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Words Worth 5eme partie
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WORDSWORTH,WILLIAM
(Artist)
Format: Audio CD
4,3 von 5 Sternen
14 Sternebewertungen
Includes FREE MP3 version of this album. Provided by Amazon Digital Services LLC. Terms and Conditions . Does not apply to gift orders. Complete your purchase to save the MP3 version to your music library.
Produktabmessungen
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5.63 x 4.96 x 0.43 cm; 3.32 Unzen Hersteller
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Lyrita Modellnummer
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REAM1121 Erscheinungsdatum
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2016 Im Angebot von Amazon.de seit
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März 16, 2016 Label
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Lyrita ASIN
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B01AUOFLYA Anzahl Disks
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1
4,3 von 5 Sternen
14 Sternebewertungen
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A. Film Lover Top-Beitragender : Klassische Musik
Ignore the fellow who seems to have an issue with these BBC broadcast releases - he puts those reviews on all of those releases and one doubts he's even heard them. The thing is, the music on these releases is very rare and this is the only way we're getting them - and for the most part the sound quality from the broadcasts is really good, including this CD, which is clean and crisp mono for each piece. I have the Lyrita CD with Wordsworth's second and third symphonies and I like it fine. But these two symphonies, his first and fifth, are in a whole other universe. In short, these are incredible works and must be heard. Anyone with any interest in British music of this period should know these symphonies. The orchestral colors are brilliant and the emotion of each of these symphonies is superb - I found them very effecting and stunningly beautiful. Both are very different from each other but very much unique to their composer. The overture is a nice filler and is terrific. In short, buy the thing.
4 Personen fanden diese Informationen hilfreich
After discovering the music of William Brockelsby Wordsworth (great-great-grandson of the poet's brother, Christopher) through Lyrita's excellent cd of his Second and Third Symphonies, I was curious to know what his other six symphonies sounded like. I was delighted therefore when this release of his First and Fifth Symphonies was issued. The difference between these two cd's, and the only reason I give this one four stars instead of five, is the sound quality. Coming from taped broadcasts from BBC radio, it is not for the "audiophile", although quite satisfactory considering its' source and the interest of the music. Only the Fifth Symphony is in stereo; the First, and the Overture are in mono. Those expecting a mellow Brahmsian warmth in these works will be disappointed, but those who appreciate strong, individual works with personality and purpose will be amply rewarded. The kinetic energy and power of the First Symphony remind me of Arnold Bax's First. Its' disturbing opening theme seems to warn of impending disaster, and its' second theme doesn't offer much relief. The whole movement is somewhat sinister, and ends abruptly. The calmer but still dark waters of the 'adagio' seem a grimmer picture of the "Swan of Tuonela". The 'scherzo' may be a parody of doom, hard and unrelenting. After a measured 'andante' introduction, the angry combative mood returns in the finale. This is a symphony of conflict, reflecting the time of composition (1944), stern but meaningful. The Fifth Symphony is quite a contrast, still a sober work, but more relaxed and optimistic. It opens with an intensely lyrical, expressive, and expansive, 'andante', evoking perhaps a beautiful landscape; its' main theme is the building block of the entire symphony. The witty second movement 'allegro' could be a battle of skeletons with a 'trio' of water-sprites (think "Danse Macabre"). The third movement finale is essentially an impressive set of variations on the "motto" theme. The Overture: "Conflict", although written 24 years after the First Symphony, bears the burden of strife. It may have been shaped in part with the concurrent Czech invasion in mind, although the composer denied that it was anything beyond "absolute music". It is a flurry of war-like activity and visions, with no resolution or outcome. I hope that I haven't made this music sound forbidding; it really isn't, but it is challenging, and is more enjoyable with each successive encounter. I'm glad I accepted the challenge, and trust that others won't be dissuaded to do so.
