# Favorite orchestral music - this time only one!



## Weltschmerz

Only one - no either's, or's, and's, or but's! If you had to pick!

Mahler's Adagietto from Symphony No. 5


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## Zombie Woof

Hello,
This is my first post here. If I'm put on the spot, and it looks like I am, then I will have to pick Brahms second Piano Concerto, preferably the Gilels recording.

Zombie Woof

Information is not knowledge
Knowledge is not wisdom
Wisdom is not truth
Truth is not beauty
Beauty is not love
Love is not music
Music is THE BEST


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## vivaciouswagnerian

Don't know if this counts, but Haydn's Representation of Chaos from The Creation


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## holes

Debussy's La Mer


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## rojo

Hey, that`s my favourite piece also, holes! Finally, someone who likes Debussy`s La Mer as much as I do. Nice to know I`m not the only one to have this as their favourite. Some pieces come close, but nothing can beat this piece for me. Not that it`s a competition or anything. It`s just that no piece has had more effect on me than this one.


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## vivaciouswagnerian

I love Le Mer as well. I work for Barnes and Noble and actually had a long discussion ending with the lady purchasing a recording of it. Exciting!!!


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## Amy

Hmm, this is such a difficuly question. I think for me it would have to ultimately be either Beethoven's 9th symphony or Zadock the Priest. Oh no, but what about "When to the Temple Mary Went" or Haydn's "Insanae et Vanae Curie"? Lol I think I could actually go on and on for pages and still not be able to come up with a definate answer! Sorry Weltschmerz...I do agree that Le Mer rocks though!


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## Amy

Lol, silly me, I didn't see the orchestral part of the question! Well, this is much easier. Most definately Beethoven's 9th (Though Berlioz' "Symphony Fantastique" comes in a very close second!)


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## Denis

An almost impossible question as moods change from day to day but my desert island disc choice would be Mahler's 3rd.....I feel strange just thinking about it!
Must add full marks for the person who picked Brahms 2nd piano concerto.
Cheers
Denis


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## vivaciouswagnerian

and I give major kudos to you!! Mahler's 3rd is one of my FAAAAAVS. All 10 of his symphonies are not to be played with, lol. I did a summer study of Mahler and now am one of his #1 fans!


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## SchubertObsessive

Despite my screenname, my personal favourite is Holst's 'The Planets'.


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## Denis

Re Mahler......way back when I was young I was at a concert of Mahler's 9th which totally engrossed me and in the last movement I felt as though I was approaching the gates of Heaven & they slowly opened. Weird really as I was still alive & at the time did not believe in God at all. I read years later that the great Mahler conductor Bruno Walter felt in the last movement of the 9th that the gates of Heaven opened, so it wasn't just me!!!
Have you ever listened to Kindentotenlieder, very sad but absolutely wonderful.
Cheers
Denis


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## vivaciouswagnerian

One of my favorite sopranos sings the Kindentotenlieder and it makes me cry everytime. Its really an amazing set of songs. My favoite of Mahler, since thats what this thread seems to be aiming now  has got to be his first. The third is immense and amazing, very modern Beethoven in size, if I can say that without getting shot, lol. His first though is so wonderful. I saw it for the first time at Wolftrap theatre which is an immense wooden theatre half inside and half out. It was such a beautiful experience, the cool night breeze and the gentle flow of it all. It was coupled with Mendleson's (sp?) Midsummer Night's Dream. Great programming!!

PS: the only reason my screenname is VivaciousWAGNERIAN is cause VivaciousMAHLERIAN sounds too much like a desiese ;-)


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## Denis

Is Wagner a favourite??? You'll hate me as he is probably the only composer I really do not like, apart from his Siegfried Idyll. I love listening to music in the open air although I haven't done it for years. A long time ago I lived near Kenwood & used to go to the open air concerts, lay on the grass, looking at the stars & listening to the music....wonderful. Only problem was I used to take a bottle of red wine & usually got to relaxed. Happy memories. Denis


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## SchubertObsessive

That's funny, Denis.

I've always fallen asleep during _indoor _concerts, because they demand I close my eyes. There is nothing more distracting than having to watch the musicians. It's like watching a movie with all the microphones and cameramen in the picture! Definitely not like a popular music show.

Speaking of which, Classical musicians get too much attention.


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## Denis

Hi, I have been known to doze during a concert but not often. Anything that involved a piano keeps me very alert. A Schumann/Beethoven/Brahms piano recital is total bliss and a live performance of a Brahms piano concerto with a pianist like Pollini is absolute heaven. Think I've digressed from Mahler!
Denis


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## Kurkikohtaus

*Jean Sibelius - Tapiola*

Such a haunting picture... the piece works both as music and poetry...


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## linz

'Verklarte Nacht' Arnold Schoenberg, version for string orchestra. A truely profound piece and the ultimate in 'severity of distrubing emotion' category.


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## Kurkikohtaus

What I like best about Verklarte Nacht is that it is _pre_ 12-tone, when I find Schoenberg was at his most expressive in a post-Mahlerian way.


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## linz

Richard Strauss could also be quite brilliant though sometimes his idea's, though precocious, were not resolved, leading to unbalanced and befuddling music. (to many ideas, to little resolution) The most balanced and formalized of his poems were also the most grandious, namely 'Also Sprach Zarathustra' and 'Death and Transfiguration'.


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## 4/4player

My most favorite piece has to be Dvorak's Ninth symphony, "From The New World". I especially like the english horn solo from the Largo/second movement!


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## Celloman

If I had only one choice, I might pick The Dream of Geronitus by Edward Elgar, although I don't really have an all-time favorite, given all the hundreds of unbeatable masterpieces out there.


