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I hear a lot of later Shostakovich"s "Eight" at the beginning

I would like to know if there is a transcription of this piece for wind band. If not, it would be a great one to do.

Bax seem to have written himself out of my heart. Had a fling for him when I was young... which passed.

Hola. Una obra interesante pero muy británica para reflejar el mundo mediterráneo y menos con ninfas y sátiros. Es un bosque feliz pero los ostinati iniciales que dan pado a la "danza" son oscuros y pesados. Después, los acordes masivos graves también algo rotundos. Falta luz por todas partes, me parece, a pesar de los pasajes impresionistas y saltarines que contiene. Musicalmente es interesante, sin duda, pero lo más destacable es lo menos feliz del bosque. Me refiero a la parte central. Hay cosas muy bien planteadas y bellas, pero de otra esfera cultural distinta. Como música en abstracto da lo mismo. La Canción de la tierra tiene de china menos que esto de mediterraneo pero es lo que es, inmensa. Que se estrenara enseguida puede tener que ver con esto. Pero muchas gracias. La he escuchado tres veces. De todo se aprende un poco o un mucho.

All nullified!💥🪐

0:28

I don't understand this lotus always grows in dirty waters and why are the bathing in it

Dedicated to the House De Ranitz🌚🪐🌑🌀

A piece I have neglected from Varese but listening to it, I should not have: quite wonderful

Great piece by Varese and shows his distinctive voice even without his trademark percussion writing

30:08 sublime mov.❤🎉

Una de mis preferidas de Anton Bruckner 🎉❤

Hermoso 💓 poema de Bax, gracias Sergio c.🎉

Otra obra de Bax que me parece interesantísima. Tiene una coherencia infrecuente y una división en planos sonoros muy bien resuelta. Muchas repeticiones o variaciones motívicas funcionan estructuralmente a favor de la coherencia. Me pregunto por qué este grupo de obras no se estrenó en su momento. Gracias

13:18🎺

Interesting to hear Delius' and Ravel's very different takes on nature combined in this piece.

At 27:14, Hovhaness quotes this theme at the beginning of his Symphony No. 53, "Star Dawn."

In the first minute you can hear a bit of 'Sing my tongue', composed by Venantius Fortunatus. I do not know if that was intentional but I'm guessing so.

Merrily majestic, definitely poetic...

A very atmospheric piece that I enjoyed. Thank you for the video

Bax poetic...

Now this is a fine German Symphony. A strong, hefty piece of music appropriate for 1890. This deserves to be performed in the concert halls. Program this symphony instead of the 1 millionth performance of Schumann , Mendelssohn, Johanass Brahms. As with any good German Symphony you have to hear it to conclusion to absorb the logic, development, and cohesion.

que velocidad maneja esta sinfonía 🧉

Mahler’s impressive contrapuntal technique is exhibited in the penultimate section of the movement where he interweaves the three thematic elements simultaneously on top of each other, demonstrating the painful coexistence of tragedy and triviality in life, a theme Mahler would continue to explore in later works. The movement ends as the funereal march gradually disintegrates. The movement is a representation of old folk story that was well-known among Austrian children in Mahler’s time: It tells of the burial of a hunter whose funeral procession is composed not of humans, but wild animals, including a bear, foxes, hares, a wolf, cranes and partridges, song-birds. The ironic and vulgar nature of the music reflects this tale. The fourth movement is written as a very free, large-scale sonata form. It begins with a dissonant and violent introduction, defined by Mahler as the outcry of a deeply wounded heart. In it are introduced the motives further developed later on, which were anticipated already in the first movement. An imperious and wilful main theme is presented in form of a rugged march. A despairing transition leads us to a deeply lyrical second theme on violins, full of melancholy and anguish. The ensuing development opens with menacing figures recalling the main theme, which is extensively transformed in an intensely stormy manner. Themes from all previous movements are included as well, bringing a cyclical unity to the work. Suddenly, on pianissimo strings and brass, a radiant and victorious theme briefly appears before being swept away. However, it returns in full force as a powerful fanfare. Material from the introduction of the first movement is then brought back. Fragments of the main themes appear, leading to an expressive passage for strings. The recapitulation then opens with the menacing main theme, reaching an explosive climax with fanfares of the trumpets. The victorious theme appears for the third and final time, bringing a triumphal conclusion before ultimately ending humorously with a quick octave drop.

