In another thread a certain interest was expressed in a 19th-century survey of symphonies I have started to explore. Rather than take that thread off topic I have started a new one, inspired by George P. Upton's "The Standard Symphonies: A Handbook," dedicated to Theodore Thomas and (c)1888 A. C. McClurg and Company, Chicago.
The volume immediately resolves any ambiguity attaching to its titular adjective: "The programmes of the concert-stage, running through a series of years, are sufficient to indicate what may be considered standard." The author admits to allowing one non-standard work into his canon: Beethoven's Choral Fantasie, opus 80. The following list of post-Beethoven symphonies, then, may be considered as ones that were not unsung in 1888 Chicago. At time of publication quite a few of the composers below were still alive. An asterisk below indicates that the composer was deceased.
*Berlioz: Symphonie fantastique and Harold in Italy
Brahms, Symphonies 1-4
Cowen, Symphony 3 (Scandinavian)
Dvorak, Symphony 3 [=6] in D
Gade, Symphonies 1 and 4
*Goetz, Symphony 1 in F
Goldmark, "Rustic Wedding"
Hofmann, Symphony (Frithjof)
*Liszt, Faust and Dante symphonies
*Mendelssohn, Symphonies 3, 4, 5
Paine, Symphony 2 (Spring)
*Raff, Symphonies 3, 5, 8
Rheinberger, Symphony 1 (Wallenstein)
Rubinstein, Symphonies 2 and 5
Saint-Saëns, Symphonies 3 [=2, a minor] and 5 [=3, c minor]
*Schubert, Symphonies 8 and 9
*Schumann, Symphonies 1-4
*Spohr, Symphony 4 (Consecration of Sound)
Stanford, Symphony 3 (Irish)
Sullivan, Symphony 1, e minor
*Volkmann, Symphony 1, d minor
*Wagner, Symphony, C major
The author appends discussion of "Symphonic Poems" by six composers:
Mendelssohn, "A Midsummer Night's Dream"
Liszt, "Les Préludes," "Tasso," "Festklänge," "Mazeppa," "Hunnenschlacht," "Todtentanz" [!]
Paine, "The Tempest"
Reinecke, "Hakon Jarl"
Moskowski, "Joan of Arc"
Saint-Saëns, "Rouet d'omphale," "Phaeton," "Danse macabre"
Particularly noteworthy, I think, is the inclusion of the Saint-Saëns c-minor symphony, premiered only two years before publication of this volume in Chicago. The boonies were not all that far off the beaten track, it seems. More important, perhaps, is the fact that the author had no doubts that this new work and also Brahms's newish symphony 4 were instant "standards."
Worthy of mention, also, are some of the composers missing from this list -- Tchaikovsky, for one. He was already well established on America's northeast coast, but apparently not in the heartland.
... Dvorak's symphonies were renumbered
3-->5, 1-->6, 2--->7, 4-->8, 5-->9. So "symphony 3" would be in F major, not D major or minor, and I would be in confusion.
(And Reinecke's Hakon Jarl was considered a symphonic poem, not, as he did, his 2nd symphony? That's interesting! Smetana's Hakon Jarl -is- a symphonic poem, but I didn't know Reinecke's was thought of as one.)
Hi Eric. The Dvorak enumeration _is_ interesting, as are the Saint-Saens numbers. The book makes it clear that the Symphony 3 referred to is in D Major, which is why I equated it with 6.
I thought of the Smetana, too, with respect to Hakon Jarl. The reason I put 'Symphonic Poems' in quotes was because of the Midsummer Night's Dream (less of a stretch) but especially because of Hakon Jarl and Liszt's concerto Todtentanz.
The first thing that I noticed was the exclusion of Tchaikovsky along with including Rubinstein. Now if we were to do it today it would be a 180 degree turnaround.
Tom
Sullivan's symphony is in E (major) rather than E minor.
I'm sharing the transcribed appendix which follows simply because I find it interesting for what it purports to be, a list of all important symphonies. With respect to publication dates especially, members will find inaccuracies that no doubt indicate difficulties faced by the compiler. Again, for me the value of the appendix lies in its vantage point and broad outline rather than in its most granular details -- though sometimes the inaccuracies themselves are suggestive and interesting.
