What Classical Music Are You listening to Now? IV

[oliver sudden]

something he couldn't do in Berlin (or Munich?)

Munich is an interesting question there. Despite the (deserved) reputations of both cities culturally in general, I would expect more flexibility to be available to Rattle there than in Berlin, should he wish to avail himself of it. There’s a fine new(ish) music series, musica viva, where Birtwistle at least could be comfortably accommodated. (Harry was a regular programming feature for Winrich Hopp both at Musikfest in Berlin and in Munich, although Hopp will be moving on in a couple of years and it’s anyone’s guess what his successor in either post will do.) And if Barbirolli and C Davis could do VW6 with the BRSO in their day (there are excellent CDs testifying to both) there’s no reason Rattle shouldn’t be able to now.

[cloughie]

Munich is an interesting question there. Despite the (deserved) reputations of both cities culturally in general, I would expect more flexibility to be available to Rattle there than in Berlin, should he wish to avail himself of it. There’s a fine new(ish) music series, musica viva, where Birtwistle at least could be comfortably accommodated. (Harry was a regular programming feature for Winrich Hopp both at Musikfest in Berlin and in Munich, although Hopp will be moving on in a couple of years and it’s anyone’s guess what his successor in either post will do.) And if Barbirolli and C Davis could do VW6 with the BRSO in their day (there are excellent CDs testifying to both) there’s no reason Rattle shouldn’t be able to now.

Rattle’s Prom performance of VW5 was excellent - however there is, to my knowledge no commercial recording of any RVW’s symphonies by Rattle. Potential then for a BavRSO cycle - or maybe he should return to the CBSO for one - see if he can still deliver the magic there!

[Petrushka]

Munich is an interesting question there. Despite the (deserved) reputations of both cities culturally in general, I would expect more flexibility to be available to Rattle there than in Berlin, should he wish to avail himself of it. There’s a fine new(ish) music series, musica viva, where Birtwistle at least could be comfortably accommodated. (Harry was a regular programming feature for Winrich Hopp both at Musikfest in Berlin and in Munich, although Hopp will be moving on in a couple of years and it’s anyone’s guess what his successor in either post will do.) And if Barbirolli and C Davis could do VW6 with the BRSO in their day (there are excellent CDs testifying to both) there’s no reason Rattle shouldn’t be able to now.

The BRSO 'musica viva' series has, I think, been going for a long time as Jochum made a recording under that banner and I also have a Wolfgang Rihm CD likewise recorded. I'm not 100% sure, but I remember seeing some Rattle programmes in that series included in the BRSO listings unless I imagined it.

[smittims]

Delius : Brigg Fair. London Symphony Orchestra, Anthony Collins.

Despite my love of Sir Thomas Beecham's recordings, Collins has an equally valid interpretation, bringing out different points in this endlessly fascinating score. Collins had played principal viola in both Beecham's and Geoffrey Toye's 1928 recordings of this work, and also in Toye's pioneering recording of In a Summer Garden, which Collins went on to record in the 1950s.

Brigg Fair is a key work of Delius , showing the start a process of increasing conciseness in his music.

[Barbirollians]

Delius : Brigg Fair. London Symphony Orchestra, Anthony Collins.

Despite my love of Sir Thomas Beecham's recordings, Collins has an equally valid interpretation, bringing out different points in this endlessly fascinating score. Collins had played principal viola in both Beecham's and Geoffrey Toye's 1928 recordings of this work, and also in Toye's pioneering recording of In a Summer Garden, which Collins went on to record in the 1950s.

Brigg Fair is a key work of Delius , showing the start a process of increasing conciseness in his music.

Barbirolli’s recording made close to the end of his life is much my favourite version of Brigg Fair but I don’t know the Collins . Is it on YT I wonder .

[oliver sudden]

The BRSO 'musica viva' series has, I think, been going for a long time as Jochum made a recording under that banner and I also have a Wolfgang Rihm CD likewise recorded. I'm not 100% sure, but I remember seeing some Rattle programmes in that series included in the BRSO listings unless I imagined it.

It was founded by Karl Amadeus Hartmann in 1945—sorry, I meant that it was a [new music] [series], not a [new] [music series]

[Barbirollians]

The Collins Brigg Fair is available on YT - liked it a lot terrific recording for 1953 too an Olof/Wilkinson production . Didn’t shift my Barbirolli preference though.

[Roger Webb]

Barbirolli’s recording made close to the end of his life is much my favourite version of Brigg Fair but I don’t know the Collins . Is it on YT I wonder .

I have most versions of Brigg Fair, and like Smittims favour the Beecham....preferably on ASD 357 in the 80s pressing (2 yea 137-4/138-8 stampers). But for excellent 'modern' sound the Vernon Handley/Hallé on CFP 40373 (CD is CD-CFP 4568), is the one to go for.

I know the Collins/LSO is lauded - quite why?......well there were fewer versions around then I suppose. I have both the albums of Delius he made, the Brigg Fair is on Decca Eclipse ECS 633.....I rarely play either!

Just remembered Andrew Davis/BBC SO on Apex/Warners 8373 89084 2, another modern recording worth a listen - this also has one of the best versions of 'Paris' on it.

[cloughie]

I have most versions of Brigg Fair, and like Smittims favour the Beecham....preferably on ASD 357 in the 80s pressing (2 yea 137-4/138-8 stampers). But for excellent 'modern' sound the Vernon Handley/Hallé on CFP 40373 (CD is CD-CFP 4568), is the one to go for.

