Strube, Gustav (1867-1953) Symphony in B minor (1910)

[eschiss1]

Descriptive program notes to a January 1912 performance of the B minor symphony by the BSO. (Worldcat searches reveal BSO program notes to other works by Strube and others from concerts from that period. Interesting, I think.)

[John Boyer]

Any sign of score or parts or even reduction of the C minor?

Not that I know of.  But I can say that the work is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.  The first movement begins with a slow introduction, Grave e molto moderato in C minor (3-4 time), which opens with some strong chords in the brass, interspersed with syncopated high C.'s in the wood-wind and trumpets, and triplet calls in the horns and first trombone.

[John Boyer]

You can download a PDF of the program notes, along with notes for performances of the Raff 5th Symphony (April 10, 1896) and Rubinstein 4th (March 20, 1896) here: BSO Notes 1895-1896

[Gareth Vaughan]

The MARC record at Fleisher shows that the work they hold described as "Symphony"  (no key given) is the Lanier symphony. So no luck with the C minor there, I'm afraid.

[eschiss1]

I should check to see, btw, if Sibley would be willing to digitize some of the Strube scores they haven't yet- they have (to stick with works published before 1928) his violin sonata in E minor, violin concerto in B minor (reduced), viola sonata, 4 Little Mood Pictures (in digitizing process), and other works.

[Mark Thomas]

I'm really not sure what to make of this symphony. First, maybe superficial, impressions are positive: it's a fantastic piece of orchestration (great work, Martin, in making that so clear), the thematic material is mostly memorable, it's often quite an exciting listen and on this showing Strube was taking on board the contemporary musical aesthetic (particularly in the slow movement and the finale). On reflection, though, I'm left with an impression of incoherence and lack of rigour, as if Strube has too many ideas, not too few. His themes are easily retained in the moment but also rather trite, so I suspect they'll not be remembered for long. The big outer movements are undisciplined and have a great, arguably way too much, variety of mood and character, so one enjoys the moment but loses whatever musical thread there is. The best movement is the slow, second one because in it Strube reins in the waywardness he's prey to in the three faster ones and maintains a mood and thematic consistency throughout. All in all attractive, but some way from being great, music. 

[Reverie]

A decent summary Mark (and Alan too for your views) I'd also like to add that maybe some of the themes are over simple, a few notes wavering within a range of minor third for example.

[Alan Howe]

Till Eulenspiegel meets Charles Ives, perhaps? With Havergal Brian somewhere in the mix?