Recently I wanted something new and started to discover symphonic works of Weingartner. I bought the Symphonies 1-6 and the VC (all on cpo). I've noticed that Weingartner has been discussed in some topics, but not in detail (maybe in the old forum?).
I'm very interested in the opinions of members.
I like the symphonies but the surprise, for me at least, was the lovely Violin Concerto. I was most surprised I guess by how "romantic" it really was.
Greetings, younger Peter! Pursue your explorations. There is often an assumption that the legacy of some of the great conductors who have turned their hand to composing lies in their conducting rather than their composing (with the very obvious exception of Mahler!) - that seems to be the general view of, for example, Bruno Walter, Furtwangler, Skrowaczewski (and I'll be provocative and add, IMHO, Bernstein!).
I obviously never heard Weingartner conduct. But, on the strength of what CPO has given us, I hold him to be a little more than a first rate composer of second rate music. In other words he is not a great composer - but well on the way to being one. There's little 'revolutionary' about the compositions: it hardly ever sounds as if nearly all his work was composed in the first half of the 20th century - it is more traditional and inhabits the world of his own idols. The use of the orchestra is first rate (but then I suppose he had lots of practice and formidable knowledge of orchestral sounds!) - there are many utterly lovely passages (try the Violin Concerto) and some especially solemn and imposing passages of noble grandeur.
I'll stick out my neck with one probably too hasty generalisation: the shorter he is the better! Some of the more extended symphonies (the 3rd for example) have such elaborate structures that its sometimes hard to see where the music is going (I found I had to work hard on these with repeated listenings - perhaps that is my fault). I'm also clueless as to why the Sixth Symphony is titled 'La Tragica' - maybe I just haven't seized hold of it properly. In contrast where I think he is absolutely spot on is in some of the shorter pieces and symphonic poems that are included with the symphonies in the CPO series. Try the Op 80 Fruhling (included with Symphony 6) - it is a lovely piece.
However - and apologies for the ramble - really first rate Weingartner I believe is found in the chamber music. CPO are just up to Volume 2 of the String Quartets (the latter also includes the Op 40 String Sextet). Add on the CPO recordings of the Op 33 Sextet and Op 73 Octet. Here we surely have a first rate composer of chamber music. It is very rewarding music.
I also add the playing on these CPO discs is excellent - as are the recordings themselves. All entirely subjective views of course - but sincerely held. I get increasingly excited whenever CPO announce a new Weingartner CD. Small point: often the English translations of the notes accompanying these CPO discs are woeful, but then that's not a problem for you.
Warm regards,
Peter (the older!)
Weingartner? A bit of a mixed bag, but when he's good, he's very, very good, and when he's bad he's boring. For me the most enjoyable symphonies are the first three (No.1 somewhat Mendelssohnian/Dvorakian and gorgeous; No.2 a grand mixture of Brahms and Bruckner, but very exciting; No.3 a Straussian - Johann and Richard - confection and a bit of an indulgence). The VC is also beautiful, and not as indulgently romantic as I thought it might be. For me, the jury is out on his later symphonies, but I enjoy parts of them all. A second division composer? Yes, but high up and nudging promotion at times...
I fully agree with Alan's analysis!
Yep, me too, but my jury delivered the thumbs down on the later symphonies some time ago. I'd also put a word in for the symphonic poem Das Gefilde der Seligen (The Elysian Fields?) which is quite gorgeous with it's Straussian shimmerings.
I have very much enjoyed all the Weingartner releases - as a matter fact, I think he's one of the most appealing conductors-who-also-are-composers.
The chamber works are very good - and especially attractive is the disc with Weingartner's Sextet and Octet.
Also hoping someone will get to the opus 42 violin sonatas, by the way... :)
Is there not a 7th Symphony in MS still, with a choral finale?
Wikipedia has Symphony No.7 in C major, Op.87.
I believe so does a recent Grove's (re sym. 7) but I am not positive.
Thank you all for your interesting comments. Peter (the older) has put it right: Weingartner is a little more than a first rate composer of second rate music. But Weingartner wrote some music which I find first class. I'll second Alan's remarks, however, unlike Mark, so far I still like his later symphonies, that is to say, some parts of them. Both inner movements of his Fifth are very beautiful. The scherzo is purely Bruckner, the 'plump little man' he disliked so much according to the booklet notes.