7 Personen fanden diese Informationen hilfreich
As much as I welcome obscure and approachable symphonic music being available I cannot endorse fully these REAM releases by Lyrita. I also understand that the Label magnificent original recordings (which gave the brand a tremendous reputation) have been exhausted and there is a need to survive; but I cannot be less than honest when it comes to these quasi-amateur recordings, which, after all, they certainly are because Mr Itter -- founder of Lyrita -- recorded them with no further intentions. Whether he used 'state-of-the-art disc and tape recorder' as the back label says here, I very much doubt it from the results. But now he's gone, and so is his vision. There are three variables to consider here: 1) the performance 2) the sound 3) the music. 1) Performance: I have to admit that the BBC Scottish SO sounds underwhelming and in trouble in the years 1968-71. Better in 1979; which would be the logical trend if you consider how good they are now (courtesy Hyperion). But in the Overture and the 1st Symphony they truly play second rate. The strings sound thin and the conducting nothing special. 2) Sound: The Monaural sound from 1968 & 71 sounds like the recording of an amateur. It reminded me being at a concert hall and wondering what was that microphone hanging in front of the orchestra meant since I had never heard recordings of concerts I was at. Perhaps it was Mr Itter?! In summary: this is not sophisticated mono, not ffrr at all! Nor is the "STEREO" of the Fifth Symphony adequate! There is a certain front to back perspective, but left to right there is no range. Plus the sound is a bit boomy. Stereo? Hardly. Which is a pity because: 3) Music: I found the 5th Symphony the best piece here. It caught my attention, there was argument and good melodic nuances, color, and rhythm -- which makes this pseudo-Stereo the more unfortunate for true appreciation. Musically, I found Symphony 1 and the 'Conflict' Overture (whose title whets your appetite) fully inconsequential (or is it the performance?) In summary, personally, whenever I'll see REAM in the CD's number code, I will check wheter it is MONO and think twice paying full price for it. After all, nobody expects hidden masterpieces here, worth the investment. I mean, this music is certainly not Britten, Finzi or Vaughan-Williams. Finally, I am truly surprised and disappointed that more emphasis was not paid by the other two reviewers in this column. Maybe price is not an issue for them. But such is the world of reviewing...
Eine Person fand diese Informationen hilfreich
Long,long overdue,this second volume of Wordsworth orchestral music. Like the first CD of syms. 2 and 3, this music needs to be heard a few times to be fully appreciated. Rugged and inventive with moments of great beauty,it has been neglected far too long, this composer deserves better! These recordings are historic, two of the three pieces are mono,but the sound isnt bad. Lets hope its not another 25 years before we hear more of Wm. Wortsworth.
3 Personen fanden diese Informationen hilfreich
William Wordsworth,the composer is one of those names that have been around for a long time, but has never quite convinced me. However, this new addition to the catalogue surprised me. It is from the Itter Collection of live broadcasts that Lyrita have been putting out and there is no doubt that the tensions of live performance greatly improve this music. The Wordsworth First, written in 1944 is splendidily dramatic with lines constantly clashing with one another. It reminds me if anything of the very fine Alan Bush First Symphony which is from much the same period. The Fifth is full of life and colour and as adventurous in its way as any of the considerable amount of forward looking music written at the same time at the turn of 1960. However, it is also a lot more cheerful than most music of its period. My one complaint about this otherwise excellent disk is that the radio reception does not seem to have been that wonderful when the First Symphony was recorded off ther airwaves by Richard Itter. However, the performance is audible and powerful.
4 Personen fanden diese Informationen hilfreich
5,0 von 5 Sternen
Well worth exploring
An excellent disc of music by a composer deserving of more attention
Eine Person fand diese Informationen hilfreich
4,0 von 5 Sternen
William Wordsworth, sinfonie 1-5
Sono rimasto piacevolmente sorpreso nel centellinare questa preziosa registrazione storica, potendo così apprezzare un compositore che non conoscevo. Della prima sinfonia ho colto, soprattutto nell'ultimo movimento, una stretta corrispondenza con Edmund Rubbra, Autore che apprezzo moltissimo. La Quinta mi ha colpito per l'economia tematica, (un solo ed incisivo tema viene utilizzato nei movimenti estremi), nonché per la raffinatezza armonica politonale e la levità timbrica. Ottima l'esecuzione.
3,0 von 5 Sternen
Merci à Lyrita !
On le sait : le parti-pris éditorial de la maison de disque Lyrita est de proposer au public des enregistrements remasterisés d'oeuvres de compositeurs anglais du XXème siècle données soit en studio radiophonique soit en concert par l'un des orchestres de la BBC (ici le BBC Scottish Symphony Orchestra pour une fois). D'où beaucoup de bandes en mono, de qualité variable (ici plutôt correcte) et quelques bandes stéréo comme avec la Symphonie N°5 comme pièce conclusive dans le présent CD. Sans grand risque de nous tromper, nous oserons dire que William Wordsworth (1908-88) est pour vraisemblablement la totalité d'entre nous un total inconnu. Pacifiste convaincu (ce qui lui valut d'être mobilisé comme objecteur de conscience pendant la Deuxième Guerre Mondiale pour réaliser des travaux agricoles), cet arrière-petit-fils du poète Wordsworth fut un homme discret, détestant les honneurs, parlant peu et composant beaucoup. La plupart de ses oeuvres ne fut d'ailleurs jamais donnée et donc encore moins enregistrée alors qu'à l'écoute des trois opus regroupés ici, on découvre un charme et une sûreté d'écriture qui appellent à tirer de l'ombre un compositeur injustement délaissé. Sa Symphonie N°1, composée en 1944, lui permit de réaliser sa première oeuvre d'envergure. Elle requiert un orchestre fourni en particulier dans les vents et nous offre une longue promenade à l'aide de styles variés, d'ambiances multiples très agréables à écouter. Sa 5ème symphonie, écrite entre 1957 et 1960 fut créée par Sir Adrian Boult. D'une orchestration beaucoup plus modeste et d'une durée sensiblement plus courte, elle navigue à l'intérieur d'un climat où les cordes tiennent le rôle principal, oscillant entre un caractère bucolique, rêveur et parfois légèrement comique. C'est la pièce la plus aboutie de ce disque qui rend hommage à un compositeur à découvrir.
