Robert Hermann

[Alan Howe]

...which just shows how important it is to re-visit music after an initial hearing.

[eschiss1]

I should go back to the first symphony, which I haven't listened to as often as I have the 2nd.

I wonder too if the scores of his chamber music and other works at Basel library (or wherever else copies are found) are in performable condition (etc. ...), I admit still to curiosity about the piano trio, violin sonata, piano quartet, he wrote... (also the Concert-overture...)

[Alan Howe]

Agreed, Eric. It would be good to find out.

[Balapoel]

Keep in mind, the real gem of the 1st symphony is the 2nd movement (Grave).

[eschiss1]

the slow movements of each symphony ("Trauermarsch" of the first symphony, Andante of the second) were sold separately in reduction by Hofmeister so they may have had some additional currency (pun not intended) at the time...

[Mark Thomas]

Thanks so much for resurrecting this thread and provoking me to blow the dust off my CD and give it a spin. Wow! I can't think why I dismissed these two fine symphonies at first hearing. Yes, an individual and often thrilling way with the orchestra: echoes of Bruckner in the frequent massed brass writing, but also a pastoral innocence about the writing in places, which I found quite beguiling. I was reminded of Volkmar Andreae's Symphony here and there too, but it's presumably just a general stylistic commonality as Andreae's work post-dates Hermann's Second by 15 years or so. Melodically, Hermann is no slouch, but neither is he too profligate with his material. All in all, both works make for very rewarding listening.

[Alan Howe]

I'm glad my ears weren't deceiving me!

Seriously, though, I'm going to have to dig out some other CDs that I probably listened to with half an ear first time round.

[Mark Thomas]

Yep, I made the same resolution.

[petershott@btinternet.com]

Rather tickled by these admissions of fallability from well-practised and experienced judges in coming to their initial views! And rather glad, because when I first heard these two symphonies (via the present disc) I thought them very good indeed and wondered about my own judgment-making when I then read critical views.

I'd very much like to hear other Hermann works. Must do some sniffing about. Is there, for example, any good chamber music?

[Alan Howe]

...admissions of fallability*...

Perish the thought. Probably just had indigestion that day. 

*I'm sure you mean 'fallibility'. Ironically...

[jerfilm]

Ineligible for a papal wave.......

[Mark Thomas]

admissions of fallability from well-practised and experienced judges

Even Jove nods, m'boy!

[Balapoel]

I'd very much like to hear other Hermann works. Must do some sniffing about. Is there, for example, any good chamber music?

Here are his chamber and piano works - unfortunately I know of no recordings. Eric?
2   In Philistros. 5 Tonstücke f. Pfte.   1895
3.1   Romanze for violin and piano   1895
3.2   Scherzino for violin and piano   1895
6   Piano Trio in d minor   1895
   Petites variations pour rire for violin and piano (before 1900)   
9   Piano Quartet in f minor   1901
10   Berceuse for piano and cello   1900
12   Suite in c minor    for piano 1905
13   Violin Sonata in c# minor   1905

[Peter1953]

Both symphonies are – to my ears – very similar and belong to the most strange (late romantic, well, at least tonal) symphonies I've ever heard. They sound almost like a fanfare, but with strings added. Most remarkable and definitely a voice of its own. Beautiful? I still don't know.  But good to have listened to this CD again, thanks to this thread.

[Justin]

I read the booklet for this album where Hermann explains to a music journalist his methodology of writing music. In summary, he said he aimed for a consistent mood where the changes would be subtle, maintaining the same overall atmosphere. He felt that too much emphasis was placed on a "climax" and that gradual changes brought more color and emotion to the overall feeling of a piece. This fits in with his philosophy that as Nature gradually changes, so should music as it is an artful representation of Creation.

This is clear in his Second Symphony from the first to the second movement. You cannot deny that the same polyphonic mood has been kept, while also being distinct to build a sense of a journey. Perhaps even in the sense of viewing the same landscape in different seasons?

It is difficult to describe his music to someone who hasn't heard it. The closest sentence I can construct is to imagine the wind blowing through sun-soaked pastures, mingling with the nobility of grand mountain peaks. Yet one could apply this description to Bruckner, and come away with a different conclusion!

This is music I have not heard closely represented in any other form (only remotely Bruckner and Finzi), which is a shame due to not only Hermann's early death at the age of 43 in 1912, but also the start of the collapse of Romantic music after the First World War.

The music journalist's essay from 1909 in the booklet makes it clear that even back then, he recognized the originality of this composer and hoped that recognition would one day come. It takes more than one listen to appreciate it, and I am glad to hear that it has been rewarding to some of our members!