His VC is a real gem. Peter and febnyc are positive about his chamber music. That's something to explore in the near future.
Again, it is very interesting reading this thread. I bought a number of Weingartner disks ( all on CPO) quite some time ago. I listened to them a bit, and then left them on the shelf. Due to this thread, I got them out again and gave them another listen. I have always liked symphony no 1, especially its elegant writing for the woodwinds in the first movement (very memorable) but even re-listening to the subsequent symphonies, I still found myself a little bored (apologies to all Weingartner lovers). It's difficult to say exactly why this is the case, I guess that, for me at least, the later symphonies don't have the freshness or lyricism of the first symphony. The first also has a lightness of touch that the later symphonies do not - a question of personal taste certainly! Listening again to the first symphony led me to investigate some of his other works on Amazon. I subsequently discovered the VC, and noted that Weingartner is the first to declare that there is a particularly close connection between the VC and the first symphony, from a musical inspiration point of view. I listened to sound bites and immediately ordered the cd. As I write, it is on its way to me. I suspect I will agree with Peter 1953's assessment that this work is a real gem!
cheers
Dennis
Just to share my opinion with you, I think Weingartner's finest composition I know so far is his Sextet for piano, two violins, viola, cello and double bass in E minor, op. 33. I'm with you, Peter (the elder) and febnyc. What a delightful piece of chamber music this is. Purely Romantic and intimate, with four movements creating four different atmospheres. A vivid opening movement, followed by a very joyful allegretto. The theme is simple and most appealing. A melody that keeps in your head for a long time. Something similar happens after listening to Raff's 'Gavotte und Musette' in his Piano Suite, op. 200. The adagio has utterly sensitive moments, but after 6:36 minutes the music becomes suddenly more frivolous, although it ends serene. The final movement is a funeral dance, a slow movement of 14:33 minutes of deep-felt music.
The Sextet is coupled with the Octet for piano, clarinet, horn, bassoon, string quartet and piano in G major, op. 73, also in four movements in a late Romantic style (1925). Absolutely very worth listening too, giving the listener a constant flow of beautiful melodies, but IMO without the characteristic sparkling of the Sextet (1906).
With this music Weingartner proves himself definitely as a first class composer. It makes me wonder how his String Quartets sound.
If you love chamber music, this CD is warmly recommended (EUR 7.99 at jpc).
I wonder how Weingartner's string quartets sound too, but there are two CDs worth of recordings of them on cpo I think, I just haven't heard them yet :) (four of the five of them I think?... I'd thought there were only four quartets but cpo seems to have uncovered- as it were- a late 5th in E-flat. Of course, nothing says there isn't a sixth, in that case...)
Does CPO have any plans to record the 7th Symphony in C Major, Op. 87? Is there any way to find out. It could be nicely coupled with the Cello Concerto that's also waiting a much needed recording!!
From my perspective, having recently listened to the available recordings, particularly the chamber works, I believe he is one of the better composer-conductors out there (more so than the rather flaccid and motionless (in my opinion) orchestral works by Mahler and Furtwangler).
But I agree with the earlier comments that his best works are the chamber ones, particularly the string quartets. I find his work a logical extension of the directions Beethoven was heading with his last quartets. The only other quartet compositions that have this sense would be Bartok's 1st quartet and Schoenberg's first two quartets.
I would also recommend listeners sample his arrangements/orchestrations: Beethoven's Hammerklavier sonata and Schubert's 7th symphony.
Quote from: FBerwald on Friday 02 November 2012, 17:37
Does CPO have any plans to record the 7th Symphony in C Major, Op. 87?
Unfortunately I have no inside information.
Quote from: Balapoel on Friday 02 November 2012, 18:22
... the rather flaccid and motionless (in my opinion) orchestral works by Mahler and Furtwangler...