3 Personen fanden diese Informationen hilfreich
5,0 von 5 Sternen
Two impressive Wordsworth symphonies
William Wordsworth (1908-88) - a distant descendant of Christopher Wordsworth, brother of the famous poet - is one of Britain's many forgotten composers. He is rarely, if ever heard in the concert hall, and his music today is represented by a handful of recordings, produced in the main by Lyrita. He tended to write in the traditional genres, including string quartets and symphonies, two of the latter on offer here. The present recording of Symphonies 1 & 5 (along with the Overture 'Conflict') thus complements Lyrita's earlier recording of Symphonies 2 & 3 (SRCD 207). The title of Wordsworth's Overture 'Conflict' is suitably reflected in the tempestuousness of the music, full of dissonance, brisk fanfares and irregular rhythms. It is scored for large orchestra, of which the battery of percussion instruments plays a significant role. The Symphony No. 1 (1944) tends to look towards Europe for its key musical influences (Sibelius and Bartok, in particular), rather than to Britain, unless one can include Wordsworth's former teacher Donald Tovey. A predominantly robust and 'brassy' opening movement gives way to a haunting adagio in which the strings are at their most lyrical. The brief scherzo, by contrast, plunges us into the world of what Paul Conway labels 'the grotesque', and is marked by a general thematic waywardness. Brass and woodwind are very much to the fore here. The finale begins with a slow, brooding introduction, but before long the driving rhythms encountered in the first movement return, propelling the work to a decisive and powerful conclusion. The Symphony No. 5 (1960) falls into three movements. The opening andante maestoso begins in somewhat muted fashion with solo woodwind weaving sinuous thematic material over a soft bed of strings. Soon the strings themselves assume dominance as the music becomes more passionate and direct. The listener feels caught up on its rise and fall, as on an ocean swell. The frequent instrumental solos and light scoring give a chamber feel to much of this movement which, in my view, is the most effective of the three. The brief allegro central movement is skittish and colourful, providing some necessary contrast with the predominantly more serious mood of the surrounding movements. Perhaps the spirit of Malcolm Arnold at his most ebullient is not too far distant. The final movement opens with sombre strings, leading to a triumphant outburst in the brass, at which point the tempo quickens and the music becomes more animated, with fanfare figures and impassioned comment from the strings. The conclusion comes amid a riot of scintillating brass and pounding percussion. The recordings here were made in the late 60s and into the 70s by the BBC Scottish Symphony Orchestra under James Loughran (Overture and Symphony No. 1) and Stewart Robertson (Symphony No. 5). Most of Wordsworth's output still awaits concert performance (as opposed to studio broadcasts). It is to be hoped that Lyrita's efforts to promote this composer's work will help arouse wider interest. Although concentrated listening is required, these works are by no means inaccessible.
4 Personen fanden diese Informationen hilfreich
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William Wordsworth (1908-1988) in his large and varied output embraces many forms, including orchestral, chamber and instrumental music, and songs. His scores are consummately well-crafted and display a rugged individuality. There are no sensational tricks, no compromises to fashion and his is generally a quieter, more contemplative voice than that of his contemporaries. Various influences such as Sibelius, Bartók, Nielsen and, to a lesser extent, Bax and Vaughan Williams may be detected fleetingly in some of his writing, but he went his own way and the best of his music is passionate, tough, direct and sincere. Wordsworths Symphony no.1 (1944) has been broadcast on a couple of occasions, but has not yet received a public performance. The 5th Symphony (1960) is a riot of colour and seemingly unstoppable invention. Representing the composer at the very peak of his powers, it ranks as one of his most life-affirming utterances. In 1957 he wrote, I am quite convinced that I have something to say, and an individual way of saying it which the ordinary music-lover is capable is responding to if he is given sufficient opportunities. I would not go through the labour of creation were I not so convinced.'
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