I suspect many of us who don’t know Wellesz’s music appreciate him for an entirely different reason. In the years BC (Before Classics Today on RUclips), many of us got to know obscure works and composers on a RUclips channel named Wellesz Theater, run by a European music enthusiast unknown to me. I don’t think the account has posted in the last several years, but all of those glorious videos remain online for our enjoyment, usually accompanied by a still shot of fascinating art for the video image. Kudos and thanks to whoever that content poster may be. Now, far past time for me to give these works a listen.
thank you mr urwitz for making us continually discover these new music which most often are discoveries for us. the classical repertoire is so vast, and that's what is interesting is to know this music which is , often proves to be of greater interest and which changes us from the usual repertoire
I am greatful for this discussion on Wellesz. He did a lot for music education back in the day. I agree that on the macro scale, his music is not memorable. However, individual moments shine like gold and I find them worthy for these moments alone. His Mass in F is a favorite as well as his wonderful Piano Concerto. An earlier commenter noted the tone poem which I agree is glorious as well. A last note worth discussion is his use of the traditional concert orchestra for most of his works. It is very impressive that he manages such a rich tone pallet using the traditional instrumentation.
Thanks again, Dave. You have piqued my curiosity about another unfamiliar name and I have just ordered Wellesz's 4,5 and 7 from Amazon. I enjoy the Viennese post-romantics like Zemlinsky and Korngold and hope this will give similar satisfaction. Thanks also for highlighting Joseph Jongen. I recently acquired a record of his Sinfonia Concertante for organ coupled with two viola and orchestra pieces and love them.
Where would music lovers be without adventurous companies like cpo (and others) rescuing obscure composers from total oblivion? Love them or loathe them, we have opportunities to sample works outside the mainstream and broaden our horizons.
Wellesz is interesting, you're right. My problem with him is that his output is so uneven. The 6th an 7th are masterpieces, but there is the 8th also... Strange case: When I hear his music, I want badly to be able to remember his tunes or themes, but I don't manage. His best work for orchestra seems to me "Prosperos Beschwörungen", kind of a tone-poem-symphony about Shakespeare's "The Tempest". Two of his operas have been recorded: "Die Bacchantinnen" (2 times, one historical, one more recent in a concert) and "Die Opferung des Gefangenen". These operas are in my view his greatest works: In both, Wellesz uses strong rhythms and polytonal counterpoint with huge chord-pillars, which remind me always on Honegger. The recording of the symphonies, as you said, is absolutely recommendable, but if one likes more a style somewhere between Strauss, Mahler and Holst, one should try "Prosperos Beschwörungen".
These lesser-known repertoire talks are very informative. Would you consider doing one on Ferenc Farkas? Toccata has devoted a whole series to his works, many of which are very enjoyable. They could use some exposure.
It's important to mention that from the 4th Symphony onward, Wellesz's symphonies started to become quite a bit more harmonically "thorny". I've sampled a few of the later ones and found them rather "arid" and unappealing to my ears. However, I greatly enjoy the first three symphonies, which, like you say, often sound like "updated" Bruckner or Mahler without being overly derivative. The 1st has a particularly poignant closing Adagio, and the 3rd is a big-boned, imposing work which is probably his most successful symphony overall. Wellesz also has some very fine chamber works such as his String Quartet no. 3 and Octet.
At some point I’d like to hear your thoughts on Pleyel. You have mentioned him briefly before, but I’ve not heard you discuss him at length. Like Boccherini, I think he is unjustly neglected. Anyway, interesting video AS ALWAYS!!!
Agree completely although slow mvt of 2nd sym has one of the most glorious melodies I've ever heard: woodwind theme taken up by violins. Searingly melodically beautiful.
I suspect many of us who don’t know Wellesz’s music appreciate him for an entirely different reason. In the years BC (Before Classics Today on RUclips), many of us got to know obscure works and composers on a RUclips channel named Wellesz Theater, run by a European music enthusiast unknown to me. I don’t think the account has posted in the last several years, but all of those glorious videos remain online for our enjoyment, usually accompanied by a still shot of fascinating art for the video image. Kudos and thanks to whoever that content poster may be. Now, far past time for me to give these works a listen.