* * * * *
APPENDIX
The following alphabetical list has been prepared with the view of presenting the reader a catalogue of all the important symphonies, with names of composers and dates of composition. It has been compiled with much care and labor, and it is believed will furnish musical students, as well as the general reader, with as complete and accurate a reference list as can be desired.
BARGIEL, WALDEMAR. No. 1, C major (1861).
BEETHOVEN, LUDWIG VON. No. 1, C major (1800); No. 2, D major (1802); No. 3, E flat (Heroic) (1804); No. 4, B flat (1806); No. 5, C minor (1808); No. 6, F major (Pastoral) (1808); No. 7, A major (1812); No. 8, F major (1812); No. 9, D minor (Choral) (1823); Battle SYmphony (1816); Choral Fantasie (1808).
BENEDICT, JULIUS. No. 1, G minor (1862).
BENNETT, WILLIAM STERNDALE. No. 1, G minor (1864).
BERLIOZ, HECTOR. Symphonie Fantastique (1830); Harold en Italie (1834); Romeo et Juliette (1839); Grand Symphonie Funèbre et Triomphale (1840).
BIRD, ARTHUR G. No. 1, A major (1886).
BRAHMS, JOHANNES. No. 1, C minor (1876); No. 2, D major (1877); No. 3, F major (1883); No. 4, E minor (1885).
BRISTOW, GEORGE F. No. 1, E flat (1845); No. 2, D minor (1855); No. 3, F sharp minor (1856); Arcadian (1874).
BRUCH, MAX. No. 1, E flat (1868); No. 2, F minor (1869).
BRUCKNER, ANTON. First six unpublished; No. 7, E flat (1879).
BURGMULLER, NORBERT. No. 1, C minor (1830); No. 2, D major, unfinished (1850).
COWEN, FREDERICK H. No. 1, C minor (1869(; No. 2, F major (1872); No. 3, C minor (Scandanavian) (1880); No. 4, B flat minor (Cambrian) (1884); No. 5, F major (1887).
DAVID, FELICIEN. No. 1, F major (1835); No. 2, E major (1835); No. 3, E flat (1841); Le Désert (ode symphonique) (1844); Christopher Colombe (ode symphonique) (1847).
DIETRICH, ALBERT H. No. 1, D minor (1869).
DIETRICH, ANTON. No. 1, D minor (1866).
D'INDY, VINART. Wallenstein, Symphonic Trilogy (1887).
DVORAK, ANTON. No. 1, F major (1871); No. 2, E flat (1874); No. 3, D major (1884); No. 4, D minor (1885).
FLORIO, CARYL. No. 1, G major (1887); No. 2, C minor (1887).
GADE, NIELS W. No. 1, C minor (1843); No. 2, E major (1844); No. 3, A minor (1845); No. 4, B flat (1854); No. 5, C minor (1855); No. 6, D minor, with piano (1856); No. 7, F major (1861); No. 8, B minor (1869).
GERNSHEIM, FRIEDRICH. No. 1, C minor (1887).
GOETZ, HERMANN. No. 1, F major (1875).
GOLDMARK, KARL. Ländliche Hochzeit, op. 26 (1884).
HAMERIK, ASGER. No. 1, Symphonie poetique in F major (1880); No. 2, Symphonie tragique in C minor (1882); No. 3, Symphonie lyrique in E major (1884).
HAYDN, JOSEPH. Twelve Symphonies. Salomon Set: No. 1 (1790); No. 2(1791); No. 3 (The Surprise) (1971); No. 4 (1792); No. 5 (1791); No. 6 (1791); No. 7 (1795); No. 8 (Mit dem Paukenwirbel) (1795); No. 9 (1795); No. 10 (1793); No. 11 (The Clock) (1794); No. 12 (The Military) (1794).
Symphonies with Titles: Le Soir (1760); Le Midi (1761); Der Philosoph (1764); Le Matin (1764); Lamentations (1772); Mercury (1772); Letter L (1772); Letter I (1772); Farewell (1772); Maria Theresa (1773); La Passione (1773); Feuer Symphonie (1774); The Schoolmaster (1774); Letter H (1774); Il Distrato (1776); Roxelane (1777); Laudon (1779); Letter A (1780); La Chasse (1780); Kinder Symphonie (1780); La Reine de France (1786); La Poule (1786); L'Ours (1786); Letter T (1787); Letter V (1787); Letter W (1787); Letter Q "The Oxford" (1788); Letter R (1788); Concertante (1792); and eighty-four others.
