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I know this goes totally against my FW preferences, I prefer Kullervo without the vocal movements!
Yes, I love the first movement and then can quite happily go and do something else
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
Just now, as I listen to choice excerpts on COTW, it strikes me how cleverly Britten was able to disguise musical triteness with his ingenious ear for immediately attractive instrumental combinations
I agree Panjandrum. Its only the last movement 'Jolly Rutterkin' that doesn't come off, the rest is superb. The Lament for Philip Sparrow is exceptionally beautiful and superbly scored too. The 1st movement is exceptionally witty and tongue in cheek as is the epitaph for John Jayberd.
I agree Panjandrum. Its only the last movement 'Jolly Rutterkin' that doesn't come off, the rest is superb. The Lament for Philip Sparrow is exceptionally beautiful and superbly scored too. The 1st movement is exceptionally witty and tongue in cheek as is the epitaph for John Jayberd.
The "weight" of the [Jupiter's] Symphonic argument is shifted from the First Movement to the last - I'm tempted to say for the first time in history, but Haydn probably did something similar (he always does!) and Mozza's earlier C major Symphony K338 shows a "first glance" of what he does in the Jupiter. The Music leads to the magnificent Finale, rather than the Finale being a brisk conclusion to events set up - and largely resolved - in the first Movement.
Yes, "Haydn" did do something simlar - the younger MICHAEL Haydn. This from Jupiter Wikipedia article...
"Scholars are certain Mozart studied Michael Haydn's Symphony No. 28 in C major, which also has a fugato in its finale. Charles Sherman speculates that Mozart also studied the younger Haydn's Symphony No. 39 in C major because he "often requested his father Leopold to send him the latest fugue that Haydn had written." The Michael Haydn No. 39, written only a few weeks before Mozart's, also has a fugato in the finale, the theme of which begins with two whole notes. Sherman has pointed out other similarities between the two almost perfectly contemporaneous works. The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764)."
Well, we are meant to be a bit negative on this particular thread aren't we? In my defence, I'll admit that it is really only 'Jolly Rutterkin' that irritates me, but the trouble is, I know it's coming!
How about The Oxford Elegy ? That's always said to be a weak work, but I rather like the fruity delivery of the narration by John Westbrook on the Willcocks recording.
How about The Oxford Elegy ? That's always said to be a weak work, but I rather like the fruity delivery of the narration by John Westbrook on the Willcocks recording.
Weak?? Oh no!!! Always need to have the Kleenex nearby.
There is now reasonable evidence that it was Benedictine monk Father Edmund Angerer (1740-1794).
Boilk: thanks for that. Clearly we now need a complete Angerer recorded edition
I did like the bit in your linked article where this news is described as "sensational latest findings". What vocabulary have they got left for when a new Haydn symphony turns up, or it's proved that Beethoven's late quartets were really written by Schindler??
I keep hitting the Escape key, but I'm still here!
What vocabulary have they got left for when a new Haydn symphony turns up, or it's proved that Beethoven's late quartets were really written by Schindler??
"Absolutely ¥¤*#¶»g incredible" ?
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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