Your Favorite Sibelius Symphony!

2009-05-30T17:08:00.000-07:00

Sibelius! And gosh is it hard to choose among them...buy my favorite is the Seventh. It took a long time to appreciate, but it was worth every moment.

Your Favorite Schumann Concerto!

2009-05-26T08:25:00.000-07:00

A slight deviance from my "Symphony Series" of polls. Vote for your favorite Schumann concerto! Mine is the neglected (some say justifiably) Violin Concerto.

New Poll: Bruckner. Which is your favorite symphony?

2009-05-19T17:26:00.000-07:00

We now turn to the Austrian symphonist Anton Bruckner. Very much influenced by Wagner, Bruckner's output is dominated by his Eleven symphonies. Though Wagner was an influence in his symphonies, many listeners will hear a closeness to Schubert as well. For his mighty Te Deum, Bruckner was inspired by Berlioz.

Which is your favorite Shostakovich symphony?

2009-05-13T09:16:00.000-07:00

Moving on with our series of polls, we come to Dmitri Shostakovich---the greatest of composers during the Soviet era in Russia. The majority of his fifteen symphonies--along with Mahler and Beethoven etc--- form the core repertoire today in concert halls. All his symphonies are unique, but two prominent moods prevail: there is the Haydnian element found in the First, Sixth, Ninth, and Fifteenth symphonies. Then there is the dramatic Mahlerian strand in symphonies like the 4th, 5th, 7th, 8th, 10th and 11th. That is not to suggest that each of those symphonies focuses on only those composers. Shostakovich blended Haydnian humor in his 15th symphony with the bleakest and darkest of his thoughts.

New poll: Beethoven!

2009-04-21T17:26:00.000-07:00

So we come to The Big Man Himself (no, not THAT one). So, which IS your favorite? And don't forget Brahms below (and Mahler and Tchaikovsky).

Your Favorite Brahms Symphony

2009-04-09T12:26:00.000-07:00

Continuing in my series of polls, we now turn to Brahms. Good thing I figured out that the old polls can be left up! You can still vote in the Tchaikovsky or Mahler polls.

New Poll: Your favorite Mahler Symphony!

2009-04-04T16:44:00.001-07:00

You all know the drill, so start voting!

New Poll: Vote for Your Favorite Tchaikovsky Symphony!

2009-03-21T10:56:00.000-07:00

As with the Nielsen poll, but this time Tchaikovsky. VOTE! Poll is located at the right-hand side.

Vote for your favorite Nielsen Symphony!

2009-02-27T09:59:00.001-08:00

At the right-hand near the top is a poll I've just put up. Please vote for your favorite Nielsen Symphony!

The top ten non-symphony symphonies

2008-06-08T18:30:00.000-07:00

The Top-Ten non-symphony Symphonies

This list is about works called "symphony." but which go beyond regular symphonic form. These types of works cause a dilemma when trying to categorize them. If you organize your music like I do, it's a hard call to call Mahler's 8th symphony "orchestral" even though it has extended orchestral passages. On the other hand, it IS symphony, and it seems only proper to categorize it like the rest of his symphonies. But that was part of the composer's scheme, wasn't it? Stretching the definition of what a symphony means.

I hope you enjoy this list and my commentary. Please feel free to add your own comments. I would love reading feedback!

#1. all of Berlioz's symphonies

I'll bet you didn't know that Berlioz even wrote four symphonies, even though you know the names of at least three of them. The 'Symphonie fantastique' certainly, but 'Harold in Italy' was also called a symphony, even though it was intended as a concerto for viola to be performed by Paganini. Also 'Romeo & Juliette' was called a "Symphonie dramatique" by the composer. It employs soloists, a chorus, and orchestra. Some have called it a "cantata," while others say it borders on Oratorio or even Opera. Yet the work is not an opera or cantata because it has long sections for pure orchestra. Berlioz's idea was not opera, but rather a use of vocals for expressing the ideas that a orchestra by itself might not do as cogently. He was taking Beethoven's Ninth to the next level: not just using chorus and soloists, but infusing them into the grain of the entire work. And lastly there is the Symphonie funebre et triomphale, a patriotic work that calls for huge a huge wind-band and percussion, as well as strings and chorus. Incidentally, this music made an appearance in the Les Miserables film starring Liam Neeson and Geoffrey Rush. All of these works are extremely original and enjoyable. I can't recommend them enough.