Exactly!
Excellent overview of a composer I had never heard of. I am impelled to start of listening. Thanks, Dave.
thank you mr urwitz for making us continually discover these new music which most often are discoveries for us. the classical repertoire is so vast, and that's what is interesting is to know this music which is , often proves to be of greater interest and which changes us from the usual repertoire
I am greatful for this discussion on Wellesz. He did a lot for music education back in the day. I agree that on the macro scale, his music is not memorable. However, individual moments shine like gold and I find them worthy for these moments alone. His Mass in F is a favorite as well as his wonderful Piano Concerto. An earlier commenter noted the tone poem which I agree is glorious as well.
A last note worth discussion is his use of the traditional concert orchestra for most of his works. It is very impressive that he manages such a rich tone pallet using the traditional instrumentation.
Thanks again, Dave. You have piqued my curiosity about another unfamiliar name and I have just ordered Wellesz's 4,5 and 7 from Amazon. I enjoy the Viennese post-romantics like Zemlinsky and Korngold and hope this will give similar satisfaction. Thanks also for highlighting Joseph Jongen. I recently acquired a record of his Sinfonia Concertante for organ coupled with two viola and orchestra pieces and love them.
Where would music lovers be without adventurous companies like cpo (and others) rescuing obscure composers from total oblivion? Love them or loathe them, we have opportunities to sample works outside the mainstream and broaden our horizons.
Wellesz is interesting, you're right. My problem with him is that his output is so uneven. The 6th an 7th are masterpieces, but there is the 8th also...
Strange case: When I hear his music, I want badly to be able to remember his tunes or themes, but I don't manage. His best work for orchestra seems to me "Prosperos Beschwörungen", kind of a tone-poem-symphony about Shakespeare's "The Tempest".
Two of his operas have been recorded: "Die Bacchantinnen" (2 times, one historical, one more recent in a concert) and "Die Opferung des Gefangenen". These operas are in my view his greatest works: In both, Wellesz uses strong rhythms and polytonal counterpoint with huge chord-pillars, which remind me always on Honegger.
The recording of the symphonies, as you said, is absolutely recommendable, but if one likes more a style somewhere between Strauss, Mahler and Holst, one should try "Prosperos Beschwörungen".
In case you are searching for it, note the spelling "Die Bakchantinnen"
These lesser-known repertoire talks are very informative. Would you consider doing one on Ferenc Farkas? Toccata has devoted a whole series to his works, many of which are very enjoyable. They could use some exposure.
I was wondering what you think about the symphonies of Hans Gál who lived a sort of parallel life with Wellesz.
It's important to mention that from the 4th Symphony onward, Wellesz's symphonies started to become quite a bit more harmonically "thorny". I've sampled a few of the later ones and found them rather "arid" and unappealing to my ears. However, I greatly enjoy the first three symphonies, which, like you say, often sound like "updated" Bruckner or Mahler without being overly derivative. The 1st has a particularly poignant closing Adagio, and the 3rd is a big-boned, imposing work which is probably his most successful symphony overall. Wellesz also has some very fine chamber works such as his String Quartet no. 3 and Octet.
At some point I’d like to hear your thoughts on Pleyel. You have mentioned him briefly before, but I’ve not heard you discuss him at length. Like Boccherini, I think he is unjustly neglected. Anyway, interesting video AS ALWAYS!!!
I got this box, one of CPO's great wonders. I'll give 4, 6, 7 a go.
Agree completely although slow mvt of 2nd sym has one of the most glorious melodies I've ever heard: woodwind theme taken up by violins. Searingly melodically beautiful.
Hi Dave, I don’t really rate any of his symphonies, though I do love the SQs and the Prosperous and Browning pieces.
I was certainly aware of him, but that's all.
I get the impression his piano music and string quartets are more successful. His thinner textures are fresh and clear and beautiful.