HILLER, FERDINAND. Nos. 1 and 2, dates unknown; No. 3, E major (Spring) (1840).
HOFMANN, HEINRICH. Fritjof Symphony (1874).
HOLMES, HENRY. No. 1, C major (Boscastle) (1871).
HUBER, HANS. Eine Tell Symphonie (1879).
JADASSOHN, SOLOMON. No. 1, C major (1861); No. 2, A major (1863); No. 3, D minor (1875).
KALLIWODA, JOHANN W. No. 1, F minor (1826); No. 2, E flat (1827); No. 3, D minor (1829); No. 4, C major (1835); No. 5, B minor (1836); No. 6, G minor (1840); No. 7, F major (1845).
KLUGHARDT, AUGUST. No. 1, Lenore (1880); No. 2, D major (1882).
LACHNER, FRANZ. No. 1, E flat; No. 2, F major; No. 3, D minor; No. 4, E major; No. 5, C minor (Appassionata); No. 6, D minor; No. 7, G minor. Dates unknown.
LESLIE, HENRY. No. 1, F major (1847).
LISZT, FRANZ. Divina Commedia (1859); Eine Faust Symphonie (1862). Symphonic Poems: (1) Ce qu'on entend sur la Montagne; (2) Tasso; (3) Les Preludes; (4) Orpheus; (5) Prometheus; (6) Mazeppa; (7) Festklänge; (8) Heroide funèbre; (9) Hungaria; (10) Hamlet; (11) Hunnenschlacht; (12) Die Ideale. All written during his Weimar period.
LOEHR, G. S. L. No. 1, A minor (1874).
-- to be continued --
Please continue with the rest - fascinating. I'm checking now against my database - some new names...
I seem to recall btw that the New York Public Library has the mss of the Florio symphonies. Not positive. (Florio was a pseudonym. for the English-American composer William James Robjohn (1843-1920). Also belongs in that thread we had about early saxophone chamber works. Have we ever had a thread about him? Can't recall...)
Dietrich is listed twice- presumably the same composer, though different dates for that symphony in D minor?
(Re Bruckner: interesting. The 4th was published the year after this book came out, but I wasn't aware until checking just now that 1-2, 5 and 6 were it seems not published until 1891 or later... though the Standard Symphonies book -is- mistaken about symphony no.3 in D minor; it was published in 1879.)
I'm rather surprised that Chadwick does not appear on the list. I thought that he was pretty influential and that his symphonies received some play during his lifetime. But maybe his music was played mostly in the East and was not as well regarded as far West as Chicago. Or maybe I just have overestimated his prominence altogether.
Re Chadwick: his first symphony was never and has never been prominent (I'd like to at least hear it), his second was premiered in 1886 and published in 1888, the same year as this book, and may not have been considered "Standard" yet - don't know?... - and the 3rd didn't even exist until 1894. So the only real omission would be the 2nd, and - don't know. (Yes, I'm interpreting the topic coverage again to mean standard symphonies within the orbit/ambit of the book of that title, for the moment, but I think I'm on fairly well firm ground in doing so - this time.)
At first glance, almost all are available in recordings. A few new composers to me.
Caryl Florio (pseydonym). There is a pdf available with more details - quite a few chamber works, including 4 string quartets and 4 violin soantas, etc.
Henry David Leslie - much less information on him, but some
GSL Loehr - I can find nothing on him - nothing in Groves, Hofmeister, etc.
Quote from: chill319 on Saturday 16 November 2013, 02:51
I'm sharing the transcribed appendix which follows simply because I find it interesting for what it purports to be, a list of all important symphonies. With respect to publication dates especially, members will find inaccuracies that no doubt indicate difficulties faced by the compiler. Again, for me the value of the appendix lies in its vantage point and broad outline rather than in its most granular details -- though sometimes the inaccuracies themselves are suggestive and interesting.
* * * * *
APPENDIX
[...]
LESLIE, HENRY. No. 1, F major (1847)
I'm quite impressed to see Leslie's name here. I didn't thought he was known outside of the U.K. other than a choral composer/conductor... To the best of my knowledge, this symphony is now lost...
