# New Orchestral Music



## Blancrocher

Hi Everyone,

This is a thread for orchestral music that you have recently discovered. I see it as an informational thread for people interested in new works--or new recordings of rare material. Before posting, please check an online seller to make sure that a given work is not already represented by multiple recordings. (If it is, you might consider posting in a Guestbook instead.)

A post should include an embedded video, and text indicating the work's composer and title (in case the embedded video expires). Feel free also to post links to interesting sites concerning the work in question that might contain such things as composer interviews, program notes, performers' reflections, etc. If you reply to another post, please only include their text--and not the embedded video--in your response.

I'd prefer that people keep evaluative comments to a bare minimum. If you're posting about a piece we'll assume that you recommend it. If you dislike what someone else has posted, please don't acknowledge it in any way.

Please only post one or two videos in a given day.

Thanks in advance to all those who participate.

...

I'll start things off with a recently recorded work by Wolfgang Rihm, "2 Other Movements":






Recorded 2016; conducted by Roger Norrington. The work was composed in 2004.


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## Xaltotun

Respighi! Oh, I've known his music for a while, but now I bought the records and I've been gorging over them. How delicious can music be? I like how he doesn't pretend to be a symphonist, no lip service to sonata form here. He's an honest sensualist, just creating these fabulous, delicious sounds without much structure.

The records are --

Church Windows & Brazilian Impressions - Simons
Fountains of Rome & Pines of Rome - Reiner SACD

Edit: OK, posted first, then read the OP. Seems that I didn't quite stick to the guidelines that were given. Sorry! But when I thought about destroying the whole post, I decided that I'd let it stay, even if it violates the terms - maybe it'll be of use to someone - but with an apology. Sorry!


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## Blancrocher

Matthias Pintscher - Idyll (2014)

Some notes about the music:



> Matthias Pintscher has composed an "idyll" for the Cleveland Orchestra, a shining, light image of a place of yearning. A composition which takes space and time for the music to resonate. "The piece is about the breathing of resonances, about fading away - with the whole sense of longing associated with this. Each sound dies away because it is dependent upon the breath, and then you have to breathe in anew. That is the theme of this piece." The composition is a kind of "tombeau", or memorial, for a friend and mentor who has recently died. In his orchestral work Matthias Pintscher builds an "altar" around a piano composition which he composed for his friend's 80th birthday in 2004: on a clear day draws horizontal axes around a central note, E flat, with fragile, filigree symbols. This horizon, a graphic perspective which emerges from intervals, harmonies and the tonal aura of the glassy piano sound "is the starting point for a much larger orchestral expanse which I have built around this piano piece", says Matthias Pintscher. That is, the orchestra breathes a similar expanse which the piano piece describes. A music of great brightness and lightness is created, supported by perspective and hope. As in a dream of being a bird or being weightless, it is about a longing for lightness, about visions of light, inspiration and clear forms."


http://www.takte-online.de/en/conte...or-orchestra-in-cleveland/index.htm?tx_ttnews


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## Aggelos

I love the Russian Orientalism as expressed by Russian/Soviet composers and Arif Melikov was a personal discovery of the year 2015



> Arif Malikov (also Melikov; September 13, 1933 in Baku) is an Azerbaijani and Soviet composer. He graduated from the Baku Conservatory as a music composer in 1958. He shot to fame in 1961 when his first major composition "Legend of Love" was staged at the Kirov State Academic Theatre of Opera and Ballet in Leningrad (present day St Petersburg) and received nationwide acclaim. The ballet has been staged in several countries in Europe and is regarded as one of the finest works emerging from the former Soviet Union. The ballet "Legend of Love", is based upon the legend of "Farhad and Shirin", a story of unrequited love that was immortalized by Turkish poet Nazim Hikmet. Since then, Malikov has written music for two more ballets including "Yer üzündə iki nəfər (balet)" Yer üzündə iki nəfər (balet) ("Dvoe" or "Two") (1967) and "Poem of Two Hearts" (1981), five symphonies & eight symphony poems. He has also written scores for a large number of films and plays and is familiar with practically all genres of music composition.
> 
> Malikov had been conferred the highest award that an artist could get in the former Soviet Union - The People's Artist of the USSR. He has also been honoured with a concert hall named after him at Turkey's Bilkent University. He is an Honorary Doctor of Khazar University (2012), Baku. Azerbaijan.
> 
> After Azerbaijan gained its independence from the Soviet Union (late 1991), Malikov settled in Baku, where he teaches music in the Azerbaijan State Conservatoire.