Ok, it's your opinion, but....Mahler flaccid? I don't know what recordings you're listening to, but I would never, ever consider Mahler flaccid. There's hardly a more virile composer out there. It's far from motionless. You want motionless, try Silvestrov or Gavin Bryars. There's a reason Mahler is so wildly popular and has been for 50 years now. He is one composer who passed from the realm of the Unsung to the over-sung, thanks to the advocacy of Walter, Mitropoulos, Bernstein, Scherchen and a few others. Weingartner, no matter what his strengths as a composer, was no Mahler. I enjoy his music, but then I listen to a lot of unfamiliar music. But Weingartner's output will always remain in the domain of recordings and will never become repertoire works. I'm ok with that. And I agree, as far as conductor-composers go, Weingartner's work is certainly better than most of them. But not Mahler.
As I rather prominently said "in my opinion" and "from my perspective". And yes, I will stick with my opinon. Mahler for me tends toward long, drawn out statements with little sense of 'arriving' anywhere. For my taste, his most successful was his last (incomplete) symphony, largely due to the emotion not so subtly expressed. It is just that I tend to prefer tighter constructions, a la Beethoven, Schubert, Dvorak's later symphonies, Brahms, and Tchaikovsky (among the sungs). Similar approaches among unsungs include Cipriani Potter, Eduard Franck, Berwald, Kalivoda, Raff, and Rufinatscha. For these (and others), symphonic structure serves the entire piece, and harmonic progressions move the piece forward inexorably (as in: that phrase 'has to be there'). For me, Mahler doesn't do it. If he does it for others, that's great. Not to stir another hornets nest, but to make my point clearer, I'm not a big fan of Shostakovich's symphonies for similar reasons.
In terms of Silvestrov - yes I've tried it, and I agree, it's even to the motionless side of Mahler. It all depends on where the 'center' is deemed to be. Beyond trying a few pieces (and I try to give every composer a chance), it is a reason I don't listen to Silvestrov's (or much 'modern') music.
Lets stick to Weingartner please and hope that we get the 7th Symphony in the next 20 years or so. I am even looking forward to the booklet that will put my Therapist's Children through college!
Mahler has little sense of arriving anywhere? Well, there's a great sense of arrival in 1,2,3,5,7 and 8, surely. No, the problem often seems to be the meandering journeys taken before that definite sense of arrival! But what meanderings...
Anyway, back to Weingartner - a very talented, but essentially derivative composer, I think. I agree that he'll never be admitted to the canon, as it were, but there are some fun works, especially the first three symphonies, the VC and the chamber music. Very enjoyable, very much 'in the tradition', although perhaps the nearest the composer gets to escaping and pursuing a more individual path is in Symphony No.3, which is an absolutely gorgeous, self-indulgent, over-the-top piece. Buy it!!!
BTW Furtwängler is certainly a flaccid composer. Depends whether you have the patience to follow him where he takes you...
Well, too each his own - and the caveat, popularity does not equate to quality is apropos. "Many people were thoroughly unconvinced of its artistic merit during Mahler's lifetime, raising objections such as that it was derivative, uninventive, and frequently banal" and that it "privileged superficial effects above substance."[1] Times and opinions change. Someone said it took Mahler an hour plus to say what Richard Strauss could say in 30 minutes...
[1] Here is an interesting (mostly laudatory) dissertation on Mahler's reception(s):
http://digital.library.unt.edu/ark:/67531/metadc12141/m1/1/high_res_d/dissertation.pdf
Anyway, back to Weingartner. His work list shows attention to all forms, rather than the very narrow expression of some composers. I would not be so quick to dismiss chamber music (which I find to be the most intimate form of expression - and apparently, Beethoven considered his most important work to be the string quartet in c# minor). I do not find Weingartner's music to be derivative in the least (conservative yes, derivative no). One of the reviewers mentioned the connection that I think directed my interest first with Weingartner - and that is with Schubert.