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## Kurkikohtaus

Dear Mr. Celloman, please do not take offence from what I have to say, I mean it in a fun-loving and joking way...

Are you English?

The reason I ask is that I have met many musicians from all over Europe and N. America in my career, and the English ones always seem to incredibly esoteric taste in music, both in regards to specific pieces (like your Geronitus or my friend's Nights in the Gardens of Spain) and on the whole (another musician friend of mine believes that Walton is the greatest symphonist after Beethoven).

So the second part of my question is this: is it fierce national pride that drives English people to hold ElgarBrittenWaltonDeliusHolstVaughnWilliams etc. up on a pedestal, or do you _really_ find this music in some way _better_ than the more mainstream European "standard" composers?


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## linz

Kurkikohtaus said:


> Dear Mr. Celloman, please do not take offence from what I have to say, I mean it in a fun-loving and joking way...
> 
> Are you English?
> 
> The reason I ask is that I have met many musicians from all over Europe and N. America in my career, and the English ones always seem to incredibly esoteric taste in music, both in regards to specific pieces (like your Geronitus or my friend's Nights in the Gardens of Spain) and on the whole (another musician friend of mine believes that Walton is the greatest symphonist after Beethoven).
> 
> So the second part of my question is this: is it fierce national pride that drives English people to hold ElgarBrittenWaltonDeliusHolstVaughnWilliams etc. up on a pedestal, or do you _really_ find this music in some way _better_ than the more mainstream European "standard" composers?


I agree entirely, you can not go to an English speaking forum anymore, because so many glorify Elgar, Vaughan Williams, etc.


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## Topaz

*Mr Kurkikohtaus (sir)*

I should think any country with a history of decent composers will have a bias in that direction. In the USA, they rate Ives. We never hear his works here in UK.

I very much doubt that this UK bias is that extreme. In terms of current popularity, broadly measured, I reckon the top 10 would be roughly as follows:

1	Mozart
2	Beethoven
3	Tchaikovsky
4	Rachmaninov
5	Elgar
6	RVW
7	Bach
8	Sibelius
9	Shostakovich
10	Handel

Besides, Elgar and RVW wrote some very fine stuff, jolly good show!

Topaz


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## Lynx

Excuse me for butting in, but judging by the spelling of the word 'color', I would suspect that Celloman is American.

If this is the case, then the theory that only the British glorify Elgar, Vaughan Williams etc. is thrown out of the window.

He's quite correct about Elgar's Dream. It's a true masterpiece, a statement I posted only minutes ago on another thread - before I read this one, I must add.


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## linz

It's true, I have taken polls on sites where I happen to know many Brits roam, and Vaughan Wiliams is rated with composers like Mahler, Debussy etc. 'It's a 'bloody' shame!'


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## Topaz

*Kurkikohtaus: * Which composers would you say are the most popular with audiences in Czechoslovakia, outside of the tourist-dominated Prague market?

*Linz:* How would say American audiences rate Copland, Ives, Barber, Gershwin in relation to say Liszt, Dvorak, Bartok, Ravel?

Topaz


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## linz

I don't think any American composer can hold a candle to Elgar or Vaughan Williams, most would agree, the question is, can Elgar or Vaughan Williams hold a candle to Mahler, Debussy, or Sibelius?


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## Celloman

Actually, Kurkikohtaus, I am an American, and I live in Missouri. I have been exposed to lots of American music, but the fact is, I like the English idiom just as much as my native one. But yes, I would agree with you that people often take to the music of their country more than the music of other countries. As it so happens, I am not one of those people.  There's so much good music from England, France, Germany, etc. that I couldn't possibly have a favorite national idiom. Every country has a distinct musical language that can be admired for what it is.


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## robert newman

Rimsky-Korsakov's 'Scherazade' may come close to being the most universally likeable orchestral piece today. Since the choice must be orchestral only I can't suggest Vaughan Williams 'Serenade to Music' (the version recorded with solo singers and orchestra by Adrian Boult - not the one with choirs). Mmmmmm - well, em, maybe, Bach's Concerto for 3 Harpsichords, BWV 1063 or even the other one BWV 1064. 

Such a tough question !


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## Kurkikohtaus

I sounds as if I may have slightly offended some people, or at least sparked some un-wanted controversy. Let me clarify:

I was not saying that it is *BAD* that English people like English music. To answer Topaz's question, certainly the most popular composer in the Czech Republic is Dvorak, with Smetana's operas a close second. It is natural that people like music from their own country.

I was just wondering if Celloman was indeed English, as I have never encountered non-English people to list an English piece, an obscure one at that, as their favourite.

The fact that Celloman is American is pretty cool and gives a very interesting angle to his choice.


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## Topaz

*Kurkikohtaus*

I'm not sure who you are referring to but I was deeply offended - I do not think.

I think when people are chatting on here, it is necessary to make allowances for the inability to express one's tone, except perhaps with smilies. What may possibly appear a bit abrupt or odd is most often not meant that way at all.

On your main point, I love Beethoven but I am not German. So why shouldn't an American like Elgar and RVW? I like Faure and Berlioz too, even though Brits and the French have historically not been all that enamoured of each other. (I am not so keen on Debussy though!)

I think there is bound to be some nationalist bias, but I reckon it's no worse among Brits than it is among say the French, Germans, Americans, or (as you have implied) the Czechs. I have no proof; it is just a bit of casual empiricism.

Topaz


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## Kurkikohtaus

robert newman said:


> Rimsky-Korsakov's 'Scherazade' may come close to being the most universally likeable orchestral piece today.


Mr. Newman, that is a HUGE and in my mind daring statement.

To say that Scheherezade is a great piece of music can be easily backed up by analysis of instrumentation and form and its original use of ostinato. To say that Scheherezade is a _very popular_ piece can be backed up by the frequency with which it is performed and recorded.

