Music by Max d'Ollone (1875-1959)

[Richard Moss]

A long time has passed I think since we last discussed Max'd'Ollone but I thought members might be interested in some new recordings (on YOUTUBE),performed by the William and Mary Symphony Orchestra (in Virginia). 

The conductor, David Grandis, has been working with Max's grandson Patrick to bring to life works never heard of either for a long time or at all.

The works I've found so far are:
LES VILLES MAUDITES (also on Bru Zanes'release, I believe), LES FUNÉRAILLES DU POÈTE and LE TEMPLE ABANDONNÉ (these last two are stated to be world premier performances (excluding their original outings a century ago'.

Haven't yet listened but having enjoyed his previously released orchestral works, I'm hoping these too are as entertaining.

As well as the YOUTUBE notes accompanying the videos, there is some further background to be found via this link:

https://florentschmitt.com/2019/09/04/french-american-conductor-david-grandis-talks-about-discovering-the-music-of-french-composer-max-dollone-and-championing-his-music-in-the-concert-hall/

Just a heads up for you but any additional details welcome if anyone has them.

Best wishes

Richard

[tuatara442442]

This post made me have a listen to his fantaisie for Pno & Orch. What a perfectly concise work. It has no rambling "filler" passages and dead spots.

[Ilja]

As is the Violin Concerto/Symphonic Poem Le Ménétrier (The Minstrel) from 1911.

Most of it I find very attractive, but unfortunately d'Ollone's orchestral works are rather difficult to get performed because of his unfortunate choices (in hindsight) of genre. The Fantaisie is too short at 13 minutes (alas, don't get me started about the demise of the Konzertstück); the scènes lyriques, orchestral songs, cantatas and chorales are uncommon genres for a modern concert hall; at just under 20 minutes, the wonderful symphonic poem Les villes maudites is really too long for the overture slot but too short to be the major orchestral piece of the evening (not even counting the required choir). Le Ménétrier may the only work I know of his to have a realistic shot at revival in the concert halls. That's a pity, because a lot of his music is tuneful and driven, yet contemplative in a way somewhere between Pierné and Tournemire. Of course, there's also quite a lot of chamber music, which is all just wonderful.