G.S.L. Löhr in the original, not Loehr, and it could G.S.L. might be an honorific rather than initials? I -think- Harvey Löhr's 1st (of 5) symphony is from 1874 (or was it one of the other Löhrs- some related, some not so closely? Must check!!) so G.S.L. might well be Harvey Löhr (1856-1927, bio at Baker's 1919.)
According to Baker's p 548 : Richard Harvey Löhr, son of George Augustus Löhr (the preceding) ... 5 symphonies ; ...
Erm, oh, wait. A Mr. "G. S. Löhr" is mentioned - distinct from "R.H. Löhr" (Richard Harvey Löhr??) - I'm guessing they were related, though- just a guess- I am not being sarcastic or witty when I say that I could be wrong; I know that I have been) who accompanied him as piano duettist or 2nd pianist - in a September 1 1875 Musical Times article. So there goes that thesis. (Again assuming that GS Löhr = GSL Löhr. It's not recently that I have been learning the trouble with such assumptions, see R. Radecke or Joseph Raff.)
(but could it be Georg Augustus Löhr, with G.S. Löhr being a stage nickname? Time to investigate. Apologies for this digression!!!!)
Re Florio: yes, there is this (http://archives.nypl.org/mus/19924) collection that can be viewed at Lincoln Center or near it, I think (the Caryl Florio papers). We have a few of his few published scores at IMSLP, too. (Some works have been published recently too, like his quartet for saxophones. I see that NYPL has a microform of his 1882 opera based on Uncle Tom's Cabin...) There is a CD with Florio's symphonies, from 1996 (!! neat, I think I'd seen that listed but had forgotten) but the ms scores are at not NYPL (well, maybe in the Florio papers above!) but in the Fleisher Collection (yay for them as ever, cheers!)
Sullivan first symphony- first movement sonata-allegro is primarily in E minor, yes? I seem to recall it is. If so, the symphony is in E minor. There are few reasons not to apply such very reasonable rules, which depend more on what's heard than on what's written on the cover.
I assume Henry Holmes here refers to Henry Holmes (1839-1905), composer of at least 5 symphonies (5 is, I gather, no.5 "Cumberland" op.57 etc) known to Baker/Remy in 1919, after his death, but who knows) and violinist, not William Henry Holmes (... ok, of course).
Eric, re "Loehr"... you're quite right, it's an O umlaut in the original. On my laptop when I used the alt key to type that character, I lost everything I had typed up to that line. My browser went to a home page, and there was no cache that could be restored. So I had to retype it again. I avoided a repeat of the same problem by using the oe substitution. Laptops with touch screens running Windows 8.1 have keyboard quirks that are new to me.
Gotcha and I sympathize there. Instead of trying to create diacritics that I don't have on my keyboard I usually just try to find (text, not image) pages with them and cut/paste...
BTW, interesting to see Ritter (Frédéric Louis Ritter on IMSLP) - 3 of his 4 symphonies (1, 2 and 4, according to the Ritter papers "Finding Aid"), I think- listed @ Upton. The few Ritter works that were published were, typically, small-scale things- songs, organ works, what-have (and the vocal scores of some of his larger choral works, I think)- but they seem interesting enough to me anyway, and I hope to hear some of those unpublished works one of these days, preferably w/o time machine; that he also composed concertos, 4 symphonies, etc. etc. intrigues, as does the fact that 3 of the unpublished symphonies were, at least subjectively to Upton, considered worth including on a list of standard symphonies (I wasn't even aware until now that they'd done anything but gather dust, unlike some of, say, David Stanley Smith's unpublished works. (Maybe the one-movement third was unknown to him. Conversiwise ;) the first symphony which he mentions isn't listed in the papers. Or... maybe the "3rd symphony" in one movement, in the finding aid is what he calls "symphony no.1 in A"? ... hrm... )
Arthur Bird - his symphony (which can be seen at least in reduction, maybe in full score also? at IMSLP) was published by Hainauer (a publisher which deserves, I think, much more written about it than it has received, but its founder, Julius Hainauer of Breslau has had a biography written that I've sort-of scanned - a very interesting fellow) -- I think I may have started a thread about either Bird or a work of his. Anyhow, many of his mss are at the US Library of Congress. (Not scanned/digitized (yet?), just are at.)