To demonstrate I am not alone in this:
"Weingartner considered himself first and foremost a composer, and his music, though conservative to a degree, is almost without exception emotive, beautiful and profound."
http://www.musicweb-international.com/classrev/2012/Apr12/Wiengartner_quartets_2_4_7772532.htm
"It is one of the many great, laudable achievements of that enterprising record label CPO that they are unearthing Weinberger's music piece by piece, CD by CD. For every disc I hear of his chamber or symphonic output, I become more willing to chuck all records of "Weingartner the conductor" and embrace "Weingartner the composer". "
http://www.musicweb-international.com/classRev/2008/Sept08/Weingartner_quartets_7772512.htm
"In his recent authoritative study of conductors and the German tradition (The Virtuoso Conductors, Yale UP), Raymond Holden devotes a chapter to Weingartner, remarking 'Weingartner's compositions deserve to be heard'. One has, whole-heartedly, to agree. "
http://www.musicweb-international.com/classrev/2006/Mar06/weingartner_symphony_cpo777099.htm
A somewhat more negative review, but interesting that the reviewer claims "Weingartner was no Mahler" in a review of string quartets, which Mahler of course, never attempted.
http://www.musicweb-international.com/classRev/2008/Oct08/Weingartner_quartets_7772512.htm
"This is a symphony of rural grandeur."
http://www.musicweb-international.com/classrev/2005/Aug05/Weingartner4_7770982.htm
---------------------
Chamber
24 String Quartet No. 1 in d minor 1898
26 String Quartet No. 2 in f minor
33 Piano Sextet in e minor
34 String Quartet No. 3 in F 1903
40 Sring Quintet in C
42.1 Violin Sonata No. 1, Op. 42/1
42.2 Violin Sonata No. 2, Op. 42/2
50 Quintet in g minor for Clarinet, Violin, Voila, Cello and Piano
62 String Quartet No. 4 in D
73 Octet in G major for Clarinet, Horn, Bassoon, Two Violins, Voila, Cello and Piano, Op. 73
81 String Quartet No. 5 in D
93.2 String Trio No. 2 in A
? String Trio No. 1
Opera
9 Sakuntala, Op. 9 1884
10 Malawika (und Agnimitra), Op. 10 1886
14 Genesius, Op. 14 1892
30.1 Agamemnon, Op. 30/1 1902
30.2 Das Totenopfer, Op. 30/2 1902
30.3 Die Erinyen, Op. 30/3 1902
43 Musik zu Goethes Faust, Op. 43
54 Kain und Abel, Op. 54 1914
57 Dame Kobold, Op. 57 1916
64 Die Dorfschule, Op. 64 1920
65 Der Sturm, Op. 65
66 Meister Andrea, Op. 66 1920
72 Der Apostat, Op. 72
94 Sakuntala, Op. 94
Terra, ein Symbol
Orchestral
6 Serenade in F Major for String Orchestra 1882
20 König Lear 1895
21 Das Gefilde der Seligen 1897
23 Symphony No. 1 in g minor 1898
29 Symphony No. 2 in Eb 1900
49 Symphony No. 3 in E 1909
52 Violin Concerto in G 1913
53 Lustige Overture for Orchestra 1914
56 Aus ernster Zeit', Ouverture for Orchestra 1914
60 Cello Concerto in a minor 1916
61 Symphony No. 4 in F 1916
71 Symphony No. 5 in c minor 1926
74 Symphony No. 6 'La Tragica' in b minor 1928
78 La Burla, 6 pieces for orchestra 1928
79 An die Schweiz, Variations for Orchestra 1930
80 Frühling
83 Sinfonietta for violin, viola, cello and small orchestra 1935
87 Symphony No. 7 in C 1937
91 Bilder aus Japan, 5 pieces for orchestra 1938
Der Sturm, Overture and Suite for Orchestra 1918
Piano
1 Skizzen, Op. 1
2 Tonbilder zu Adalbert Stifters Studien, Op. 2
3 Aus vergangener Zeit, Op. 3
4 Lose Blätter, Op. 4
5 Phantasiebilder, Op. 5
58 Herbstblätter, Op. 58
Vocal
7 Lieder für Singstimme und Klavier, Op. 7
8 Lieder für Singstimme und Klavier, Op. 8
11 Harold, 9 songs
12 Die Wallfahrt nach Kevelaer, Op. 12
13 Lieder für Singstimme und Klavier, Op. 13
15 8 Lieder für Singstimme und Klavier, Op. 15
16 8 Lieder für Singstimme und Klavier, Op. 16
17 3 Lieder für Singstimme und Klavier, Op. 17
18 Severa, Op. 18
19 Hilaria, Op. 19
22 12 Gedichte für Sopran / Tenor und Klavier, Op. 22
25 6 Lieder für Sopran / Tenor und Klavier, Op. 25
27 3 Gedichte aus Gottfried Kellers Jugendzeit, Op. 27
28 12 Lieder für Sopran / Tenor und Klavier, Op. 28
31 4 Lieder für Sopran / Tenor und Klavier, Op. 31
32 6 Märchenlieder für Sopran / Tenor und Klavier, Op. 32
35 Unruhe der Nacht, Op. 35
