivan's music I acquired from elsewhere.

The highlights for me, in such rich pickings, were probably Patience, Iolantha, The Yeomen of the Guard and The Martyr of Antioch.  I also purchased and read, and greatly enjoyed, Arthur Jacobs excellent biography of Sullivan.  If someone had said to me, prior to 2019, that Sullivan was a composer that I would be enthusiastic about, I would not have believed it.

I see above there is the Vanity Fair print of Sullivan from 14 March 1874.  Carried along by my enthusiasm, I purchased this in 2019 to go along with Vanity Fair prints of Mascagni, Mackenzie, Joachim, Sarasate and Kubelik which, framed, adorn my hall wall along with a note Mascagni wrote to the wife of the publisher of the UK version of his opera I Rantzau after it’s sole Covent Garden performance in 1893.  I acquired the Sullivan print on eBay for the modest price of Ł25.  I subsequently purchased, on eBay later in 2019, the much rarer Vanity Fair print of Gilbert from May 1881 for Ł250!  A bargain compared to the Ł700 plus a US seller was offering it for!

So Sullivan was categorically the composer of the year for me in 2019 Smiley Grin Wink
5  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Rózsa: The Private Life of Sherlock Holmes (50th anniversary special edition) on: April 14, 2021, 05:52:41 am

This superb score, based on his 1953 Violin Concerto, has been rereleased in a 2CD deluxe remastered sound version.  Although I have the sold out 2013 version, the Tadlow re-recording and, indeed, everything on the CDs bar one repaired track, it has been ordered.  Smiley Cheesy Grin

The original Heifetz recording of the Violin Concerto is included in remastered sound.

Sound samples can be heard under ‘Tracklist’.

https://quartetrecords.com/product/the-private-life-of-sherlock-holmes-2-cd/

See also:

https://www.filmscoremonthly.com/board/posts.cfm?threadID=143632&forumID=1&archive=0

https://www.tapatalk.com/groups/miklosrozsa/holmes-is-back-and-better-than-ever-t2000.html
6  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Re: Berkeley's "Nelson" on: April 14, 2021, 05:45:28 am

Although I haven’t listened to it for years, it should be available on the B&IM archive, I am considering buying this.
7  MEMBERS' CORNER / Miscellany / Hadi Karimi: Reconstructing Lifelike Images of Celebrated Composers on: April 08, 2021, 06:45:05 pm

Has anyone seen this Iranian sculptor’s webpage in ArtStation?

I discovered him last year when I found a reference to his attempt to construct a 3D image of Chopin based, among other things, on the 2 known daguerreotypes of him and his death mask.  He has since attempted a further construction of Chopin.

There are 3 daguerreotypes of Schumann which he used to construct a 3D image of him.

There are 2 constructions of Beethoven, at different times of his life, together with Bach, Mozart, Schubert and Mendelssohn.  These are in addition to Clara Schumann, Liszt and Brahms, of which there are several daguerreotypes and photographs.

See:

Chopin 1

https://www.artstation.com/artwork/Z5LYXm


Chopin 2

https://www.artstation.com/artwork/8eDxaO

Schumann

https://www.artstation.com/artwork/nYJQG1

Mendelsshon

https://www.artstation.com/artwork/28y5qK

All his musical 3D images can be seen at:

https://www.artstation.com/hadikarimi

I wonder what might come next. Handel and Haydn?













8  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Re: Erik Chisholm Songs on Delphian Records (June release). on: April 01, 2021, 08:31:03 pm
Thank you for the alert and the links, patmos.beje. I have the Hyperion recordings of Chisholm's Piano Concertos and the Violin Concerto but I can't honestly say that the style appeals to me very much. I'd be interested in the views of other members: am I missing something? Songs are, of course, a very different medium and so I might find them more to my liking, I suppose. The involvement of Nicky Spence and Iain Burnside is encouraging.

I admire the music of Chisholm and find his modernistic style rather intriguing (the Second Piano Concerto and Violin Concerto being influenced by Indian ragas and part of a triptych, along with a Concerto for Orchestra, only performed, quite recently, in a version for 2 pianos). I couldn’t say that I love his music or that it affects me emotionally.  It certainly was not, for me, immediately appealing or instantly memorable music.  But everything I have heard, at least so far as the orchestral music is concerned, created a sufficiently favourable impression to encourage me to want to listen again.

By so doing, I have found his music quite rewarding, albeit after repeated hearings (particularly so in the case of the Second Piano Concerto and Violin Concerto).  On the lighter side, the three orchestrated piano preludes ‘From the Edge of the True World’ were immediately memorable and his ‘Pictures from Dante’ on Dutton made an initial strong impact.   That may have been because the ‘Paradiso’ is in the medieval dorian mode, although John Purser, in his biography of Chisholm, thought the religious theme was not original, though he couldn’t identify where it came from.

My interest in pursuing Chisholm came from buying his book The Operas of Leoš Janáček when I was a teenager.  The introductory section contained an essay which discussed music he had composed, including the piano and violin concertos.  In 2010 or so I purchased a CD from the Erik Chisholm Trust.  This led to me entering into some correspondence with his eldest daughter Morag, after she wrote to me enquiring what had interested me in her father’s music.  She assumed I was an accomplished pianist, which I am not.

Songs with piano generally don’t interest me too much.  However, I will buy the Delphian CD when it is released.
9  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Erik Chisholm Songs on Delphian Records (June release). on: April 01, 2021, 03:06:15 pm

Recorded in September last year and due for release in June.