#2. Franz Liszt's "Faust" and "Dante" Symphonies

Taking his cue from Berlioz's descriptive 'Symphonie fantastique,' Liszt perfected the idea of the symphonic poem, a work of music inspired by and/or meant to represent a work of visual or literary art. But these descriptive works started out as "symphonies," as Liszt called his first symphonic poem. However, when it comes to the "Faust" and "Dante" Symphonies, Liszt is taking us not only farther from Symphony, but farther from mere "symphonic poem." The 'Faust Symphony' is made up of three musical character portraits after Goethe's "Faust" poem. Rather than create three seperate tunes for Faust, Gretchen, and Mephistopheles, Liszt writes just one. This theme takes on the attitudes of each character's psyche. It's a masterful work, as is the "Dante" symphony though it is a touch more "splashy." Both are very much recommended.

#3. Messiaen's "Turangalila-symphonie"

This just about takes the cake for being the most indulgent non-symphony symphony ever composed. Messiaen was inspired by Indian (of India) music, and this work takes its cue from there with its "turangalila" movements. Obviously what Messiaen meant by "symphony" was not exactly Haydnian. It's far closer to the "togetherness," which is also fits with the work's message of love; 'turangalila'. Not for those who enjoy lucid music...but then, none of these works are.

#4. Goldmark's "Rustic Wedding" Symphony

This is definitely not a symphony. I've heard it called a "large suite," and that seems to be accurate though the music isn't exactly as small-scale as a suite. In any case, this music is very enjoyable. A lot of people dislike it for being sappy and "light." It may also stem from the fact that they sympathize with Mahler's dislike of Goldmark's music. I however don't side with them. While this music is definitely not a "serious" work, it is also not sappy. I prefer to think of it as heart-warming. The music moves along very comfortably, melodic but not jarringly sweet. Recommended for a rainy day in the armchair.

#5. Gustav Mahler's Symphony No.8 "...of a Thousand"

If you come to this work expecting "symphony," even by Mahler's standard, you're bound to be surprised and a tad disappointed. The work's layout is somewhat confusing. It is in two parts, the first part lasting 25 minutes and the second one lasting 50+ minutes. The music alternates between orchestral, chorus, and full-fledged arias for soloists. Mahler extrapolates a lot using the soloists, and the doesn't exactly maintain thrill-a-minute moments. But nevertheless this music is very rewarding. And when heard with the full forces of 1,000 + performers it is ever more exciting than with the mere(!) 500 used in many recordings. As far as being a non-symphony, this work has been called a semi-cantata. As far as I'm concerned, it is in the line of Berlioz's Romeo & Juliette, integrating vocals and orchestra into one instrument. Who could resist this work for its sheer power of numbers? Just don't expect Mahler 5 and you won't be disappointed.

#6. Havergal Brian's "Gothic" Symphony

Like Mahler's 8th, this work calls for the forces of 1,000 plus performers. The numbers are mostly chorus, though this work has an orchestral section of 200. That's a large number even by orchestra-size numbers. Unlike the Mahler work, the first three movements of this work are purely orchestral. But like Mahler, the composer Havergal Brian divided the work into two parts. The second part is where the gigantic chorus comes in, singing Brian's setting of the Te Deum. This work actually comes fairly close to being in regular symphonic form, but its huge proportions make it something else entirely. I frankly prefer Brian's way of writing for One Thousand People than Mahler's. You may or may not agree, but either you have to investigate this.