36 Lieder und Gesänge für Singstimme und Orchester, Op. 36
37 2 Balladen von Carl Spitteler, Op. 37
38 Traumnacht und Sturmhymnus, Op. 38
39 Aus fernen Welten, Op. 39
41 Fruhlings- und Liebeslieder, 12 songs
44 3 Lieder für Singstimme und Klavier, Op. 44
45 Lieder für Singstimme und Klavier, Op. 45
46 5 Lieder für Singstimme und Klavier, Op. 46
47 4 Lieder für Singstimme und Klavier, Op. 47
48 6 Lieder für Singstimme und Klavier, Op. 48
51 Abendlieder, Op. 51
55 4 Lieder für Singstimme und Klavier, Op. 55
59 Daheim, Op. 59
63 Blüten aus dem Osten, Op. 63
67 Freiheitsgesang, Op. 67
68 Lieder für Singstimme und Klavier, Op. 68
69 Auferstehung, Op. 69
70 Lieder für Singstimme und Klavier, Op. 70
75 Lieder für Singstimme und Klavier, Op. 75
76 Lieder für Singstimme und Klavier, Op. 76
77 An den Schmerz, Op. 77
82 Der Weg, Op. 82
86.1 Immer, Op. 86/1
86.2 Ave-Maria-Läuten, Op. 86/2
86.3 Verheißung, Op. 86/3
90 Rom, Op. 90
Lied des Hunold Singuf
I must disagree - but gently. By derivative I meant that it is often easier to spot the influences in Weingartner than his own voice. I'm thinking, for example, of the first three symphonies - even the hugely enjoyable No.3 which is as Straussian as No.2 is a (fascinating) mélange of Brahms and Bruckner. I'm a genuine paid-up member of the Weingartner fan-club (and I have all the cpo releases in various genres), but it simply won't do to put him on a par with Mahler (whom I discovered 40 plus years ago well before he was in vogue to the extent that he is today).
Each to his own, of course. But objectivity, objectivity (not an impossible task - and essential if what we claim here is to retain credibility).
Your point is understood completely, Alan. To clarify, I don't think Weingartner at the first rank of composers (though at the first rank of conductor-composers I have heard). My perspective hinges more on my receptance to Mahler's typical approach (again, personal opinion). There are times when I feel in the mood for Mahler (and I have all of his works on CD), but they are rare, and quickly sated.
That I am a big chamber music fan can be considered part of my assessment as well. It is a test of a composer - can they craft profound, memorable music without the aid of orchestral color? This test, to my mind, separates superficiality from substance. With respect to derivativeness, I suspect 'originality' (often defined with regards to outward formal properties) is overrated. To take an extreme example, John Cage was more original than most composers we view here - but it doesn't make his 'music' more palatable to me. Or Helikopter-Streichquartett by Stockhausen... On the other hand, Schubert, arguably made fewer contributions to form, yet he is in my mind, one of the most original composers.
In any event, we have strayed from Weingartner - my last word will be that I, like many reviewers, have found his music to be quite beautiful.
Originality for originality's sake is mere self-indulgent nonsense - Emperor's new clothes maskerading as serious art. So I too reject Cage and Stockhausen for the same reason. However, I do think that the greatest composers, while staying connected to The Tradition, transcend it by creating a sound-world of their own. Thus, for all his faults, Mahler qualifies whereas Weingartner doesn't; and in reality not many unsungs do. Among those I would name are: Rufinatscha, Raff, Draeseke, Berwald, Berger, Sgambati. There are, no doubt, others. But Weingartner isn't one of them. However, I do love his music! And we all the richer for having heard it.
I completely agree. Weingartner is best of the Conductor/Composer group who are mainly known as conductors now. His orchestration itself is something else. Has anyone listened to his orchestration of Weber's Invitation to the dance. Intelligent and economical as opposed to Reger's distorted ramblings [on any of his versions of other composers'!] Here Weingartner has more in common with Raff, in that hes stays true to the composers spirit. I would be very interested to listen to his orchestration of Beethoven's Hammerclavier Sonata.