But the most universally likeable piece "today"?

Would you care to elaborate a little?


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## ChamberNut

For me, it's an easy choice. Beethoven's 9th Symphony.

As Father Merrin said in The Exorcist: _There is only one._


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## Saturnus

Béla Bartók - The Miraculus Mandarin

I saw this ballet first at the age of 13, since then I have heard something new with every re-listening. A piece that proofs that black is a mixture of all the other colours.


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## oisfetz

Tchaikovsky's Manfred. A master piece in every sens.


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## Kurkikohtaus

*Saturnus*, I think the most important part of your comment is that you *saw this ballet*... because simply as a piece of music I find it cacophonous and untranslateable to the concert stage. Set to dance, however, it does come alive.


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## Lisztfreak

You know, I'm a bit tired of these 'favourite X piece', but I'll give it a shot one last time.

Let's say my favourite orchestral piece is Liszt's Faust Symphony.
The second would be Elgar's Cello Concerto, at least at the time.

P.S. I'm not a Hungarian. Nor an Englishman.


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## chronosfirex2000

It is very hard to choose one peice of orchestra music to be my absolute favorite. However if I did so I would have to choose...

Ralph Vaughan Willaims - The Lark Ascending.

That peice is absolutely beautiful and powerfully emotional to me.


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## robert

Kurkikohtaus said:


> *Saturnus*, I think the most important part of your comment is that you *saw this ballet*... because simply as a piece of music I find it cacophonous and untranslateable to the concert stage. Set to dance, however, it does come alive.


I take it you dislike Bartok.....I happen to really like this piece....stage or not....but then again I happen to enjoy Bartok.....

Robert


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## robert

linz said:


> It's true, I have taken polls on sites where I happen to know many Brits roam, and Vaughan Wiliams is rated with composers like Mahler, Debussy etc. 'It's a 'bloody' shame!'


WHY Its only an opinion...certainly not worth a "bloody shame"


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## Kurkikohtaus

For the record, I like Bartok just fine. _Concerto for Orchestra_ and _Music for Strings, Percussion and Celesta_ are works that I enjoy immensely. I just don't like the Miraculous Mandarin.


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## robert newman

Passacaglia and Fugue in C minor, BWV582 for Organ - Johann Sebastian Bach
(Not orchestral but yet it seems so)


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## robert newman

Dear Kurkikohtaus, 

Sorry that I've taken ages to answer you. You've asked me to say why I think Rimsky-Korsakov's 'Scherazade' may be the most universally likeable piece today. 

Well, there are a few reasons. First is this piece is known by virtually everyone who listens to classical/orchestral music. So it is already among the most famous works in all of the orchestral repertoire and has been recorded many, many times. Secondly, its composer was an acknowledged genius in orchestration. Thirdly, the piece is divided in to movements, each of which is programmatic to some extent (a frequent reason for those not familiar with classical music to complain if they don't 'know what the piece is all about'. So 'Scheherazade' avoids any such complaints). Fourthly, this work makes great demands on an orchestra and on its soloists. And fifth, I've yet to meet anyone, even a single person, who dislikes the piece. It does not sound 'ancient' to those who first hear it. There are perhaps few works which have all of these qualities. For this reason I think we can say that this single work may be described as the most likeable work for orchestra in the entire history of concert performance. I realise (of course) that others may come close to having the same pedigree. 

Regards


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## Kurkikohtaus

Interesting criteria.

The first few that you list:
1. Universally known
2. Excellent orchestration
3. Programmatic

... applies to many pieces, as you say. What strikes me is your 4th point, that:
4. Demands on orchestra and on *soloists*

That is quite a good insight. This piece is chalk-full of memorable orchestral solos, from the exalted concert-master's solo all the way through to the lowly bassoon. The plentyful solos in this piece are a definite crowd-pleaser.

So by the criteria you list, I have to tip my cap and acknowledge your insight into the tastes and demands of the masses.


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## celep

j.s. bach-- brandenburg concertos... I got surprised when I realized that no one gave them as an answer. Their magnificient harmony makes me have very joyful feelings.


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## robert

robert newman said:


> Dear Kurkikohtaus,
> 
> Sorry that I've taken ages to answer you. You've asked me to say why I think Rimsky-Korsakov's 'Scherazade' may be the most universally likeable piece today.
> 
> Well, there are a few reasons. First is this piece is known by virtually everyone who listens to classical/orchestral music. So it is already among the most famous works in all of the orchestral repertoire and has been recorded many, many times. Secondly, its composer was an acknowledged genius in orchestration. Thirdly, the piece is divided in to movements, each of which is programmatic to some extent (a frequent reason for those not familiar with classical music to complain if they don't 'know what the piece is all about'. So 'Scheherazade' avoids any such complaints). Fourthly, this work makes great demands on an orchestra and on its soloists. And fifth, I've yet to meet anyone, even a single person, who dislikes the piece. It does not sound 'ancient' to those who first hear it. There are perhaps few works which have all of these qualities. For this reason I think we can say that this single work may be described as the most likeable work for orchestra in the entire history of concert performance. I realise (of course) that others may come close to having the same pedigree.
> 
> Regards


nice post....Which version is your current favorite?


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## robert

Kurkikohtaus said:


> For the record, I like Bartok just fine. _Concerto for Orchestra_ and _Music for Strings, Percussion and Celesta_ are works that I enjoy immensely. I just don't like the Miraculous Mandarin.


Its understandable.....I can say that I don't like every piece written by all composers I like.....


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## MungoPark

*Hands down favorite is ...*

Ferdinand Herold's Zampa overture. I first heard it in a Woody Woodpecker cartoon when I was about 5. I've loved it ever since.