Re Reinecke, interestingly (did someone point this out and I'm just being redundantly repetitive again? Sorry...?) Hakon Jarl is -also- under the list of symphonies (and symphonic poems) in the book, I see... at least in the Google-scanned copy I'm, well, scanning.
Here is the rest of Upton's Appendix. Again, in my view the errors in the list (e.g., Edgar McDowell and Peter Iltitsch Tschaikowsky) are more a matter for smiles than frowns. Plus, forum members need never again wonder which was Mozart's "Swansong" symphony.
MAAS, LOUIS. American (1883).
McDOWELL, EDGAR A. Symphonic Poems: Hamlet (1884); Ophelia (1886).
McFARREN, GEORGE A. No. 1, C major (1828); No. 2, C minor (1829); No. 3. A minor (1830); No. 4, F minor (1831); No. 5, B flat (1833); No. 6, C sharp minor (1834); No. 7, D major (1836).
MENDELSSOHN, FELIX. No. 1, C minor (1824); No. 2, Lobgesang (1840); No. 3, A minor (Scotch) (1842); No. 4, A major (Italian) (1833); No. 5, D major (Reformation) (1830).
MOSKOWSKI, MORITZ. Symphonic Poem, Joan of Arc (1885).
MOZART, WOLFGANG AMADEUS. No. 338, C major (1780); No. 385, D major (Haffner) (1782); No. 425, C major (Linzer) (1783); No. 504, D major (1786); No. 543, E flat (Swan Song) (1788); No. 550, G minor (1788); No. 551, C major (Jupiter) (1788); and thirty-four others. The numbers refer to the Köchel Catalogue.
PAINE, JOHN KNOWLES. No. 1, C minor (1875); No. 2, A major (Spring) (1880); Symphonic Poem, The Tempest (1876).
PARRY, HUBERT. No. 1, G major (1882); No. 2, F major (University) (1883).
PRATT, S. G. No. 1, E minor (1870); No. 2, A major (The Prodigal Son) (1875); Symphonic Sketch, Magdalena's Lament (1870); Symphonic Suite, The Tempest (1885).
PROUT, EBENEZER. No 1, C major (1873); No. 2, G minor (1876); No. 3, F major (1885); No. 4, D major (1886).
RAFF, JOSEPH JOACHIM. No. 1, An das Vaterland (1863); No. 2, C major (1870); No. 3, F major (Im Walde) (1869); No. 4, G minor (1871); No. 5, (Leonore) (1872); No. 6, D minor (Gelebt, gestrebt, gelitten, gestritten, gestorben, umworben) (1876); No. 7, Alpensinfonie (1877); No. 8, Frülingsklänge (1878); No. 9, Im Sommerzeit (1880); No. 10, Zur Herbstzeit (1882); No. 11, Im Winter (1883).
REINECKE, KARL. No. 1, A major (1872); No. 2, C minor (Hakon Jarl) (1880).
RHEINBERGER, JOSEPH. Wallenstein (1875); Florentinische (1876).
RITTER, FREDERICH LOUIS. No. 1, A major; No. 2, E minor; No. 3, E flat. Unpublished.
ROSENHAIN, JACOB. No. 1, G minor (1846); No. 2, F minor (1854); No. 3, F minor (Spring) (1855).
RUBINSTEIN, ANTON. No 1, F major (1854); No. 2, C major (Ocean) (1868); No. 3, A major (1870); No. 4, D minor (Dramatic) (1875); No. 5, G minor, In memory of the Grand DUchess Hélène Paulovna (1880); No. 6, A minor (1886). Symphonic Poem, Eroica (1885).
SAINT-SAENS, CHARLES CAMILLE. No. 1, E flat (1851); No. 2, F major (1856); No. 3, A minor (1878); No. 4, D major (1863); No. 5, C minor (1886). Symphonic Poems: La Rouet d'Omphale (1874); Phaeton (a874); Danse Macabre (1875); La Jeunesse d'Hercules (1875).
SCHWARENKA, XAVER. No. 1, C minor (1885).
SCHUBERT, FRANZ PETER. No. 1, D major (1813); No. 2, B flat (1815); No. 3, D major (1815); No. 4, C minor (Tragic) (1816); No. 5, B flat (1816); No. 6, C major (1818); No. 7, E major, a sketch (1821); No. 8, B minor (unfinished) (1822); No. 9, C major (1828).