Quote from: FBerwald on Sunday 04 November 2012, 04:47
I would be very interested to listen to his orchestration of Beethoven's Hammerclavier Sonata.
Indeed - it is imaginatively and effectively orchestrated:
http://www.youtube.com/watch?v=QJ-QP1WwlNw (http://www.youtube.com/watch?v=QJ-QP1WwlNw)
http://www.youtube.com/watch?v=PPOrzrpP3mY (http://www.youtube.com/watch?v=PPOrzrpP3mY)
http://www.youtube.com/watch?v=S-u2n1wWa9k (http://www.youtube.com/watch?v=S-u2n1wWa9k)
http://www.youtube.com/watch?v=GyVMvQb8PM4 (http://www.youtube.com/watch?v=GyVMvQb8PM4)
http://www.youtube.com/watch?v=Cp_hZlY1Ugg
(http://www.youtube.com/watch?v=Cp_hZlY1Ugg)
What a fascinating listen. Thanks, Belapoel. Weingartner catches the bleak solemnity of much of the slow movement wonderfully well and the drama of the outer movements is complemented by imaginative, but still appropriate, shifts of texture and colour. At first hearing my only misgivings are with Weingartner's interpretation as conductor of this performance (I assume that it's his 1930 recording?): the scherzo is too hard pressed and there is no grand climactic finish in the finale - it just seems to stop. Overall, though, it's a hugely impressive testament to his skill and sensitivity as an orchestrator.
There does seem to be at least one other recording of it- 1954, on Nixa, conducted by Kurt Graunke- but I don't know if that's ever made it to CD...
Indeed, a very interesting listen, it does work surprisingly well in this orchestration!
Shame there isn't a modern recording.
I must agree with enthusiasm: I believe Weingartner to be just about the best of the conductor-composers, and my opinion is based solely upon the orchestral works I've heard and the scores I've seen. Let's hope we'll see the 7th Symphony soon. As I understand, it is unpublished; was it ever performed? I will investigate the chamber music, as I have many of those scores too, thanks to Sibley Library.
I found the 5th to be the standout among the Weingarnter symphonies, with a memorable Brucknerian scherzo. My favorite among composing conductors is Paul Paray; both of his symphonies are marvelous works, the second suggesting a synthesis of Faure and Magnard.
I have been listening again to Weingartner these past two days, especially the VC and for me, his best symphony, symphony no 1., in which Weingartner is at his most inspired. Marvellous music. It would be very interesting to hear his symphony no 7.
While waiting for the release of Weingartner 7 I've listened again to his 5 String Quartets and String Quintet. I think a string quartet is one of the most intimate musical ensembles and if you like this genre, I can strongly recommend this chamber music. Lively movements are alternated with serene, deeply felt passages, and they are always melodious. Perhaps these works belong to Weingartner's most neglected music, but that is really unjustified.
Musikproduktion Hoflich has released a new study score, of the Weingartner work I (anyway) know and appreciate best, his 6th symphony (I have no involvement with this score though). I like their new habit of including an incipit with each score...
Over here-wards. (http://musikmph.de/musical_scores/vorworte/1380.html)
Can anyone get me the tempo indication of the Canzona from the cello concerto? The score is on IMSLP's wish list, I believe, and I can't find it anywhere else.
I have the second movement as a Cavatina, not a Canzona, Jim, but in any event I don't know the tempo indicatiion.
OMG! I'm losing it! Everything's getting dark and fuzzy...Who are you guys again? ;)
My razor-sharp memory has had a few too many close shaves. ;D
Welcome to the group...... ::) ::)
Even a conductor like Weingartner might not have put in a tempo indication (well, hopefully, a metronome marking). The Fleisher Collection has a copy (Score & Parts, 613C Entire Work)- ask them?...
Quote from: JimL on Saturday 06 July 2013, 15:44
My razor-sharp memory has had a few too many close shaves. ;D
"...Eddie. Is it a bee?..."
Over the past months Weingartner's music is growing and growing on me. Try his chamber music. This is really good. Very good indeed.