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## Saturnus

I can understand if conductors hate the Miraculus Mandarin


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## Kurkikohtaus

Here here to that.


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## mahlerfan

Honestly, for me, my favorite changes from time to time. Whenever I hear a new work, that is usually becomes my favorite, at least for the time being, until another brilliant piece is heard. But for now, my favorite would have to be Mahler's Das Lied von der Erde. The opening Horn sounds absolutely awesome. I have the "Great Recordings of the Century" recording with Otto Klemperer conducting, and Christa Ludwig and Fritz Wunderlich singing. Absolutely stunning work of art.


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## rarevinyllibrary

Glib but witty :this extend to english musicians as well (conductors , orchestras ,etc)


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## Cosmos

Oh God well I can't play favorites so for now I'll say the first movement of Mahler's 1st


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## TrevBus

Celloman said:


> Actually, Kurkikohtaus, I am an American, and I live in Missouri. I have been exposed to lots of American music, but the fact is, I like the English idiom just as much as my native one. But yes, I would agree with you that people often take to the music of their country more than the music of other countries. As it so happens, I am not one of those people.  There's so much good music from England, France, Germany, etc. that I couldn't possibly have a favorite national idiom. Every country has a distinct musical language that can be admired for what it is.


Misouri? I live KC, Mo. Where in the state you from?


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## TrevBus

Oh, so many but since you asked for one; Sibelius's Symphony #2. I have said this many times but I will repeat: Musically it puts me in a place I want to be.


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## moody

rarevinyllibrary said:


> Glib but witty :this extend to english musicians as well (conductors , orchestras ,etc)


I suppose you've noticed how old this thread is.
The only person still around is Celloman.


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## rarevinyllibrary

as for the wooden prince ,i first heard it in a disney film ...


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## rarevinyllibrary

as for the wooden prince i first heard it in a Disney film .Where lies the staples of american culture ....


Saturnus said:


> I can understand if conductors hate the Miraculus Mandarin


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## rarevinyllibrary

Sulphureous thread indeed. I am prone to re-enact it under a different form....


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## Schumann

Bach: Violin Concerto In D Minor, BWV 1052 - 1. Allegro


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## TudorMihai

Very difficult. But I have to choose one:

Borodin - Steppes of Central Asia


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## DeepR

Scriabin - Le Poème de l'Extase, Op. 54 (Riccardo Muti / Philadelphia Orchestra)


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## CypressWillow

Mozart Symphony 41 "Jupiter" - sublime.


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## Itullian

Bruckner 8..................


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## Itullian

CypressWillow said:


> Mozart Symphony 41 "Jupiter" - sublime.


It definitely is. Never tire of it.


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## CypressWillow

*tiptoes in*
*looks around furtively*
Oh good, nobody's looking. 
OK, this is someone else posting their favorite. It's, uh, WillowCypress - yeah, that's the ticket, definitely NOT CypressWillow, 'cause she already posted.
So, here's my favorite:
Mozart Requiem D Minor.

Aha! Caught you, WillowCypress. But you're forgiven, because both these works seem to show us the beauty that Mozart knew was awaiting him near the end of his tragically short life. He's going forward to that transcendence, yet pausing for a moment to share, with characteristic generosity, the light that was streaming down to embrace him.


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## moody

Richard Strauss "Ein Heldenleben". My favourite version is LSO/ Leopold Ludwig.


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## Selby

Favorite. Favorite. Favorite. This words get used a lot around here.

Another poster claimed RVW's Lark Ascending. That's a good choice.

I'm going with that as my favorite orchestral piece. But just for today 

Actually, if you look at my iTunes play count that would be the most played piece, by a significant margin actually.


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## gpaulot

Beethoven
Symphony number 7th
second movement allegretto


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## Celloman

Samuel Barber - Violin Concerto

This is my personality piece. The music describes me.


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## Llyranor

Tough choice. Very tough. For now, I will go with Mahler's 2nd.



Kurkikohtaus said:


> Dear Mr. Celloman, please do not take offence from what I have to say, I mean it in a fun-loving and joking way...
> 
> Are you English?
> 
> The reason I ask is that I have met many musicians from all over Europe and N. America in my career, and the English ones always seem to incredibly esoteric taste in music, both in regards to specific pieces (like your Geronitus or my friend's Nights in the Gardens of Spain) and on the whole (another musician friend of mine believes that Walton is the greatest symphonist after Beethoven).
> 
> So the second part of my question is this: is it fierce national pride that drives English people to hold ElgarBrittenWaltonDeliusHolstVaughnWilliams etc. up on a pedestal, or do you _really_ find this music in some way _better_ than the more mainstream European "standard" composers?


Heh, I actually consider Elgar's 1st symphony and violin concerto as able to compete with their respective best in class. Canadian, btw.


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## LindnerianSea

Symphony no. 4 in E minor by Brahms.... conducted by Kleiber.


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## Vesteralen

Canadian Sunset by Hugo Winterhalter


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## Jaredpi

Brandenburg concerto no.3 by Bach.


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## Baeron

Hard to Pick one, but I would say Mahler's 9th Symphony


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## astronautnic

Brahms 4th with Chailly and Concertgebouw Amsterdam


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## LFTBR

Pieces come and go, but I always cherish my time with:

Mahler 9th Symphony.
Beethoven 4th Symphony.

I find them inexhaustibly irresistible! Chock full of new things awaiting my discovery, no matter how many times I listen.

LFTBR

http://www.listeningfromthebackrow.com


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## csolomonholmes

I just discovered this composer - Kalevi Aho. His symphony #5 just about blew my mind! It just builds and builds. Very intense!


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## SONNET CLV

Weltschmerz said:


> Only one - no either's, or's, and's, or but's! If you had to pick!