SCHUMANN, ROBERT. No. 1, B flat (Spring) (1841); No. 2, C major (1846); No. 3, E flat (Rhenish) (1841); No. 4, D minor (1841); Overture, Scherzo, and Finale (1841).
SILAS, EDWARD. No. 1, A major (1850); No. 2, C major (1852); No. 3, Symphonie burlesque (1853).
SINGER, OTTO. Symphonie Fantasie (1888).
SPOHR, LOUIS. No. 1, B major (1811); No. 2, D minor (1815); No. 3, C minor (1829); No. 4, Consecration of Sound (1834); No. 5, C minor (1838); No. 6, G major (Historical) (1841); No. 7, Double Symphony (Irdisches und Göttliches im Menschenleben) (1842); No. 8, G minor (1847); No. 9, B major (The Seasons) (1849).
STANFORD, CHARLES VILLIERS. No. 1, B flat (1879); No. 2, D minor (Elegaic) (1882); No. 3, F minor (Irish) (1887).
STRONG, G. TEMPLETON. No. 1, F major (1886).
SULLIVAN, ARTHUR SEYMOUR. No. 1, E minor (1866).
SVENDSEN, JOHANN SEVERIN. No. 1, D major (1863); No. 2, B flat (1871).
TSCHAIKOWSKY, PETER ILTITSCH. No. 1, G major (1874); No. 2, C minor (1875); No. 3, D major (1875); No. 4, F minor (1875); No. 5, Manfred (1876). Symphonic Poems: Francesca von Rimini; The Storm.
ULRICH, HUGO. No. 1, B minor (1852); No. 2, G major (Triomphale) (1853).
VOLKMANN, FRIEDRICH ROBERT. No. 1, D minor (1863); No. 2, B flat (1865).
WAGNER, RICHARD. No. 1, C major (1832).
WEBER, CARL MARIA. No. 1, C major (1807); No. 2, C major (1807).
Interesting- I didn't know Silas Pratt -wrote- symphonies. I wonder if they've survived? I'm aware of an opera by him and have seen some of his other music. Interesting list, again. Thank you. (The entry in "The National Cyclopædia of American Biography" (1900) describes The Tempest as his 3rd symphony, and says his 1st was produced in Berlin in 1871, while the 2nd was produced, if I read right, during a visit to England, at the Crystal Palace, along with selections from his opera Zenobia and his Elegy for General Grant; and another book has Symphony 2 The Prodigal Son 7/3 [July 3]/1890 MTNA (Music Teachers National Association - don't know when the premiere was. Hrm. Interesting. To me, anyway. Would like to see the Rosenhain symphonies too, but then of course _I_ would. And the other Taubert ones...
I thought the Ulrich 2nd symphony was in C major.)
Even if the Pratt works have disappeared, this (http://www.worldcat.org/title/program-analysis-the-prodigal-son-symphony-in-a-no-2/oclc/61312236) looks a little interesting. :)
Quote from: chill319 on Saturday 16 November 2013, 22:40
Plus, forum members need never again wonder which was Mozart's "Swansong" symphony.
Matching descriptions of well-known works today, with descriptions of the same works (when also well enough known) in a musical or other journal from 150 years ago, can be fun... whether the composer in question is Mozart or Krommer or one of the Lachners (as noted in another post recently, (it seems to me that) posthumously-published works seem to receive opus numbers they never had before- I'm not referring to the adoption of more rational cataloguing systems, but to entirely irrational things, such as seems to have happened fairly often with Kramar, where an opus number will refer to one work published during his lifetime and another published since 1980 or so...) Yep, fun...
Quote...this looks a little interesting.
Another Chicago connection.
Looking at the list as a whole, we cannot be surprised that Rufinatscha is missing, or Berwald, or even the Bizet Symphony in C since it didn't enter the canon until the 1930s or so. But I must confess disappointment that Draeseke is completely undocumented. Chadwick's omission is indeed curious. Fry's omission seems like editorializing pure and simple, given the Bristow coverage. It does suggest that this list has been picked over and is not simply every symphony with which Upton was familiar.