http://melody.su/en/catalog/classic/30696/
http://www.musicweb-international.com/classrev/2015/June/Melikov_legend_MELCD1002326.htm

A tiny excerpt from Arif's Symphony No 6 with Valery Gergiev fulfilling the conductor's duties (as usual)


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## Aggelos

One more discovery. Audio files can be found on Toccata's page










https://toccataclassics.com/product/leopold-damrosch-orchestral-music/
http://www.musicweb-international.com/classrev/2015/Sep/Damrosch_sy_TOCC0261.htm



> The Prussian-born conductor-composer Leopold Damrosch (1832-85) built his reputation through the orchestra he founded in Breslau, emigrating in 1871 to the USA, where he founded a number of important musical institutions in New York and became chief conductor at the Metropolitan Opera and the New York Philharmonic. These spirited student performances reveal that the same sense of adventure informed his own music, heard here in its first recordings. At the heart of his only symphony, which sits between Brahms and Wagner, is a dark and powerful funeral march. The disc opens with a jubilant overture which takes an excited lead from Wagner's Meistersingers and closes with a bonne bouche in the form of Damrosch's orchestration of a Schubert favourite.





> Leopold Damrosch is noted for his work with musical institutions in New York, primarily as an early conductor of the New York Symphony Society (which later merged with the New York Philharmonic) and the Metropolitan Opera, but in his time he was also known as a violinist and composer, as well as an arranger. Even so, little of his oeuvre has entered the repertoire, and this recording by Christopher Russell and the Azusa Pacific University Symphony Orchestra is the first release on CD of his Festival Overture in C major, Op. 15 (1871), and his Symphony in A major (1878). While the overture owes an obvious debt to Wagner's Die Meistersinger, and the symphony is strongly reminiscent of Bruckner's early symphonic style, neither work rises to the level of mastery, and Damrosch's derivative music is unlikely to inspire a revival. Perhaps the most enjoyable track of this album is Damrosch's orchestral arrangement of Schubert's Marche Militaire, which, in spite of its rather heavy scoring, has the music of a true genius going for it. The student musicians are a bit under-rehearsed, but they seem adequate to the task. However, Toccata's reproduction is thick and murky, which makes listening more of a chore than a pleasure.
> 
> Review by Blair Sanderson - allmusic.com
> 
> http://www.allmusic.com/album/relea...t-marche-militaire-orch-damrosch-mr0004429148


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## Blancrocher

Andrew Norman - Play (2013)

Recorded by the Boston Modern Orchestra Project in 2014.


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## Blancrocher

Esa-Pekka Salonen - Karawane (Salonen cond.; August 27, 2015, Baltic Festival, Berwald Hall, Stockholm)

As yet, there is no commercial recording.

Salonen's program notes:



> Karawane for mixed chorus and orchestra was written between January 2013 and July 2014. For a long time I had been thinking of writing a large scale work for that combination, but had to abandon the project for various reasons, mainly schedule related, but also for not having found the right text material.
> 
> When it became clear that the first performance of the new piece would take place in Zurich I felt that I'd like to find a connection to the 20th century cultural history of the city, and decided to study the Dada movement which was born in Zurich 1916. Soon I settled for perhaps the best known Dada poem (or "Lautpoesie", "Sound Poetry" as it was called) by Hugo Ball, the founder of Dada, author of the Dada Manifesto, and the central figure in all the activities of Cabaret Voltaire, the first forum of the early dadaists.
> 
> Karawane is a short poem, consisting of 17 lines of synthetic language. I say "language" despite the fact that from a strict point of view of linguistics it cannot be described as such as it lacks the most important element of a language: the process of semiosis to relate signs with particular meanings. Yet, Ball's Sound Poetry is capable of evoking vivid images - intended by the author or not. In his own words: "I let the vowels fool around. I let the vowels quite simply occur, as a cat meows . . . Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out."
> 
> What makes the case of "Karawane" intriguing is that in the miniature novel Tenderenda der Phantast (published posthumously 1967) Ball describes the poem as "Schilderung einer Elefantenkarawane aus dem weltberüchtigten Zyklus "gadij beri bimba" (Description of a convoy of elephants), whereas at the time of the original Dada Manifesto (1916) no reference to any "meaning" occurred. Again as Ball puts it: "I don't want words that other people have invented. All the words are other people's inventions."
> 
> Here I must deviate a bit and mention that in "Tenderenda", just before Karawane is presented, a highly bizarre gestalt appears: Der Verwesungsdirigent, conductor of decay, a decomposer. A distant colleague, I imagine.
> 
> I found the idea of a convoy of heavy animals, jolifants - a travelling circus most likely - oddly fascinating. I started to imagine a circus lost in time and space, in endless slow motion through strange landscapes towards the next performance with or without audience, no purpose other than keeping moving. (I believe most musicians after some decades on the road can relate to the idea.)
> 
> Therefore, the form and narrative of Karawane are cyclical, a bit like climbing up a mountain where you see the same landscape again after every rotation, but from a different angle and distance. Familiar but not identical shapes. In this case, the mountain slope could be something like the stairs in Escher's lithograph Ascending and Descending, where people are doomed to walking endlessly going neither up or down - or both at the same time.
> 
> Karawane consists of two parts, which start almost identically: a crowd speaking or whispering lines of the poem, stopping and starting again until words become music. This is another Swiss homage in the piece: memory of a collaboration with Cristoph Marthaler some years ago in Salzburg.
> 
> From time to time this massive cortège gains momentum, but mostly the kinetic energy and pulse dissolve after a while into something more diffuse, quiet and dreamy. I'm mostly using the poem as phonetic material, sounds without a particular semantic content, but there are episodes where the choir sings entire lines of Ball's text as a chant, a simple melodic line rotating slowly around a few small intervals. Sometimes the choir sings long phrases on single vowels, thus becoming instruments of the orchestra.
> 
> Here is a simple road map for the journey:
> Part I
> 1) Very low sounds. Chorus speaks lines from Karawane. I wrote the following instruction in the score: An illusion of a distant mass of people. A circus audience perhaps? Pizzicato chords interrupt the rumble, music gains speed until we hear the word "Karawane" sung for the first time.
> 2) Pizzicati solidify into a walking bass figure upon which a chant-like rendering of the first half of the entire poem is heard.
> 3) Regular pulse melts away. A dreamy, cloud-like episode starts. If there can be a pastoral in the 21st century, this could be one. The movement accelerates very gradually into a virtuosic fast section. The choir writing resembles scat style. It stops very abruptly
> 4) as a rhythmic unisono section starts. It is obvious, but I will say it here nevertheless: this music is heavily influenced by the Balinese Ramayana Monkey Chant, better known as Kecak. This very complex and irregular rhythm becomes simpler and regular in the next section
> 5) where the chorus sings the second half of the poem. Same music as in no. 2, but faster and more evolved. The 1st part culminates on words "kusa gauma" and "ba-umf" after which the chorus remains silent until the end of the movement. The orchestra takes over with a massive brass chorale, which extinguishes itself quickly to make room for
> 6) a long, melancholy cello solo. All movement slows down to a stasis. At the end we hear a lonely, sad piccolo fragment. Night.
> 
> Part II
> 1) New beginning. The crowd is back, this time whispering. Music gains energy gradually through accelerandi and tempo modulations until
> 2) a stable fast tempo has been reached. Sopranos and altos produce loud shrieks on the word "hej" (Swedish?) accompanied by a police whistle. A crazy, semi-chaotic circus atmosphere. The chorus chants the entire poem from beginning to end for the first and only time in the piece accompanied by a manic drum set.
> 3) A sudden, complete change of temperature. The light pizzicato rhythms of the beginning have become heavy and full. A feeling of some kind of ritual in slow motion. Out of it grows
> 4) a second Kecak, longer and more evolved than the first one. The men of the choir are shouting in the beginning. The piece reaches its maximum speed and volume.
> 5) A slow melody, already familiar from before, is heard fortissimo above a hammering trochee rhythm. Tempo slows down further.
> 6) The choir sings the word "Karawane" two more times. The piece ends jubilantly.
> 
> I will give the last word to Hugo Ball himself: How does one achieve eternal bliss? By saying dada.


http://www.musicsalesclassical.com/composer/work/49670


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## Kjetil Heggelund

Here is "At the Speed of Stillness" by Charlotte Bray. I "discovered" this young composer while "hunting" for classical guitar solos. Seems she has had some good luck as well as talent!