*Tchaikovsky's Capriccio Italien.*









This is the piece that started it all for me; it was my doorway into classical music, a half century ago. I heard it played in what was otherwise a rather lackluster Music Appreciation class I had as a youngster. I don't recall many of the other pieces the teacher played, but something about the _Capriccio_ grabbed me. I sought out the record, ran into Tchaikovsky, added his First Piano Concerto and Symphony No. 5 to my small collection, somehow got hold of a Beethoven and a Schubert and more Tchaikovsky ... and I've never been the same. I continue to revere the piece and the wonderful journey through sound that it has provided for me.


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## Brahmsian Colors

Brahms Symphony No.3 performed by Rudolf Kempe and the Berlin Philharmonic. Subject to the possibility of change sometime in the future.


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## R3PL4Y

Tchaikovsky 6 Mravinsky/Leningrad


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## Pugg

*Mahler* symphony no 2.


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## Brahmsian Colors

R3PL4Y said:


> Tchaikovsky 6 Mravinsky/Leningrad


The most convincing Tchaikovsky "Pathetique" I have ever heard on records.


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## Animal the Drummer

The finale of the "Jupiter" Symphony.


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## andrzejmakal

Claude Debussy La Mer


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## Mal

Haydn Symphony No. 43 ("Mercury"), Bruggen/OAE or Marriner/ASMF (preferably both...)


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## TxllxT




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## Templeton

Currently Strauss's 'An Alpine Symphony', which just gets better and better with every listening. Hard to select an absolute favourite recording, with so many great ones to choose from. At the moment, I can't really choose between Kempe, Böhm, Haitink, Thielemann and Luisi.

You Tube has some sensational performances. Here are my three favourites, which also make for an interesting study of contrasting conducting styles:


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## FBerwald

I'll go out on a limb and nominate a waltz

Johann Strauss II - Aus den Bergen [From the Mountains, Waltz], Op. 292


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## Strange Magic

For the acerbic American journalist/essayist/commentator H. L. Mencken, there was only one choice. Here is a paragraph from his 1922 paean of praise for Beethoven and the _Eroica_:

The older I grow, the more I am convinced that the most portentous phenomenon in the whole history of music was the first public performance of the Eroica on April 7, 1805. The manufacturers of programme notes have swathed that gigantic work in so many layers of banal legend and speculation that its intrinsic merits have been almost forgotten. Was it dedicated to Napoleon I? If so, was the dedication sincere or ironical? Who cares - that is, who with ears? It might have been dedicated, just as well, to Louis XIV, Paracelsus or Pontius Pilate. What makes it worth discussing, today and forever, is the fact that on its very first page Beethoven threw his hat into the ring and laid his claim to immortality. Bang! - and he is off. No compromise! No easy bridge from the past! The second symphony is already miles behind. A new order of music has been born. The very manner of it is full of challenge. There is no sneaking into the foul business by way of a mellifluous and disarming introduction; no preparatory hemming and hawing to cajole the audience and enable the conductor to find his place in the score. Nay! Out of silence comes the angry crash of the tonic triad, and then at once, with no pause, the first statement of the first subject - grim, domineering, harsh, raucous, and yet curiously lovely - with its astounding collision with that electrical C sharp. The carnage has begun early; we are only in the seventh measure. In the thirteenth and fourteenth comes the incomparable roll down the simple scale of E flat - and what follows is all that has ever been said, perhaps all that ever will be said, about music-making in the grand manner. What was afterward done, even by Beethoven, was done in the light of that perfect example. Every line of modern music that is honestly music bears some sort of relation to that epoch-making first movement.

You can find the entire essay here:

http://banilsson.blogspot.com/2012/10/mencken-on-beethoven.html

I'll go along with Mencken, with the Brahms 4 right behind.


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## Art Rock

With voices: Mahler - Das Lied von der Erde
Pure orchestra: Bruckner - Symphony 9 (unfinished 3 movement version)


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## TwoFlutesOneTrumpet

Strange Magic said:


> For the acerbic American journalist/essayist/commentator H. L. Mencken, there was only one choice. Here is a paragraph from his 1922 paean of praise for Beethoven and the _Eroica_:
> 
> The older I grow, the more I am convinced that the most portentous phenomenon in the whole history of music was the first public performance of the Eroica on April 7, 1805. The manufacturers of programme notes have swathed that gigantic work in so many layers of banal legend and speculation that its intrinsic merits have been almost forgotten. Was it dedicated to Napoleon I? If so, was the dedication sincere or ironical? Who cares - that is, who with ears? It might have been dedicated, just as well, to Louis XIV, Paracelsus or Pontius Pilate. What makes it worth discussing, today and forever, is the fact that on its very first page Beethoven threw his hat into the ring and laid his claim to immortality. Bang! - and he is off. No compromise! No easy bridge from the past! The second symphony is already miles behind. A new order of music has been born. The very manner of it is full of challenge. There is no sneaking into the foul business by way of a mellifluous and disarming introduction; no preparatory hemming and hawing to cajole the audience and enable the conductor to find his place in the score. Nay! Out of silence comes the angry crash of the tonic triad, and then at once, with no pause, the first statement of the first subject - grim, domineering, harsh, raucous, and yet curiously lovely - with its astounding collision with that electrical C sharp. The carnage has begun early; we are only in the seventh measure. In the thirteenth and fourteenth comes the incomparable roll down the simple scale of E flat - and what follows is all that has ever been said, perhaps all that ever will be said, about music-making in the grand manner. What was afterward done, even by Beethoven, was done in the light of that perfect example. Every line of modern music that is honestly music bears some sort of relation to that epoch-making first movement.
> 
> You can find the entire essay here:
> 
> http://banilsson.blogspot.com/2012/10/mencken-on-beethoven.html
> 
> I'll go along with Mencken, with the Brahms 4 right behind.