Limited information currently available.

https://www.delphianrecords.com/products/erik-chisholm-songs?_pos=2&_sid=9fbccf3c5&_ss=r

See also:

https://www.facebook.com/erikchisholmcomposer/



10  INTRODUCTION & FAQs / Greetings / Re: Hello Again! on: March 29, 2021, 09:28:40 pm

I just saw this post today.

Absolutely delighted you (Colin) are back.  Grin Grin Grin Grin Grin

I have greatly missed your insightful contributions.  Thank you for returning.  Smiley Wink Cheesy

🤗🥳🤩
11  MUSIC OF ALL ERAS / Individual composers / Re: Samuel Coleridge-Taylor (1875-1912) on: February 11, 2021, 12:07:51 am
Thanks for the observations about the Violin Concerto.  Yes, it was the recording by Philippe Graffin I first heard and, yes, I was aware the Lyrita version was recorded earlier.

In the early 2000s I had a list of about 20 works I longed to hear, ranging from Concertos to Operas and choral pieces etc.  Most of these I have now heard and the majority lived up to my expectations.  Two that did not were McEwen’s Viola Concerto and Coleridge Taylor’s Violin Concerto.  The former is easy to explain.  McEwen’s impressionism and Scottish influences were what appealed to me about his music.  His Viola Concerto lacks both.  Whilst subsequent listenings created a more favourable impression, at the time of writing I don’t recall a note of it.

In relation to the Coleridge Taylor Violin Concerto, I had no expectations in terms of structure or the ambition of the Concerto. Basically the music did not appeal to me to the extent I had anticipated.

Unlike the McEwen Concerto, I can recall parts of the Coleridge Taylor Violin Concerto and can see its merits, something confirmed by at least 4 recordings. I am not denying that the work is lyrical and is a fine piece but in a genre where there is great competition there are many others I prefer.  Coleridge Taylor for me will always be associated with Hiawatha in particular Hiawatha’s Wedding Feast which, indeed, was a hard act to follow.  Wink Smiley Grin
12  MUSIC OF ALL ERAS / Individual composers / Re: Learmont Drysdale (1866-1909) on: February 10, 2021, 09:49:02 pm
This Scottish composer has long intrigued me and I recently re-discovered the availability of this Ph.D thesis which may be of interest to somebody else other than the author and myself - http://theses.gla.ac.uk/75110/

 Wink

Thanks for this.

Here is a link to an earlier thesis on Drysdale:

https://ttu-ir.tdl.org/bitstream/handle/2346/20621/31295013698476.pdf?sequence=1&isAllowed=y
13  MUSIC OF ALL ERAS / Individual composers / Re: Samuel Coleridge-Taylor (1875-1912) on: February 10, 2021, 07:29:59 pm
I discovered Coleridge-Taylor’s Hiawatha in 1998, fresh from discovering Dyson’s The Canterbury Pilgrims.  Both these pieces were two of the highlights of musical discoveries in 1998, a year that was particularly good for CD releases (albeit both pieces were from previous years).  Part 1 of Hiawatha is delightful from start to finish.

I longed to hear his Violin Concerto and for many years I often looked on the internet in the hope of finding a CD release date.  The release eventually came in 2004. It proved to be a big disappointment to me, perhaps my expectations were too high.  I suppose I was hoping for the memorable lyricism of Part 1 of Hiawatha and, for me, the Violin Concerto did not match this.  The later Lyrita CD release of all his works for Violin and Orchestra is a better recording.
14  MUSIC OF ALL ERAS / Individual composers / Re: Hamish MacCunn (1868-1916) on: February 10, 2021, 07:19:51 pm
This was a carefully prepared interpretation and performance, especially given that it was likely to be a one-off.

In 1993 Alexander Mackenzie's final cantata The Sun-God's Return (1910) was, perhaps unexpectedly, revived in Scotland but nobody bloody bothered to record it!

 Roll Eyes

In the early 2000’s I invited one of my partners in my law firm, together with his wife, to my home for dinner.  Several of Scotland’s most prestigious musical establishments, orchestras, performing societies etc were his clients (happily I was able to service some of them in my area of legal expertise).  Prior to my joining the firm I knew of him by reputation as having the largest classical music record collection in Scotland.  By the time I knew him he had given his record collection away but had literally thousands of classical music CDs in the main room of his home. 

What relevance is this to this thread? Well at dinner I mentioned Hyperion’s Scottish composer series.  My law partner mentioned he had tried, years before, to interest a major Scottish orchestra in recording these composers but without success (although the orchestra did feature in the Hyperion series). His wife mentioned she had sung in the performance of Mackenzie’s The Sun-God’s Return.  She was unenthusiastic about the piece though I would love to have heard it.

I once owned an almost complete recording of MacCunn’s Jeanie Deans on two cassettes (the opening of the Opera was slightly cut short).  I had purchased it from the Scottish Music Information Centre (it may still be available).  It was from a performance in Ayr.  It was not an opera I particularly enjoyed and was my least favourite item on the Hyperion disc.  I was very glad when a complete Lay of the Last Minstrel was uploaded to the British and Irish Music catalogue.

Below are three links to an article and a thesis on Hamish MacCuun.

https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1005&context=qc_pubs

http://etheses.dur.ac.uk/2456/1/2456_467_-_vol_1.pdf?UkUDh:CyT

http://etheses.dur.ac.uk/2456/2/2456_467_-_vol_2.pdf?UkUDh:CyT



15  MUSIC OF ALL ERAS / Commercial recordings (vintage, new and forthcoming) / Herrmann: Endless Night (premiere recording) on: December 09, 2020, 03:25:09 pm

The last (?), or at least one of the only, film score(s) by Bernard Herrmann not previously released on record or CD.  From the 1972 British film based on an Agatha Christie novel.  New digital recording.

See: https://quartetrecords.com/product/endless-night/

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