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## Blancrocher

Brett Dean - The Annunciation, for choir & small orchestra (2012)

Notes by the composer:



> I first heard the Thomana performing Bach's Johannes Passion in Melbourne in 2009 and was utterly mesmerized by the beauty and homogeneity of their sound. There aren't too many cultural institutions in the world that can boast an 800th birthday. To be part of that sense of history and continuity made this commission a great honour indeed.
> 
> Nevertheless, the challenge of being asked to write a Christmas work brings with it very specific expectations, both social and musical. It was a very interesting compositional conundrum to find the right "tone" for such a piece on such a significant occasion and yet simultaneously remain true to my own compositional style. I wanted to compose a piece neither too bleak nor too frivolous for a Christmas celebration.
> 
> Finding the right text was therefore the first interesting challenge. I wanted to use a new, especially written text. This resulted in several discussions with various writers, eventually meeting and discussing the project with the Melbourne poet Graeme William Ellis in June 2011. This was my great stroke of luck; Graeme's poetic approach acknowledges significant aspects of the Christmas story in beautiful, yet clear language that resonated with me musically.
> 
> We wished to capture something of the sense of drama and darkness out of which the Christmas story and the miracle of Christ's birth emerges. Graham directed me to the Old Testament's star prophecy, the first reference in scripture to Christ's eventual birth ("A star will come out of Jacob." Numbers 24:17.) From this starting point, our work then uses the story of the Three Kings as both vehicle and metaphor for this journey from dark to light.
> 
> The orchestration, with its multiple groups of three "kings" (3 clarinets, 3 horns, 3 violas, 3 celli, 2 basses and harp) is characterized by veiled colours, against which the voices of the choir emerge and provide the light for the work. I remember, on the first occasion that I heard the choir, being fascinated by the extraordinary interplay of consonants as a textural component, something that I had never heard so clearly annunciated from a choir before. I feel that this experience played a part in my sonic realization of Graeme's text.
> 
> Of course no one can possibly consider writing a work for this extraordinary musical institution without considering JS Bach and his legacy. The danger is when his shadow looms too dominantly over one's shoulder, and to measure one's own work against Bach's is ultimately a stultifying exercise. So while we looked at the shape, dimensions and performance history of the various cantatas of the Christmas Oratorio for inspiration and guidance, ultimately we shaped our work on our own terms, adopting the four movement form presented here.
> 
> The world premiere performances on Dec 22nd and 25th, 2012, were among the most satisfying that I as a composer and Graeme Ellis as librettist have ever had the privilege to experience. Not only the performance itself, brought to vivid life through the combined skills of the Thomana, the Gewandhaus musicians and Georg Christoph Biller, but also the manner in which our work was referenced and incorporated into the accompanying sermon, made for a very memorable occasion in which the larger purpose of commissioning a new piece of music seemed more manifest than is often the case.


http://www.boosey.com/cr/music/Brett-Dean-The-Annunciation/55572&langid=1


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## ShadowRaz

I personally love kind of epic trailer type of orchestral music more than ye olde timely orchestral. Which is why i love listening to such artists / composers as Audiomachine, Two Steps From Hell, Sub Pub Music, Hans Zimmer etc are. And there are a lot of other composers, all that kind of music i tend to discover from mixes i listen in youtube such as one of my personal favourite channels is Pandora Journey.

Here's one of hers (his?) mixes i'm listening currently, check out also vol 1, 2, 4 and 5 and other mixes and individual tracks:


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## Cosmos

Discovered this fun work by Respighi, the _Preludio, Corale, e Fuga _. Not great, but of course the orchestration is fantastic, and it has a beautiful finale, even if it is a bit cheesy.


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## Blancrocher

Gubaidulina: "Glorious Percussion" (composed 2008), performed here by John Axelrod with Les Percussions de Strasbourg and La Orchestra del Teatro La Fenice in 2013 (in a concert including Lutoslawski's 3rd).

The work was recorded in 2011, with Jonathan Nott conducting Vadim Gluzman and the Lucerne SO.

A note from the composer:



> Two special characteristics distinguish this work from my previous works:
> A. The central theme here is the agreement of the sounding intervals with their difference tones. The structure of the form then results from this as well: the sound movement thrice comes to a standstill. Before this static background, only the respective pulsation caused by the intervals of the previous chord remains. Such episodes appear at particular structural points, thus subjecting the form to the law of the Golden Section.
> B. The solo percussionists have seven episodes in this work in which they step before the orchestra and improvise without a fixed note-text. This is more or less a reminiscence of a performance practice from a time during which only an oral culture existed.


http://www.musicsalesclassical.com/composer/work/37723


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## Blancrocher

Hans Abrahamsen: "Left, Alone" (2015), a piano concerto for the left hand. Curiously, the piece is composed by a composer lacking control of the right hand rather than for a pianist suffering such an affliction (the work is dedicated to Alexandre Tharaud, who is the work's dedicatee and soloist in the performance linked above).