My choice too and what is more the Brahms 4 is very close behind too.

Incidentally, I don't think I've ever seen an introduction to the Eroica in either concert handout or CD leaflet not mentioning the dedication to Napoleon. And it annoys the heck out of me for the same reason mentioned above.


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## hpowders

A tie:

Copland Appalachian Spring.

Britten Four Sea Interludes and Passacaglia from Peter Grimes.


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## JAS

Strange Magic said:


> For the acerbic American journalist/essayist/commentator H. L. Mencken, there was only one choice. Here is a paragraph from his 1922 paean of praise for Beethoven and the _Eroica_.


Of course, it might be noted that Mencken had a very strong Germanic bias to begin with, which got him into quite a bit of trouble during and immediately after the war. (Baltimore even changed the name of its German Street at that time, and, I believe, stopped teaching German as a language in public schools.) That isn't to suggest that I necessarily disagree with his musical assessment on this topic.


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## Totenfeier

mahlerfan said:


> Honestly, for me, my favorite changes from time to time. Whenever I hear a new work, that is usually becomes my favorite, at least for the time being, until another brilliant piece is heard. But for now, my favorite would have to be Mahler's Das Lied von der Erde. The opening Horn sounds absolutely awesome. I have the "Great Recordings of the Century" recording with Otto Klemperer conducting, and Christa Ludwig and Fritz Wunderlich singing. Absolutely stunning work of art.


Mahlerfan, despite MY name, I've got to agree with you here in all respects. As close to perfection as anything gets.


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## Bettina

Just one piece? In that case, I have to go with Beethoven's Eroica Symphony. Not only because of its power and drama, but because of its groundbreaking approach to musical form and tonal planning. That famous C-sharp near the beginning is left hanging, not to be resolved until hundreds of measures later! Such immense structures were unprecedented at the time.


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## Rach Man

Strange Magic said:


> For the acerbic American journalist/essayist/commentator H. L. Mencken, there was only one choice. Here is a paragraph from his 1922 paean of praise for Beethoven and the _Eroica_:
> 
> The older I grow, the more I am convinced that the most portentous phenomenon in the whole history of music was the first public performance of the Eroica on April 7, 1805. The manufacturers of programme notes have swathed that gigantic work in so many layers of banal legend and speculation that its intrinsic merits have been almost forgotten. Was it dedicated to Napoleon I? If so, was the dedication sincere or ironical? Who cares - that is, who with ears? It might have been dedicated, just as well, to Louis XIV, Paracelsus or Pontius Pilate. What makes it worth discussing, today and forever, is the fact that on its very first page Beethoven threw his hat into the ring and laid his claim to immortality. Bang! - and he is off. No compromise! No easy bridge from the past! The second symphony is already miles behind. A new order of music has been born. The very manner of it is full of challenge. There is no sneaking into the foul business by way of a mellifluous and disarming introduction; no preparatory hemming and hawing to cajole the audience and enable the conductor to find his place in the score. Nay! Out of silence comes the angry crash of the tonic triad, and then at once, with no pause, the first statement of the first subject - grim, domineering, harsh, raucous, and yet curiously lovely - with its astounding collision with that electrical C sharp. The carnage has begun early; we are only in the seventh measure. In the thirteenth and fourteenth comes the incomparable roll down the simple scale of E flat - and what follows is all that has ever been said, perhaps all that ever will be said, about music-making in the grand manner. What was afterward done, even by Beethoven, was done in the light of that perfect example. Every line of modern music that is honestly music bears some sort of relation to that epoch-making first movement.
> 
> You can find the entire essay here:
> 
> http://banilsson.blogspot.com/2012/10/mencken-on-beethoven.html
> 
> I'll go along with Mencken, with the Brahms 4 right behind.


Eroica truly is a perfect piece. There is not one note out of place. There is not one note extra or one note short, and the music is phenomenal. I was thinking about which one piece that I would choose for this thread and when I saw your post, it reminded me that every time I listen to Eroica, I feel that it is perfect. I think that Beethoven guy has a shot at making it some day. :lol:


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## Pugg

FBerwald said:


> I'll go out on a limb and nominate a waltz
> 
> Johann Strauss II - Aus den Bergen [From the Mountains, Waltz], Op. 292


Good to see someone nominated this music once in a while .


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## znapschatz

Picking a favorite orchestral piece is, for me, completely impossible. Almost every response posted on this thread can serve as mine, depending on my state of mind when listening. I don’t know how you people can make such a determination. I guess I’m more the gourmand than gourmet, can’t get enough of the wonderful stuff.


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## EdwardBast

Strange Magic said:


> For the acerbic American journalist/essayist/commentator H. L. Mencken, there was only one choice. Here is a paragraph from his 1922 paean of praise for Beethoven and the _Eroica_:
> 
> The older I grow, the more I am convinced that the most portentous phenomenon in the whole history of music was the first public performance of the Eroica on April 7, 1805. The manufacturers of programme notes have swathed that gigantic work in so many layers of banal legend and speculation that its intrinsic merits have been almost forgotten. Was it dedicated to Napoleon I? If so, was the dedication sincere or ironical? Who cares - that is, who with ears? It might have been dedicated, just as well, to Louis XIV, Paracelsus or Pontius Pilate. What makes it worth discussing, today and forever, is the fact that on its very first page Beethoven threw his hat into the ring and laid his claim to immortality. Bang! - and he is off. No compromise! No easy bridge from the past! The second symphony is already miles behind. A new order of music has been born. The very manner of it is full of challenge. There is no sneaking into the foul business by way of a mellifluous and disarming introduction; no preparatory hemming and hawing to cajole the audience and enable the conductor to find his place in the score. Nay! Out of silence comes the angry crash of the tonic triad, and then at once, with no pause, the first statement of the first subject - grim, domineering, harsh, raucous, and yet curiously lovely - with its astounding collision with that electrical C sharp. The carnage has begun early; we are only in the seventh measure. In the thirteenth and fourteenth comes the incomparable roll down the simple scale of E flat - and what follows is all that has ever been said, perhaps all that ever will be said, about music-making in the grand manner. What was afterward done, even by Beethoven, was done in the light of that perfect example. Every line of modern music that is honestly music bears some sort of relation to that epoch-making first movement.
> 
> You can find the entire essay here:
> 
> http://banilsson.blogspot.com/2012/10/mencken-on-beethoven.html
> 
> I'll go along with Mencken, with the Brahms 4 right behind.