Re the Bizet symphony in C omission: I'd be very, very, very, very, much stunned if it were there. It's not so much that it didn't enter the canon of accepted, well-known and wonderful symphonies. It was wholly unknown, in the composer's manuscript papers until, as you say, the 1930s or so, yes (when it was gifted to a library by his wife or daughter's 2nd husband?) - 1935, to be exact. The emphasis on American symphonies does seem a bit like (though not exactly the same as, still somewhat like) the tendency for BBC Music Magazine and Gramophone to somehow manage to prefer, in the end, a Rattle recording over all comers in judging various recordings of Mahler 2, say (to name an actual example taken from BBC Music Magazine); or the ability of the New Oxford Compact Dictionary of Music to contain medium-sized bios of modern British (and, ok, some European) composers of every name and description but nothing whatsoever on any number of only moderately lesser-known European Romantic composers and teachers of some real influence and importance (and even managing to get their names wrong when mentioning them in other articles, e.g. Johann Fuchs for Robert Fuchs).
Quote from: eschiss1 on Saturday 16 November 2013, 23:30
Even if the Pratt works have disappeared, this (http://www.worldcat.org/title/program-analysis-the-prodigal-son-symphony-in-a-no-2/oclc/61312236) looks a little interesting. :)
That would appear to be an excerpt from
Complete Musical Analysis by A. J. Goodrich. (https://archive.org/details/completemusicala00gooduoft) Also included in that volume are in depth looks at Paine's Second Symphony, Buck's
Golden Legend, Gilchrist's 46th Psalm, MacDowell's First Piano Concerto, and Gleason's
The Culprit Fay.
Ah, it's very good to see that that's available online, thank you. Given that Tovey's essays are at least mostly in copyright in the US (... I think), a collection like that seems well worth my downloading- hrm. That's the Buck, Gilchrist and Gleason I think it is?... hrm- my... ... yes. Well worth downloading indeed.
Reinecke's Hakon Jarl (s? e? en?):
I'd forgotten, there are at least two works by him of that name- the symphony no.2 on the one, and the choral work for alto, tenor, bass, men's chorus and orchestra, Op.142. The latter could be a choral-symphonic poem perhaps- I don't know it at all, though, that's really a guess... - I'll need to re-read the Upton to see if he's referring to the same "Hakon Jarl" in both sections... :)
Reinecke's Symphony No.2 was apparently inspired by Hakon Jarl, a Norwegian historical tragedy by the Dane, Adam Oehlenschläger. The movements have these titles:
1. Hakon Jarl
2. Thora
3. In Odin's Grove
4. Oluf's Victory
Clearly Reinecke's work was taken to be programmatic, which was decidedly not the composer's intention. I assume that this is the source of the confusion.
It is worth consulting the liner notes accompanying Howard Shelley's fine recording on Chandos:
http://www.chandos.net/pdf/CHAN%209893.pdf (http://www.chandos.net/pdf/CHAN%209893.pdf)
Granted. (I'd know what I was talking about if I hadn't just discovered/rediscovered the existence in Reinecke's output of the -other- work in his output with that title, which isn't just nicknamed but actually entitled Hakon Jarl ("Reinecke's cantata Hakon Jarl, op. 142, written for the Leipzig university male choir on Reinecke's own text"...) (Balance those parens, E., balance those parens...))
I don't think that work has anything to do with the topic in hand.
QuoteClearly Reinecke's work was taken to be programmatic, which was decidedly not the composer's intention.
A related case is d'Indy's opus 12 (Wallenstein), which Upton, with perhaps a bit more reason, takes to be a programmatic symphony.
I gather that all those symphonies on the list had actually been published and printed copies of either full scores or parts were then freely available. If so, I'd like to know if and where the sheet music can be found for the ones that have never been performed in recent times or consequently recorded. In particular, I'm interested in finding the whereabouts of copies of the "missing" Lachner symphonies, namely, Nos. 2, 3, 4 & 7.
Not all of them, not even all that are specifically listed as unpublished. (Florio's symphonies were unpublished also, and Hiller's except for his E minor of 1847 (published much later) Op.67, e.g., to the best of my knowledge.) Manuscript copies might have circulated somewhat, yes, but I doubt printed copies did.
Cowen's Scandinavian symphony was favourably reviewed by Hanslick in Der Neue Frei Presse (Vienna), who commented that it was not often the English wrote symphonies, and even less common that they wrote good ones.