The fourth movement is written as a very free, large-scale sonata form. It begins with a dissonant and violent introduction, defined by Mahler as the outcry of a deeply wounded heart. In it are introduced the motives further developed later on, which were anticipated already in the first movement. An imperious and wilful main theme is presented in form of a rugged march. A despairing transition leads us to a deeply lyrical second theme on violins, full of melancholy and anguish. The ensuing development opens with menacing figures recalling the main theme, which is extensively transformed in an intensely stormy manner. Themes from all previous movements are included as well, bringing a cyclican unity to the work. Suddenly, on pianissimo strings and brass, a radiant and victorious theme briefly appears before being swept away. However, it returns in full force as a powerful fanfare. Material from the introduction of the first movement is then brought back. Fragments of the main themes appear, leading to an expressive passage for strings. The recapitulation then opens with the menacing main theme, reaching an explosive climax with fanfares of the trumpets. The victorious theme appears for the third and final time, bringing a triumphal conclusion before ultimately ending humorously with a quick octave drop.

The full score and parts are published by Fortissimo Music Publications.

I have been really enjoying your Bax miniseries. Thanks for sharing.

Very great and beautiful poem

no one searched for this

Liszt was a strange mixture of great ideas and fraud. He was a Hungarian who actually headed the new Hungarian music Conservatoire in Budapest, yet spoke not a word of Hungarian. He spoke French and German, and was in fact an international figure very much at home in the salons of Paris. He was the first of the 'pop' star' musicians; women fainted when he played, and at least one man had a seizure when he performed his transcription of the Prelude and Liebestod from Tristan und Isolde. He was very creative as a composer, writing and inspiring the first symphonic poems, as well as two big programmatic symphonies. He held for the "fertilization of music by poetry. His fertilization of the Countess Marie D'Agoult resulted in the Faust Symphony and of Carolyn Sayn-Wittgenstein in the Dante Symphony and Wagner's second wife Cosima. He was a notable philanderer, yet ended up as a Franciscan cleric in minor orders. His music is actually of little musical value, His two piano concerti are dreadful works, as are so many of hos piano works. He is hardly a major composer, but his influence is undeniable.

Эта музыка показывает трагедию множества людей в сталинские времена, за внешним всеобщим показном энтузиазме и благополучии. Мне ещё очень близка 22 стмфония.

Spectacular music! Since Alastor is the spirit of solitude the way Myaskovsky implement this in music is beyond great to me. Notice this chords on harp at 1:10 . Sounds like clock: "tik, tak, tik, tak". What a perfect way to describe solitude! And then at the end this "clock" reappears and rhythm gets slower and slower. Myaskovsky knew how to make listener feel horror with just two notes. And this dramatic opening motive (D B G F Eb D....), it sounds like lyrical hero is overcoming some struggle. Notice how Myaskovsky accompanies it, he makes it clear that each new struggle is harder for our hero. Moreover this heroic motive has distinguishable predecessor which sometimes is just two chords. Closer to the end of the poem chromatic torture theme reappears, it fades away and predecessor of the heroic motive is heard but Myaskovsky doesn't give you heroic motive for one time. He gives you harsh chord on brass followed harsh chord on strings (almost like cat's hissing). Hero is not victorius

What an intense work…

Utterly fantastic. Incredible genius created this masterpiece. It rivals anything Tchaikovsky or Beethoven ever did and they too were fantastic. The orchestra and the sound recording is superb. I highly recommend it. Others who posted on this give numerous great comments and I share their views.

Excelente, gracias 🎉❤

No esperaba una obra tan interesante. Tendré que escuchar más. Tiene una peculiar coherencia, un desarrollo bien estructurado y personalidad, más allá de los parecidos.