#7. Sibelius' "Kullervo" Symphony

Like the Berlioz, Mahler, and Brian works, this symphony straddles the line or takes the idea of 'symphony' further. What is characteristic to Sibelius' piece is that he alternates between purely orchestral and vocal movements. This was Siblius' breakthrough work, and it bears the astounding opus number of seven. Some people call this work a cantata, some call it a "tone poem". Either way, it certainly fits snugly into my made-up category of "non-symphony symphony." This isn't just a great work in that genre, this is one of the greatest works of all time. Mandatory listening.

#8. Bernstein's Symphony No.2 "Age of Anxiety"

This is really a symphony-concerto-ballet. Lenny Bernstein loved messing with genres, as can be witnessed in his "Kaddish" Symphony where he uses straight-up narration. In this work however, Bernstein goes for a danceful, rhythmic, and very tuneful vein with a prominent part for piano. In fact the piano is almost soloistic. It's also very much for "our time" (Lenny's time) as all good works should be. Why Bernstein called this a "symphony" can be argued at length. My guess is that he thought it to be more than a "Piano Concerto" since it seeks to express angst for an "age of anxiety." This is top-notch stuff, very much recommended.

#9. Richard Strauss' "Ein Alpinesinfonie"

Strauss was very fond of Liszt's "symphonic poem" form, and he excercised his capacity in that form in such works as Don Juan, Till Eulenspiegel's Merry Pranks, Death and Transfiguration, Thus Spake Zarathustra, and lest we forget: Ein Heldenleben (A Hero's Life). Towards the end of this run of great symphonic poems, he wrote An Alpine Symphony. This was an extra-extra symphonic poem that called for a huge orchestra, including "wind sheets." So while this work is definitely a symphonic poem, it also reaches symphonic heights in its ambitions. It also makes this list because the composer called it "symphony." The message of the work is Nietszchean: a 'power of the human spirit'-type climb on the Alpine mountains. But the message of the work is ultimately very tame and generic, and it's the music that matters. A real mountain-shaker of a work.

#10. Shostakovich's Symphony No.14

This is most definitely NOT a symphony. It's almost not even a non-symphony symphony (which begs the question: does that make it doubly-qualified to be on the list?) This is really a song-cycle. It's there for anyone to hear: one song follows the other, with chamber orchestra accompaniment. Why did Shostakovich call it a symphony? After all, he had written several song cycles, "Songs from Jewish Folk Poetry" being the most famous example. Perhaps he wanted to boost his symphony count. That thought might make some folks indignant, but I don't suggest it maliciously. One just wonders at these types of things. Another theory is that Shosty planned on shaping this work along the lines of his 13th Symphony, which also uses human vocals. Shostakovich admitted that once he wrote a work, he found it hard to revise. He felt he would ruin the stream of conciousness that gave birth to the original work. So this is the last work on my list. It's a very recommendable song-cycle, with an enjoyable amount of fury and anger. It's very dark, and satirical at moments. Not morning music at all. I recommend listening to it while in bed, lights dimmed, with a cup of hot tea.

Beethoven's Ninth

2008-05-08T16:09:00.000-07:00

Information

Ludwig van Beethoven; composer
Herbert von Karajan; conductor
Anna Tomowa-Sintow, Agnes Baltsa, Peter Schreier, Jose van Dam; soloists
Vienna Singverein; chorus
Berlin Philharmonic Orchestra

Date of Recording: 1976
Stereo Recording

Review

There are a zillion and a half recordings of this symphony. Some are worth investigating, others are not worth their weight in dirt. In order to choose the best recording, there are several criteria to consider from an artistic, interpretative, and technical point of view.

1. The artists performing the music should be synonomous with Beethoven. This covers the first base, since the Berlin Philharmonic has been a 'Beethoven Orchestra' for quite some time. Not only that but Karajan is the most famous exponent of the orchestra's strengths.

2. The music must be shaped strongly but lithely, grand but supple.

3. The sound quality must be good. This recording is in stereo. It is crisp and clear. There is no muffling of the music's different dynamics.

Classical Review