The first CD (CHAN10341) starts with actually the first Symphonic Poem, and the longest if you exclude Von der Wiege bis zum Grabe, S. Not for nothing can the BBC Philharmonic (formerly the BBC Northern Symphony Orchestra) now be regarded as a leading world orchestra with very solid repertoire and many accolades for the breadth and depth of its interpretations. Had Chandos chosen multiple personnel for this series, this sense of acceptance might not have been so strong, for example. On balance, the advantages of a single conductor with a single orchestra with all the consistencies and deepening insight (the works appear on these five CDs very roughly, though not exactly, in the order in which they were written) are many. It must be said at the outset that Noseda and the BBC Philharmonic take the music at face value, make no allowances, and play it all as music, not as a series of a dozen or so historical curiosities. This is almost certainly not the case: Liszt's skills extended to much more than merely adequate orchestration on top of forging a new musical genre. It used to be thought that, because these were – amazingly – among the first orchestral works that Liszt wrote, the composer's assistants were employed to complete sketches. 106 and the other major orchestral works, the Dante and Faust symphonies, for instance. This cycle has the additional merits of including both some of the lesser-heard pieces, like Ce qu'on entend sur la montagne, S. Now recording exclusively for Chandos, Noseda and the BBC Philharmonic have made a splash in several areas – including the current superb cycle of Liszt Symphonic Poems on five CDs. Other high profile posts have included Principal Guest Conductor of the Rotterdam Philharmonic (1999-2003) and of the Orchestra Sinfonica Nazionale della RAI (2003-2006). Petersburg) in 1997 there he also set up "Mariinsky Young Philharmonic Orchestra" with Valery Gergiev and served as its Principal Conductor. Born in Milan in 1964, Noseda was the first foreign Principal Guest Conductor at the Mariinsky Theatre (St. Gianandrea Noseda is the effervescent outgoing conductor of the BBC Philharmonic (leader Yuri Torchinsky). The Symphonic Poem can be seen as paving the way for greater fluidity of broader musical development in the century that followed. It could now work outside the (four movement) symphony, concerto or operatic repertoire. This freed the orchestra from more restricted circumstances in which it could play. But in the "symphonic poem" Liszt "designed" and developed such extended, thematically – and instrumentally – unified works – always for orchestra – into a specific, strong and identifiable genre. Indeed, many of Liszt's earlier piano works from the 1830s were inspired by writing, by places, by atmospheres even. The first six were published in 1856 the rest between 18.Ĭomposers had used extra-musical themes, events and personages as inspiration, of course before this. Between 18 Liszt wrote a dozen such "symphonic poems". In the early 1850s (probably in 1853), when Liszt was living in Weimar, he invented the term (and, indeed, the genre) Symphonische Dichtung for compositions (of his) which had inspirations from outside music… the worlds of poetry and other literature, painting, legend and characters from history.
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