Peep Show From No. 1 2001 Pdf

Richard Wetz's ultra-conservative Third Symphony, like his second, resembles sort of a cross between Bruckner and Max Bruch. Not that this explains anything useful. One thing's for sure, though: Wetz writes beautiful music. His themes sing, stay with you when listening, and offer clearly contrasting moods and images. While never calling attention to itself in an ostentatious manner, Wetz's orchestration elucidates his musical arguments with perfect clarity and efficiency. His harmony, both diatonic and tastefully chromatic, is gorgeous. There's more than a touch of Schubert in his mixture of major and minor modes, and he knows how to use both discrete dissonance and fluid rhythms to carry his melodies across the bar lines. In short, the guy knows how to write symphonically, and if he now appears to have been born a generation or more too late (the piece dates from 1922 but sounds more like 1872), that need not concern us now.

Richard Wetz's ultra-conservative Third Symphony, like his second, resembles sort of a cross between Bruckner and Max Bruch. Not that this explains anything useful. One thing's for sure, though: Wetz writes beautiful music. His themes sing, stay with you when listening, and offer clearly contrasting moods and images. While never calling attention to itself in an ostentatious manner, Wetz's orchestration elucidates his musical arguments with perfect clarity and efficiency. His harmony, both diatonic and tastefully chromatic, is gorgeous. There's more than a touch of Schubert in his mixture of major and minor modes, and he knows how to use both discrete dissonance and fluid rhythms to carry his melodies across the bar lines. In short, the guy knows how to write symphonically, and if he now appears to have been born a generation or more too late (the piece dates from 1922 but sounds more like 1872), that need not concern us now.

Richard Wetz's ultra-conservative Third Symphony, like his second, resembles sort of a cross between Bruckner and Max Bruch. Not that this explains anything useful. One thing's for sure, though: Wetz writes beautiful music. His themes sing, stay with you when listening, and offer clearly contrasting moods and images. While never calling attention to itself in an ostentatious manner, Wetz's orchestration elucidates his musical arguments with perfect clarity and efficiency. His harmony, both diatonic and tastefully chromatic, is gorgeous. There's more than a touch of Schubert in his mixture of major and minor modes, and he knows how to use both discrete dissonance and fluid rhythms to carry his melodies across the bar lines. In short, the guy knows how to write symphonically, and if he now appears to have been born a generation or more too late (the piece dates from 1922 but sounds more like 1872), that need not concern us now.

Richard Wetz's ultra-conservative Third Symphony, like his second, resembles sort of a cross between Bruckner and Max Bruch. Not that this explains anything useful. One thing's for sure, though: Wetz writes beautiful music. His themes sing, stay with you when listening, and offer clearly contrasting moods and images. While never calling attention to itself in an ostentatious manner, Wetz's orchestration elucidates his musical arguments with perfect clarity and efficiency. His harmony, both diatonic and tastefully chromatic, is gorgeous. There's more than a touch of Schubert in his mixture of major and minor modes, and he knows how to use both discrete dissonance and fluid rhythms to carry his melodies across the bar lines. In short, the guy knows how to write symphonically, and if he now appears to have been born a generation or more too late (the piece dates from 1922 but sounds more like 1872), that need not concern us now.

Joseph Keilberth conducts Mozart’s Symphony No. 40 with a stern lyricism not unlike that found on George Szell’s Cleveland recording. Keilberth’s quick tempos, sensitive yet unsentimental phrasing (particularly so in the first movement), and clear textures make the music sound with a compelling freshness and vibrancy that you would better expect from a modern authentic-style performance than one from December, 1966. If anything, the Brahms Second is even finer. A wholly natural flow characterizes this reading, as if the music were a living thing, devoid of any need for interventionist interpretation. Under Keilberth the first movement’s melancholy tinged with joyfulness emerges freely, while the Adagio emerges as a single rapturous, cogent paragraph. Even the studied finale relaxes and sounds less rigorously Beethovenian.

The Dutch are way too hard on themselves. So far, Chandos has released three discs (including this one) in its ongoing Dutch composers series featuring the Residentie Orchestra of The Hague, and all three have been excellent. And yet, the writer of the booklet notes treats this music as if listening to it were some kind of penance. He should take a lesson from his English colleagues, who indiscriminately promote any piece of native trash as God’s gift to the world of music. Well, maybe he needn’t go quite that far.

Joseph Keilberth conducts Mozart’s Symphony No. 40 with a stern lyricism not unlike that found on George Szell’s Cleveland recording. Keilberth’s quick tempos, sensitive yet unsentimental phrasing (particularly so in the first movement), and clear textures make the music sound with a compelling freshness and vibrancy that you would better expect from a modern authentic-style performance than one from December, 1966. If anything, the Brahms Second is even finer. A wholly natural flow characterizes this reading, as if the music were a living thing, devoid of any need for interventionist interpretation. Under Keilberth the first movement’s melancholy tinged with joyfulness emerges freely, while the Adagio emerges as a single rapturous, cogent paragraph. Even the studied finale relaxes and sounds less rigorously Beethovenian.

Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets, and Heine. The Deutsche Schubert-Lied-Edition presents all Schubert’s Lieder, over 700 songs, grouped according to the poets who inspired him. Thanks to the Bärenreiter’s Neue Schubert-Ausgabe (New Schubert Edition), Tübingen, which uses primary sources, the performers have been able to benefit from the most recent research of the editorial team.

We remember Anton RUBINSTEIN as an outstanding pianist who rivalled, and even outshone, Liszt. He gave his first public concert when aged 10 and toured Scandinavia, Austria, Germany, London and Paris as a child virtuoso…
Symphony No. 1 in F Major is a charming and well-crafted work, written at a time when Rubinstein was in St Petersburg, being supported by the Grand Duchess Elena Pavlovna, sister-in-law of the Tsar. The work has strong influences of Mendelssohn (who died three years previously) with a clear framework, memorable themes and dynamic rhythms. This symphony combines technical skill with romantic charm.

This disc is intended to introduce a collection of keyboard instruments in Edinburgh, Scotland, but actually it accomplishes much more. The instruments featured here were built all over Europe, with the majority from the British Isles or France. They date from between 1586 and 1810, with the first example being an Italian virginal and the final one a fortepiano. Along the way come harpsichords of various kinds, a clavichord, and a small organ. Brief but relevant and engaging histories are given for each instrument.