Heard this on my classical radio station a few days ago and was enthralled. How many of us have sat in our cars in the driveway on getting home with the engine running, because we couldn't stop listening to something?
What a striking and unique work, with some of his trademark sounds and a new freedom that feels both structural and tonal. It is a shame, but not a surprise, that a work so well regarded at the time of it's premiere has not become part of the repertoire.
I first heard this wonderful symphony nearly 70 years ago on a disc recording. Today I love it as much as I did on that first hearing! Today, thanks to youtube, we can listen to so many of Martinu's great compositions.
It seems to me that the Czech were among the greatest innovators in the early 20th century. How Martinu, Pavel Haas and Schulhoff stay usually unmentioned goes somewhat beyond my understanding.
La menos convencional de todas sus sinfonías, con una orquesta más reducida en cantidad de instrumentos pero que a la vez está tan llena de extrañas atmósferas y timbres sonoros que parece mucho más expansiva. Excelente final de un gran ciclo.
The string of cliche illustrations in the video is exactly why too many think almost all modern-contemporary classical music "sounds like its from a horror / suspense / sci-fi film."
Alex Ross of the New Yorker in surveying the symphony post Mahler opined that many of the symphonies written in the last century sound like vast landscape paintings...I think the truth of what you say about horror/suspense/sci-fi genres is that as far as playing techniques and the emphasis on timbre over pitch, there is very little separating what is happening in contemporary classical music with cinematic music...so they all basically have chucked form for atmospherics...as the serialists learned the hard way, it is not as easy to write strong developed music without tonality. And the novelty of the odd cannot replace the grace, beauty and structural possibilities that result from tonality. So for me, the highbrow schematics for all their showy notation...are creating little more than mood music....However that does not apply to Martinu whose music is truly symphonic.
Heard this on my classical radio station a few days ago and was enthralled. How many of us have sat in our cars in the driveway on getting home with the engine running, because we couldn't stop listening to something?
might want to at lerast turn the engine off...but yeah, this is one of his finer compositions.
I like the convention of using these colourful fantasy-like or whatever pictures as a background for classical music videos.
What a striking and unique work, with some of his trademark sounds and a new freedom that feels both structural and tonal. It is a shame, but not a surprise, that a work so well regarded at the time of it's premiere has not become part of the repertoire.
I first heard this wonderful symphony nearly 70 years ago on a disc recording. Today I love it as much as I did on that first hearing! Today, thanks to youtube, we can listen to so many of Martinu's great compositions.
It seems to me that the Czech were among the greatest innovators in the early 20th century. How Martinu, Pavel Haas and Schulhoff stay usually unmentioned goes somewhat beyond my understanding.
Endeed
La menos convencional de todas sus sinfonías, con una orquesta más reducida en cantidad de instrumentos pero que a la vez está tan llena de extrañas atmósferas y timbres sonoros que parece mucho más expansiva. Excelente final de un gran ciclo.
A fabulous, immersive apocalypticon!
I found this work intense and engaging.
Harmony is shining . Impecable ink paper sound soul classic and stylish orquestal draw sound. Danke 👍🏻
Wow this was a great discovery on my part!! I have his piano concerto. Wanted check out other things. I'm putting this in heavy rotation.
This feels great and thrilling!
The string of cliche illustrations in the video is exactly why too many think almost all modern-contemporary classical music "sounds like its from a horror / suspense / sci-fi film."
Alex Ross of the New Yorker in surveying the symphony post Mahler opined that many of the symphonies written in the last century sound like vast landscape paintings...I think the truth of what you say about horror/suspense/sci-fi genres is that as far as playing techniques and the emphasis on timbre over pitch, there is very little separating what is happening in contemporary classical music with cinematic music...so they all basically have chucked form for atmospherics...as the serialists learned the hard way, it is not as easy to write strong developed music without tonality. And the novelty of the odd cannot replace the grace, beauty and structural possibilities that result from tonality.
So for me, the highbrow schematics for all their showy notation...are creating little more than mood music....However that does not apply to Martinu whose music is truly symphonic.
marvelous!