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Charles Villers Stanford Symphonies /Vol.3

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Produits fréquemment achetés ensemble

Charles Villers Stanford Symphonies /Vol.3 + Symphonie N°1 - Concerto Pour Clarinette + Symphonies /Volume 2
Prix pour les trois: EUR 21,15

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TitreArtiste Durée Prix
  1. Symphony No. 6 in E flat major, Op. 94, "In Memoriam G.F. Watts": I. Allegro con brioBournemouth Symphony Orchestra 8:10Album uniquement
  2. Symphony No. 6 in E flat major, Op. 94, "In Memoriam G.F. Watts": II. Adagio e molto espressivoBournemouth Symphony Orchestra14:00Album uniquement
  3. Symphony No. 6 in E flat major, Op. 94, "In Memoriam G.F. Watts": III. Scherzo and Trio: Presto -Bournemouth Symphony Orchestra 4:48EUR 0,99  Acheter le titre 
  4. Symphony No. 6 in E flat major, Op. 94, "In Memoriam G.F. Watts": IV. Moderato e maestosoBournemouth Symphony Orchestra10:27Album uniquement
  5. Symphony No. 3 in F minor, Op. 28, "Irish": I. Allegro moderatoBournemouth Symphony Orchestra12:28Album uniquement
  6. Symphony No. 3 in F minor, Op. 28, "Irish": II. Allegro molto vivaceBournemouth Symphony Orchestra 6:56EUR 0,99  Acheter le titre 
  7. Symphony No. 3 in F minor, Op. 28, "Irish": III. Andante con motoBournemouth Symphony Orchestra11:56Album uniquement
  8. Symphony No. 3 in F minor, Op. 28, "Irish": IV. Finale: Allegro moderato con fuocoBournemouth Symphony Orchestra11:15Album uniquement

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Description du produit

Completed in 1887, Stanford's Irish Symphony enjoyed immediate and widespread success, continuing to be played well into the twentieth century. The Irish subtitle indicates its frequent deployment of folk-tunes as melodic material, although the work never strays far from the Austro-German symphonic tradition. The 1905 Sixth Symphony, by contrast, received only two hearings before succumbing to an eighty-year oblivion. The subtitle, In honour of the life-work of a great artist: George Frederick Watts , is important: Watts (1817-1904) was among the most lauded British artists of his era and Stanford's work, if not overtly programmatic, was influenced by instances of Watt s legacy for example the equestrian statue in Kensington Gardens, London.


David Lloyd-Jones proves an undisruptive, clear-headed guide, while the playing of the Bournemouth SO has an extra finish, buoyancy and lustre that tip the scales in his favour. --Gramophone

These are remarkably confident and assured performances, paced by David Lloyd-Jones' firm, experienced hand. --BBC Music Magazine

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The Best of Stanford the Symphonist 26 juin 2008
Par M. C. Passarella - Publié sur Amazon.com
Format: CD Achat vérifié
Given the price and the program, this CD provides about the best imaginable introduction to symphonic Stanford. First of all, it contains far and away Stanford's most popular symphony, No. 3, the Irish. It also contains one of his least popular, the Sixth, which lapsed into obscurity shortly after its premiere in 1905. But wait a moment: the Sixth is also conservative old Sir Charles at his most inventive and nontraditional. Not that the sound world Stanford creates is a wit beyond that you'd find in a symphony by Brahms or Max Bruch. But it has some features that show Stanford wasn't letting any moss grow on him either.

For instance, the first movement breaks forth immediately with a quirky, bounding theme with lots of off-rhythms. The first theme dominates the short movement, making it seem almost monothematic and imparting an air of nervous energy to the whole.

The second movement, with its plaintive English horn melody over harp arpeggios is thus in striking contrast. More contrast with the tiny scherzo, again jumpy, almost fragmentary in nature. It has a more modern stamp to it than the rest of the symphony and leads cleverly into the finale by way of a minor-key anticipation of the finale's first theme. Trumpet flourishes also anticipate the last movement's martial nature. The aforementioned first theme is a lively march that sounds unfortunately like an up-tempo version of the hymn tune "Fairest Lord Jesus." Oh, well, Stanford is best known for his church music, so maybe he's just showing his roots here.

Fueled by that march, the finale jogs along with relentless energy until, surprise, it slows to an elegiac moderato that intertwines the finale march tune with the English horn melody of the second movement, a subtle and effective approach to cyclic form. If slow endings are the kiss of death, this may explain the symphony's lack of a following over the years. But popular or not, it may be Stanford's finest.

The Irish Symphony is distinguished by its melodiousness, and Stanford symphonies are short on memorable melodies generally, so this might be what sold it to audiences originally. But there is drama, too, in Stanford's working out of his themes. The first movement development section, for example, works itself to a fine pitch over the darkly potent first melody. The scherzo is a sprightly Irish jig--can't go wrong there. However, the best movement is the last, with a march-like first tune that's not only worth whistling but gives real impetus to the whole, right through to the rousing final pages.

No great music here maybe. But then the best of Charles Stanford is by no means negligible, and there is much to admire in these two fine symphonies.

The performances, if anything, are better than those on Volume 1, featuring Stanford's Symphonies 4 and 7. David Lloyd-Jones has the Bournemouth Symphony playing at about the top of their game, a very committed effort from all concerned. And the sound has a mutton-and-potatoes hardiness about it that suits this music well, the bass firm and robust, the brass and timpani nicely prominent throughout.
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