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I think it was George Szell who said that there are no great undiscovered masterpieces, so by definition anything more than a couple of decades old wouldn't be a masterpiece. The case of Brian is an interesting one - here is a guy who was rarely performed, in his very first symphony wrote the biggest one ever (measured by size of forces required and possibly by length) and NEVER gave up, writing a large number of is symphonies after the age of 70.
The "Gothic" symphony (that first one) has sort of enjoyed an underground following, and while I don't have definitive facts, I wager that it is Brian's most recorded work, with several commercial recordings and at least one release of a concert performance - Boult conducting, I believe. Fanfare recently gave very high marks to the recent Dutton release of Brian's symphonies 2 and 14, conducted by Brabbins, who is making his way through a good number of Brian's symphonies. I just ordered it this weekend - had to go to Presto UK to find it. Very curious to hear it. I have owned the Marco Polo release of the Gothic for a number of years, but I can't say that it made an impact on me - I remember it as having murky sound, and being a murky performance. Need to pull it off the shelf and give it another listen.
Looking forward to hearing this new one - sounds like the 2nd symphony is quite interesting, and supposedly well played and recorded..
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I have recordings of all but one of Brian's symphonies, as well as the English Suites and other orchestral music. You are correct, TGR, that the first symphony (Gothic) is the most recorded and performed. It is a huge, monumental construction. The other early symphonies are also large works.
His early symphonies are often compared to Bax, although I find Brian more cogent and organized musically. Still, I prefer his later symphonies, which were not only shorter, but in the right hands, more pastoral in feel.
I would describe Brian's musical language as tonal, but with a drifting key, sometimes referred to as progressive tonality. He often ends up in a different key than he starts with and scatters in some atonal passages. Although he did like to incorporate staccato brass and percussion, he never tromps into the realm of toxic irritating dissonance.
Brian had his own voice, which is quite palatable in his later symphonies. However, listening to more than a few of the shorter symphonies consecutively can result in a sense of sameness.
Interestingly, his English Suites are much more of the romantic era feel in the tradition of British pastoral writing. It was the 1st English Suite that originally attracted the attention of the entrenched music establishment.
There was a revival of interest in Brian in the 1950s-1960s. The recent interest is probably deserved in the sense that his music is worth hearing, as it is not just hackneyed reworking of the music of others. He went his own way. I prefer his mature works, although the English Suites are recommended for those who prefer a more pastoral romantic era feel.
As a side note, Havergal was not his real name. He just adopted and used the name. His real name was William, and to my knowledge, he never legally changed it, so Havergal is really just a nickname.
"Life without music is a mistake" (Nietzsche)
I have a cult figure, not to be confused with a cute figure.
"Life without music is a mistake" (Nietzsche)
You are a Brian maven!
I've just spent a lot of my time over the past 2 decades listening to music by lesser known and forgotten composers.
"Life without music is a mistake" (Nietzsche)
But sadly not the one you mentioned so I'm streaming the above which is available.
Also see his 'Gothic' was recorded with Brabbins with BBC Proms on Hyperion which is likely the 'Gothic' of choice complete with 800 performers! Sadly it's not on any of my streaming service either so...
Maybe I buy it just to trip out the wife. :-)
You can find him on Lyrita
Alan
This one is on QOBUZ but not TIDAL.
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