A beautiful orchestral work, which reminds me of Strauss's Till Eulenspiegel. Thanks so much for brightening my morning.

I usually listen to Bax in the background but I always get invested in the music after. So enjoyable! Reminds me of the Spring Fire symphony as well!

The fourth movement is structured as a sonata-rondo. It opens with a funereal main theme in form of a march, introduced by the doublebass over the rhythm of the timpani. It is wholly derived from the popular round "Frère Jacques", but interpreted in a satirical way. It passes to multiple instruments before, eventually, being taken by the entire orchestra. A vulgar and ironic second theme is then introduced as a popular march from a Bohemian music band. These two highly contrasting elements are briefly developed, leading us to the middle section. A deeply lyrical third theme is presented by strings, using material from the lieder "Die zwei blauen Augen von meinem Schatz" of the "Lieder eines fahrenden Gesellen". The main themes are then recapitulated in succession. Mahler’s impressive contrapuntal technique is exhibited in the penultimate section of the movement where he interweaves the three thematic elements simultaneously on top of each other, demonstrating the painful coexistence of tragedy and triviality in life, a theme Mahler would continue to explore in later works. The movement ends as the funereal march gradually disintegrates. The movement is not directly related to the Titan narrative, instead is a representation of old folk story that was well-known among Austrian children in Mahler’s time: It tells of the burial of a hunter whose funeral procession is composed not of humans, but wild animals, including a bear, foxes, hares, a wolf, cranes and partridges, song-birds. The ironic and vulgar nature of the music reflects this tale. The fourth movement is written as a very free, large-scale sonata form. It begins with a dissonant and violent introduction, defined by Mahler as the outcry of a deeply wounded heart. In it are introduced the motives further developed later on, which were anticipated already in the first movement. An imperious and wilful main theme is presented in form of a rugged march. A despairing transition leads us to a deeply lyrical second theme on violins, full of melancholy and anguish. The ensuing development opens with menacing figures recalling the main theme, which is extensively transformed in an intensely stormy manner. Themes from all previous movements are included as well, bringing a cyclical unity to the work. Suddenly, on pianissimo strings and brass, a radiant and victorious theme briefly appears before being swept away. However, it returns in full force as a powerful fanfare. Material from the introduction of the first movement is then brought back. Fragments of the main themes appear, leading to an expressive passage for strings. The recapitulation then opens with the menacing main theme, reaching an explosive climax with fanfares of the trumpets. The victorious theme appears for the third and final time, bringing a triumphal conclusion before ultimately ending humorously with a quick octave drop. In the initial program, the beginning represents Hell in which Titan has fallen, the rest of the movement being his struggle towards Paradise, only interrupted by a reminiscence his carefree youth and loves. Instead of suicide and tragedy as with the end of the titan of the novel, Mahler brings redemption for the hero as he finally reaches Paradise in the triumphal end.

A tiny light dispels big darkness...

Astounding. I wonder if he heard Schubert's music, or vice versa - very improbable - but last movement is so Schubertian.

Many thanks for the magnificent performance of this very endearing symphonic poem.

beginning is very much like Prokofiev's Romeo and Juliet

@vicb4901 Gershwin? Wagner?? 😄 Actually this music is typically French! (Chabrier, Ravel, Poulenc, Satie, Sauguet, etc.) I'm Italian, btw.

Beautiful. As so many of Arnold Bax's compositions are. Uplifting, full of colour, energy and subtlety.

Foulds an absolute original the first part is exhilarating can only imagine it live. Also a wonderful picture.

Wow, When I lived in Seattle area, i went the Seattle SO and saw this performed in person. 1980's Better times.

Arnold Bax Luminous - shining even in the dark! The symphonic poem performed by the Ulster Orchestra skillfully creates an image of light that shines even after twilight, and no forces of darkness can overcome it! That is why it is brilliant, because it is not only about Ireland. ❤ thank you!!!

Ammiro molto Bryden Thomson e l'UO. Questa registrazione è magnifica.

This is the first time I listen to this work; I didn't know it before. What a pleasant surprise! I'm now being transported "into the twilight"! A beautiful experience.