I am a Mencken fan but, alas, he missed the revolution by several years. The "Tempest" Sonata is where the bridges to the past were cut. People always go for the big public works.


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## znapschatz

JAS said:


> Of course, it might be noted that Mencken had a very strong Germanic bias to begin with, which got him into quite a bit of trouble during and immediately after the war. *(Baltimore even changed the name of its German Street at that time, and, I believe, stopped teaching German as a language in public schools.)* That isn't to suggest that I necessarily disagree with his musical assessment on this topic.


Faint echoes of "Freedom Fries," is it not?


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## hpowders

znapschatz said:


> *Picking a favorite* orchestral *piece is, for me, completely impossible.* Almost every response posted on this thread can serve as mine, depending on my state of mind when listening. I don't know how you people can make such a determination. I guess I'm more the gourmand than gourmet, can't get enough of the wonderful stuff.


I agree, but it's fun to play along (no pun intended, though I will take the credit as if it was!)


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## Sandra

Wow, hard one.. Right now I'd say Beethoven's 7th but it might change in a couple of days haha


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## Strange Magic

EdwardBast said:


> I am a Mencken fan but, alas, he missed the revolution by several years. The "Tempest" Sonata is where the bridges to the past were cut. People always go for the big public works.


I reminded Mencken, last time I spoke with him, that the OP concerned orchestral works, and he therefore stuck by his enthusiasm for the Eroica. But he agreed to listen again to the Tempest, and will get back to us.


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## znapschatz

hpowders said:


> A tie:
> 
> Copland Appalachian Spring.
> 
> Britten Four Sea Interludes and Passacaglia from Peter Grimes.





hpowders said:


> I agree, but it's fun to play along (no pun intended, though I will take the credit as if it was!)


I _sea_ you are Grimey fellow, like me  .


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## Autocrat

With the usual "at this moment" caveat, Ligeti: _Lontano_.


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## silentio

Brahms' Tragic Overture!


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## Oldhoosierdude

My emotional \nostalgic favorite is always Beethoven 's 6th. That Krips recording was my first recollection of liking classical music.


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## FBerwald

Mélancolie, Op. 48. No. 3
by Eduard Nápravník


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## hpowders

znapschatz said:


> I _sea_ you are Grimey fellow, like me  .


Yes. I love Peter Grimes. Saw it several times at the Met with Jon Vickers.

Unforgettable!


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## Pugg

Sandra said:


> Wow, hard one.. Right now I'd say Beethoven's 7th but it might change in a couple of days haha


Has to be my favourite to, sublime.


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## znapschatz

hpowders said:


> Yes. I love Peter Grimes. Saw it several times at the Met with Jon Vickers.
> 
> Unforgettable!


Truly unforgettable. My first encounter with it was a production of the USC Opera Workshop that was so moving I attended all three performances. That was decades ago, and I have only seen it once since, on a televised version from, I believe, the San Francisco company. I have only my 33rpm recording of the Four Sea Interludes and Passacaglia now, and that is just about worn out. But the piece is popular enough to get occasional play on our local FM classical music radio. It gets me every time.


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## Sandra

Actually, i remember saying about a few days ago that it was Beethoven's 7th.. well it still definitely is one of my favorites but right now i'm obsessed with Dvorak's 9th, "New World" !!


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## hpowders

znapschatz said:


> Truly unforgettable. My first encounter with it was a production of the USC Opera Workshop that was so moving I attended all three performances. That was decades ago, and I have only seen it once since, on a televised version from, I believe, the San Francisco company. I have only my 33rpm recording of the Four Sea Interludes and Passacaglia now, and that is just about worn out. But the piece is popular enough to get occasional play on our local FM classical music radio. It gets me every time.


My first encounter with it was when I saw it at the Met because it was part of my subscription series and I was completely bowled over by those magnificent sea interludes. So I bought a single ticket to another performance of it that season. Saw Vickers twice!

Had to give up the Thursday evening Met subscription series. I was one zonked out HS chemistry teacher the next morning!


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## Tchaikov6

Today? Mahler's third symphony.

Yesterday? Hindemith's Symphonic Metamorphosis on Themes of Carl Maria von Weber.

The day before that: Peer Gynt Suites- Grieg

Every day it changes. I can't choose a favorite.


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## R3PL4Y

Right now, I would say Villa Lobos' 7th Bachianas Brasileiras


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## lluissineu

Brahms 1st symphony and 1st serenade, but I said two because we could only choose one. Say 3 and I'll choose 30.


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## Pugg

Bach's Italian concerto which is now one.


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## Francis Poulenc

Mahler Symphony No. 3.


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## Brahmsian Colors

After about the past eight years I just don't hear anything nudging the Brahms Third, conducted by Kempe, from my favorite position. Andre Previn's Vaughan Williams Third is in the rear view mirror and moving up, but....?