I called the Fleisher Collection and the guy who answered was very helpful. The tempo of the Cavatine of the cello concerto is Andante. Which is somehow not surprising. ;)
Thanks for putting in the spade work, Jim.
I'm still waiting for someone to post the Violin Sonatas somewhere - YouTube, anywhere.......
Jerry
I -had- a score & part of the 2nd violin sonata on loan in front of me years ago (not to perform- I don't play violin- just to make a MIDI of the first few minutes; it sounded Romantic and compelling to me), but if I scanned it, I didn't keep the scan, apparently. Maybe I should try to borrow it again and upload it to IMSLP -this- time...
I have the 2nd Sonata on a cassette which is buried in my storage room. I just keep hoping that someone here has imported the Japanese CD that isn't available here.
Well, here's the CD on sale at Tower Records in Japan:
http://tower.jp/item/1647446/%E3%83%AF%E3%82%A4%E3%83%B3%E3%82%AC%E3%83%AB%E3%83%88%E3%83%8A%E3%83%BC%EF%BC%9A%E3%83%B4%E3%82%A1%E3%82%A4%E3%82%AA%E3%83%AA%E3%83%B3%E3%81%A8%E3%83%94%E3%82%A2%E3%83%8E%E3%81%AE%E3%81%9F%E3%82%81%E3%81%AE%E4%BD%9C%E5%93%81%E9%9B%86%EF%BC%9A%E4%BD%90%E8%97%A4%E4%B9%85%E6%88%90(vn)-%E6%9F%B4%E5%9E%A3%E8%8B%B1%E4%BA%8C(p) (http://tower.jp/item/1647446/%E3%83%AF%E3%82%A4%E3%83%B3%E3%82%AC%E3%83%AB%E3%83%88%E3%83%8A%E3%83%BC%EF%BC%9A%E3%83%B4%E3%82%A1%E3%82%A4%E3%82%AA%E3%83%AA%E3%83%B3%E3%81%A8%E3%83%94%E3%82%A2%E3%83%8E%E3%81%AE%E3%81%9F%E3%82%81%E3%81%AE%E4%BD%9C%E5%93%81%E9%9B%86%EF%BC%9A%E4%BD%90%E8%97%A4%E4%B9%85%E6%88%90(vn)-%E6%9F%B4%E5%9E%A3%E8%8B%B1%E4%BA%8C(p))
Would anyone care to take us through the ordering process?!
Does anyone know anything of his opera "Kain und Abel"? I strolled around at the state library in Munich and the score was lying around on a return desk so I had a short glimpse.
However all I can say is that it only has one act and that the orchestra required is relatively large. There is not a lot to find about it on the Internet... Does anyone know more?
Kain und Abel can be consulted at IMSLP:
https://imslp.org/wiki/Kain_und_Abel%2C_Op.54_(Weingartner%2C_Felix) (https://imslp.org/wiki/Kain_und_Abel%2C_Op.54_(Weingartner%2C_Felix))
It dates from 1914.
This is however just the vocal score. I was unaware that the full score had been published- thanks for that information. (I know that the Austrian National Library has an autograph full score but of course not-the-same-thing.)
I'm still waiting for the Cello concerto to be recorded!
The Cello Concerto can be heard on YouTube:
https://www.youtube.com/watch?v=zCfmzaIWlvE (https://www.youtube.com/watch?v=zCfmzaIWlvE)
hmm I just acquired Weingarter's 4th symphony on CPO... not yet sure if it just a 1x listen to??
Not for me it isn't. Although I consider the 2nd symphony to be Weingartner's best by some margin, it's two successors aren't bad at all. Generally, the 5th and 6th aren't appreciated as much, and the 7th has received a ... mixed reception (although it's a not-so-guilty pleasure for me). Very enjoyable music generally, if not earth-shattering (with the possible exception of the aforementioned 2nd).
Has anyone here studied Weingartner's Sakuntala to give some opinion on it? The vocal score is found at IMSLP while GSA has scanned a published full score.
https://ores.klassik-stiftung.de/ords/f?p=401:2:::::P2_ID:210529 (https://ores.klassik-stiftung.de/ords/f?p=401:2:::::P2_ID:210529)