I know the Collins/LSO is lauded - quite why?......well there were fewer versions around then I suppose. I have both the albums of Delius he made, the Brigg Fair is on Decca Eclipse ECS 633.....I rarely play either!

Just remembered Andrew Davis/BBC SO on Apex/Warners 8373 89084 2, another modern recording worth a listen - this also has one of the best versions of 'Paris' on it.

Collins, Beecham, Barbirolli and Handley were all excellent interpreters of Delius’ music. I do, however, have a problem with Brigg Fair. It is without doubt a great tune and the playing is fine but on more than one occasion recently, about 2/3rds of the way through I have thought ‘this is going on a bit’ - maybe it is just me but I wonderif anyone else feels the same way! I don’t feel this way about other Delius compositions - Florida Suite is a particular favourite, and his most of his shorter pieces I never tire of.

[Roger Webb]

Collins, Beecham, Barbirolli and Handley were all excellent interpreters of Delius’ music. I do, however, have a problem with Brigg Fair. It is without doubt a great tune and the playing is fine but on more than one occasion recently, about 2/3rds of the way through I have thought ‘this is going on a bit’ - maybe it is just me but I wonderif anyone else feels the same way! I don’t feel this way about other Delius compositions - Florida Suite is a particular favourite, and his most of his shorter pieces I never tire of.

You have a point! I don't particularly care for variations...in fact a pet-hate is anything based on that overworked tune La folia - or anything from Carmen!!!

WhIlst I can enjoy Florida Suite for its youthful, charming picture-postcard view of the America that Delius knew well, it's not my favourite Delius, those pieces he wrote after moving to Grez sur Loing, In a Summer Garden, Summer night on the River, et al, and those associated with Scandinavia, An Arabesque, Song of the High Hills, etc. are the ones that interest me most...oh and Mass of Life, Proms here we come!

[pastoralguy]

Dvorak. ‘Cello Concerto.

André Navarro, ‘cello. The Prague Radio Symphony Orchestra conducted by František Stupka.

This is a ‘Prague Spring Festival’ recording on the Multisonic label that I picked up for a pound in an Oxfam Music shop’s bargain bin. From what I can find, it’s a live recording from 1951 with sound that’s not great although the ear quickly adapts. The conductor, Stupka, seems to have been very highly rated by critics although he’s largely forgotten today. He was Talich’s assistant in Prague and had been the leader of the Prague opera company’s orchestra. No less a luminary than David Oistrakh was a fan of his playing!

[Barbirollians]

Collins, Beecham, Barbirolli and Handley were all excellent interpreters of Delius’ music. I do, however, have a problem with Brigg Fair. It is without doubt a great tune and the playing is fine but on more than one occasion recently, about 2/3rds of the way through I have thought ‘this is going on a bit’ - maybe it is just me but I wonderif anyone else feels the same way! I don’t feel this way about other Delius compositions - Florida Suite is a particular favourite, and his most of his shorter pieces I never tire of.

That’s why I love the Barbirolli - the other versions I know to make me feel this is going on a bit - his doesn’t - it continues to engage my interest .

[frankbridge]

Benjamin Frankel: May Day Overture Op 22 ( for obvious reasons!)

Queensland SO / Albert

CPO999 240-2

Up the workers!

[smittims]

I sometimes dislike variations, especially when they keep stopping and starting for each variation. I wonder 'how many more are there?', in other words ,they can lack a cogent shape to the overall work. But I don't find that with Brigg Fair. I think it is quite perfectly shaped.

I can't say exactly why I admire Anthony Collins' recordings so much.Maybe it's a subconscious thing, an affinity of personality, perhaps. He's one of the people from the past whom I'd like to have known personally. Its' well-known that he wrote and conducted a lot of film music, but less-well-known is his 'Hitchcock-style' appearances as a conductor in two of these films. In The Courtneys of Curzon Street he plays an unnamed conductor at a royal reception, but in Trent's Last Case he appears as himself, conducting the LSO with Moura Lympany in part of a Mozart concerto.

[Roger Webb]

I sometimes dislike variations, especially when they keep stopping and starting for each variation. I wonder 'how many more are there?', in other words ,they can lack a cogent shape to the overall work. But I don't find that with Brigg Fair. I think it is quite perfectly shaped.

I can't say exactly why I admire Anthony Collins' recordings so much.Maybe it's a subconscious thing, an affinity of personality, perhaps. He's one of the people from the past whom I'd like to have known personally. Its' well-known that he wrote and conducted a lot of film music, but less-well-known is his 'Hitchcock-style' appearances as a conductor in two of these films. In The Courtneys of Curzon Street he plays an unnamed conductor at a royal reception, but in Trent's Last Case he appears as himself, conducting the LSO with Moura Lympany in part of a Mozart concerto.

To redress the balance vis-à-vis your other favourite Brigg Fair conductor, Beecham appears in the Moira Shearer classic, The Tales of Hoffman.....

I don't think that Brigg Fair suffers from the fragmentation you mention that other variations do.....particularly with Delius's exceptional skill at orchestration, each one is varied and individual, and flowing seamlessly one into the next.....and of course the opening is so magical. No, I didn't mean to suggest I didn't 'like' it - it's just not my favourite Delius.

I played my Collins Eclipse LP first thing this morning...although I was captivated by the aforementioned opening it wasn't long before I found the limited sound quality (boxy and 'shouty'!) marred the enjoyment. I have all of Beecham's recordings in those two World Record boxes, SHB32 and SHB54, included in the first is his first Brigg Fair (reissued on Somm-Beecham 10), they are interesting historical documents, but none of them my first choice for any of the works.

My choice for Brigg Fair is Handley still.