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## BabyGiraffe

Daphnis and Chloe suite - Ravel


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## NorthernHarrier

JAS said:


> Of course, it might be noted that Mencken had a very strong Germanic bias to begin with, which got him into quite a bit of trouble during and immediately after the war. (Baltimore even changed the name of its German Street at that time, and, I believe, stopped teaching German as a language in public schools.) That isn't to suggest that I necessarily disagree with his musical assessment on this topic.


Mencken was right in his praise of the Eroica, but yes, he was very critical of the U.S. government for getting involved in the war. He also distrusted representative democracy and expressed openly his bigotry against Jewish people.


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## Phil loves classical

Berlioz' Symphonie Fantastique for sure.


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## QuietGuy

Ravel's Daphnis et Chloe, no question. But the music of the whole ballet, not just Suite #2.


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## Pugg

Sandra said:


> Wow, hard one.. Right now I'd say Beethoven's 7th but it might change in a couple of days haha


And did it Sandra?


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## helenora

after a really long consideration choosing between giants of symphonies like Beethoven, Brahms, etc I've chose absolutelydifferent composer. if we put emphasis on a word Orchestral then I must say it's *Rimsky-Korsakov "Scheherazade"*. From the point of view of orchestral colors it's unbeatable even neither by Ravel or Debussy - both of them admired R.-K. orchestration skills and as a composition it's wonderfully done too, sonata form used with Leitmotive system.


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## Pat Fairlea

Just one orchestral work? Oh well then, it has to be ..... no, maybe it's ....... but what about.......? And ...... is marvelous when I'm in the mood. 
Beethoven 7
Sibelius 4
RVW 3
Borodin 2, Steppes of Central Asia
Britten Peter Grimes
SVR Isle of the Dead
etc?

Tell you what, let's settle for Hindemith's Kammermusik no. 1, a little-known gem.


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## AfterHours

I'll go with Beethoven's 9th Symphony but 49.9% of the time I might side with Mahler's 9th Symphony instead.


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## lehnert

I choose Mahler's Symphony no. 9


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## DeepR

Scriabin - The Poem of Ecstasy and Prometheus: The Poem of Fire
It's balancing on 50/50... sometimes 49,999 / 50,001 or vice versa.


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## hpowders

In real time, still the Sea Interludes and Passacaglia from Benjamin Britten's Peter Grimes.


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## Merl

Still Beethoven 7th, currently, with Honeck or Fischer at the helm but lots of others are close. So much great music out there.


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## Meyerbeer Smith

Mendelssohn: Midsummer Night's Dream.


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## Pugg

SimonTemplar said:


> Mendelssohn: Midsummer Night's Dream.


Such a romantic you.


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## Meyerbeer Smith

Pugg said:


> Such a romantic you.


I wasn't thinking of the wedding march!

(And my runners up are Holst's Mars, Prokofiev's Battle on the Ice, Tchaikovsky's Marche slave or the 1812, and the complete works of Berlioz. Romantic with a capital "R" - but leaning more towards cannons, brass, percussion, and things military!)


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## Pugg

SimonTemplar said:


> I wasn't thinking of the wedding march!
> 
> (And my runners up are Holst's Mars, Prokofiev's Battle on the Ice, Tchaikovsky's Marche slave or the 1812, and the complete works of Berlioz. Romantic with a capital "R" - but leaning more towards cannons, brass, percussion, and things military!)


Change your user name : Simon Romantic Templar.


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## AfterHours

lehnert said:


> I choose Mahler's Symphony no. 9


Yes! Though I chose Beethoven's 9th, it's neck and neck with this one!


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## AfterHours

Haydn67 said:


> After about the past eight years I just don't hear anything nudging the Brahms Third, conducted by Kempe, from my favorite position. Andre Previn's Vaughan Williams Third is in the rear view mirror and moving up, but....?


Great choice! Have you tried Wand/NDR's rendition too?


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## AfterHours

Phil loves classical said:


> Berlioz' Symphonie Fantastique for sure.


Love it  And such a valuable contribution to symphonic form and concept too. There's a rendition by Eliahu Inbal that is among the best, yet has hardly been noticed. I strongly recommend checking it out if you haven't already: http://cps-static.rovicorp.com/3/JPG_400/MI0003/606/MI0003606994.jpg?partner=allrovi.com


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## Robert Gamble

Really hard to decide... I'm going under the assumption that we can have as many recordings as we want of the piece. 

If I have to go for my long term favorite I would never want to be without, it would be Beethoven's 9th. The problem here is that while I do love it, I also tend to need time off from it at times. It tends to wear out my interest faster than some others but when the interest returns it's with the fiery passion of a thousand burning suns... But because I go through periods where I just can't think about listening to it, I might very well pick something else.. Let's see..

More of a consistent slow burn where I always enjoy it is Dvorak's New World Symphony. So of the two, I would probably pick this one. However...

Berlioz's Symphonie Fantastique is my new passion, and the music spans such a wide range of emotions and has such brilliance in places, it might replace both of the above soon. Nevertheless...

The eventual winner may very well be a Mahler, and partially under the assumption that I can have as many recordings as I like of it. Mahler, to a larger extent than most composers, seems to have a huge range of not only quality interpretations, but DIFFERENT ones. I actually haven't listened to much of him yet, but when I do, I enjoy him a lot and am starting to explore his catalogue a bit more.


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## Tchaikov6

My favorite has changed since last time I posted... Now I'll have to go with Mahler 5.


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## GAJ

Sibelius 7. It has remained my No.1 for the best part of forty years. Before then lots of jostling for the top spot. And since ...lots of different no.2's which never quite made the final move(ment)!


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## Überstürzter Neumann

Easy... Bruckner 8.


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