Your discovery of 2019

[Ilja]

Hello all,
As we have all survived Christmas by now (although in my case, barely) I wanted to ask you, as we did in earlier years, to give what you think is your biggest musical revelation of the almost-past year. By that I don't necessarily refer to a release from 2019, but your *personal* discovery of 2019, even if that concerns an earlier release.
To start things off: I still can't figure out how I missed the existence of Emanuel Moór's music for all these years, but I'm very glad those years of ignorance have ended. The chamber music, cello concertos and the single symphony I've heard are all of a quality that is frankly amazing.

[Kevin]

Mine are all operas: Ascanio(Saint Saens), Le tribute Zamora(Gounod) and Le Mage(Massenet)

[Alan Howe]

OK, friends: the thread title is 'Your Discovery of 2019' (singular!) That means: no lists - and please give your reason(s), otherwise your post will be deleted!

Kevin S: please could you choose one of the three operas and tell us why...

[kolaboy]

Chadwick's 2nd Symphony. May have been a combination of a beautiful night + a long drive but coming across this piece on the radio was a joy. I've not really given GWC much attention in the past - but I intend to henceforth.

[Wieland]

This is an easy one

My Discovery of the Year are definitely the 10 Symphonies of Fritz Brun conducted by Adriano. Before I only new Symphony 1. Since the Brilliant Box was published I have listened to each Symphony at least 3 times and found each rewarding. For me a major  addition to the symphony canon of the 20th century and therefore indispensible.

Wieland

[Alan Howe]

Probably Moór's Symphony No.2. As I wrote before: what I think is most obvious about Symphony No.2 is its memorability. This is really strong stuff: the first movement evinces a real sense of direction and thrust, there is plenty of variety of mood, the orchestration is consistently interesting and thematically it has a higher profile than the (admittedly few) other orchestral works of Moór's that we have heard. Overall, it sounds as though this is music that he really 'meant'. 

But I might choose something different tomorrow as the year has been full of surprises. Good job the thread's subject is singular...

[FBerwald]

My choice will probably make people here groan... but its Raff Symphony No. 7 - Reason - the only symphony so far (I've yet to go through the entire cycle) where the momentum / material of all the four movements have been satisfyingly on the same level imho. As I mentioned in previous threads reg. this work, the finale of many of Raff's symphonies that start out spectacular comes out as less inspired. I suspect as a very knowledgeable member here mentioned, conductors so far have not been able to do them justice and we shall have to wait and see. The Finale of 7th keeps up with the (sometimes bucolic) charms of the other 3 movements.

[Kevin]

Ascanio. Although I enjoy Samson et Deliah and Henry viii I've always had some doubts about them as operas and his abilities as an theatrical composer. These doubts were washed away when I listened to Ascanio four times in a row because I enjoyed it so much. It's without a doubt his most dramatic score and he paces the work nicely from beginning to end. I was really surprised and blown away by the opera, my expectations going in were quite low I must admit... happily I was rewarded with a magnificent work. Its filled with beautiful melodies and rich orchestration too, couldn't ask for a better performance to on B records IMO. In sum, my favourite work of 2019.

[Alan Howe]

Thanks! Great!

[Justin]

Mine would have to be Glière's third symphony, Ilya Muromets. There is so much to unpack that it requires multiple listens to barely get your head around it. The orchestration is luxurious and is one of those monumental symphonies that should be played more often in concert halls requiring a powerful piece.

However, Raff's 7th Symphony would be a close second, so I completely understand FBerwald!

[razorback]

My candidate for best discovery of 2019 is Hans Pfitzner's Piano Quintet.  A musical conservative, there is very little of Pfitzner's output that is outside the remit of UC.  The Quintet's opening movement is decidedly Brahmsian but to my ears is eerily similar to Mahler's juvenile Quartet for Piano & Strings.  Both pieces are dark, brooding, and laden with psychic conflict.

I have three cd's containing Pfitzner's quintet.  The stablemate on all three is his Sextet for clarinet, string trio, double bass & piano.  The Sextet occupies a different sound world but is the perfect compliment to the quintet.  The CD by Ensemble Ulf Hoelscher has been in constant rotation on my player of late along with an earlier iteration of the same music on a Preiser CD.  That CD features Leopoldo Wlach and members of the Vienna Konzerthaus Quartet with Walter Kamper on piano.  I enjoy comparing one with the other.  I also have a third CD of this music by the Consortium Classicum on Orfeo.

I have tried to find reference to this music on UC but if it is there, it escapes me.  Plenty of Pfitzner but most is orchestral.  I would appreciate any feedback fellow UC members can provide.

[Alan Howe]

Thanks for reminding us of Pfitzner's giant (ca. 46-minute) Piano Quintet. What a candidate that would be for orchestration! I can't help sensing that this (magnificent) music is bursting its chamber music bounds!

[alberto]

My discovery for 2019 may be the Violin Sonata op.27 (1918) by Hans Pfitzner; a work whose acquaintance I have made quite recently through an elderly (2000) MDG release.
Admirable blend of impeccable craftmanship and beauty , and richness, of melodic invention (the latter I have not always associated with Pfitzner, whose knowledge by me is anyway far from great).

[Martin Eastick]

Although I have had a certain involvement with it - and therefore admit a certain slight bias, my "discovery"  for 2019 has to be Moszkowski's "Johanna d'Arc". I had the opportunity to listen to the work repeatedly over several weeks whilst working on the programme notes, and therefore would say that I am now quite well-acquainted with it and again have to admire Moszkowski in a role he certainly was more latterly not renowned for! Hopefully, further recorded instalments will reinforce his credentials as an orchestral composer of more than average inspiration as we can soon turn our attentions to his far-from-inconsequential orchestral suites, amongst other "goodies"!

[Alan Howe]

That was certainly one of the major highlights of 2019, Martin.