Early concert overtures by Dukas.

[alberto]

I attempt, as a simple listener and fan, to reply to Lionel Harrsion (whom I thank for his precious work) about Dukas' early Goetz de Berlichingen .LH talked about in re: Percy Sherwood, reply 17, 31/3/11.
"Goetz" overture (1884), like the earlier and much longer "Le Roi Lear" (1883) appears to me the work of a much talented young (aged 18-19) under the un-direct influence (like a lot of contemporary French music) of Franck (Interlude from Rédemption-1872; Les Eolides-1876; Le Chausseur Maudit -1882). Even the more assured and mature Polyeucte overture (1891) appears to reflect that "spirit of time" more than being a very personal utterance (Dukas was then aged 26; in the meantime Franck had composed Psyché and the Symphony).
The "true" and great Dukas, in my opinion, appears with the Symphony (1896).

[Ilja]

Goetz de Berlichingen (after Goethe) was written in the same year as Le Roi Lear, 1883 (both have been released on a Sterling disc in an excellent rendition under the helm of Fabrice Bollon, by the way) and it is remarkable how much 'Dukasian' the latter already is in the type of harmonies that the work contains. It is still showing Franck's spell, but much less markedly. Both are very enjoyable, though.

[alberto]

I quoted the years of composition from a (very, very old: Dukas was living) text I had ready on my desk, and not by the Sterling CD (which I own and treasure).
If Ilja is (like I suppose) author of the notes about the overtures (and of the booklet design) for the Sterling CD I thank him a lot!

[Ilja]

Thanks, Alberto. I was really pleased with the recording; it is one of those occasions where a provincial orchestra (which isn't half bad to begin with, by the way) really rises above itself to produce something exceptional. Even the Symphony, for which there is a fair bit of competition, is at least at a par with most that I've heard.