Abrahamsen's program notes:



> I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth.
> 
> My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor.
> 
> Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements - in effect, six in total.
> 
> The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud.


http://www.musicsalesclassical.com/composer/work/54590

Incidentally, the concert linked to above also included the world premiere of Abrahamsen's orchestral arrangement of Debussy's Children's Corner:


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## Avey

I am sort of addicted to this *Magnard* piece that I heard on the radio last night. The first half was sort of a slog on first listen (i.e., was not mesmerized on first listen), and then the adagio happened, which has totally gripped me. That is, I was mesmerized on first listen.


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## Blancrocher

David Matthews - Chaconne, op. 43

Despite being broken up into all those tracks, it's only 21 minutes.

An older work by the composer from 1986-7, though not recorded till 2012. The recording is with Jac van Steen and the BBC Symphony Orchestra; it's currently only available in MP3.

An attractive, darkly hued work - perfect for night listening.


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## starthrower

The Gubaidulina percussion work is great!


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## Pugg

​
Ala not on YouTube but you get the point, I never taught that this music could have such impact on me.

*Aram Khachaturian* (1903-1978)
Symphonie Nr.2
Julia Bauer, Robert-Schumann-Philharmonie, Frank Beermann


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## Johnnie Burgess

Pugg said:


> ​
> Ala not on YouTube but you get the point, I never taught that this music could have such impact on me.
> 
> *Aram Khachaturian* (1903-1978)
> Symphonie Nr.2
> Julia Bauer, Robert-Schumann-Philharmonie, Frank Beermann


Maybe not that version, but did find this one:

Aram Khachaturian - Symphony no. 2 (1943) unofficial titled: "The Bell"

Royal Scottish National Orchestra, cond. Neeme Järvi


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## juliante

Pugg said:


> ​
> Ala not on YouTube but you get the point, I never taught that this music could have such impact on me.
> 
> *Aram Khachaturian* (1903-1978)
> Symphonie Nr.2
> Julia Bauer, Robert-Schumann-Philharmonie, Frank Beermann


And I never thought CM albums could have very cool artwork!


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## Guest

starthrower said:


> The Gubaidulina percussion work is great!


I saw once a documentary about her and she explained that she is very fascinated by overtones.:tiphat:


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## Pugg

juliante said:


> And I never thought CM albums could have very cool artwork!


CPO is a master in recording and covers also.


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## Avey

Blancrocher said:


> David Matthews - Chaconne, op. 43
> 
> An attractive, darkly hued work - perfect for night listening.


I loved this. Thanks, BC.

I am confused, however, because the Chaconne and In the Dark Time have different opus numbers, yet the titles are numbered continuously, as if they are one piece. It sounds like one piece. I am confused.


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## Blancrocher

Avey said:


> I loved this. Thanks, BC.
> 
> I am confused, however, because the Chaconne and In the Dark Time have different opus numbers, yet the titles are numbered continuously, as if they are one piece. It sounds like one piece. I am confused.


Whoops--I see that when I went back and did the post, I accidentally included two tracks from the other work. It turns out, however, that the whole album is available as a playlist. Much more convenient!


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## Merl

Still beautiful.


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## Blancrocher

Joan Tower - Stroke (2010) - released 2015 by Naxos

Composer's note:



> Stroke was commissioned by the Pittsburgh Symphony Orchestra and is dedicated to my younger brother George, who suffered a major stroke in 2008 at the age of sixty that left his body paralyzed on his entire left side.
> 
> The horrific journey of the aftermath of a serious stroke consists of many different emotional stages: crying, anger, anxiety and depression. The huge adjustment of the mind and the DNA of the body requires a strong resilience of emotion and a large amount of mental discipline to adapt to a body that can no longer do the things it did before. The positive side of this experience (and alternate meaning of the word "stroke") is one of occasional but welcomed rests of peace and deep love that become more pronounced as the stroke victim adjusts to his new reality.
> 
> I tried to depict these extreme emotions through the musical journey of my 17-minute piece. Inside a dramatic and often loud steady beat (of the heart) surrounded by waves of fast notes (which veer between "anxious" and "joyful"), there are five slower (and "softer") solos for horn, bassoon, violin, clarinet and trumpet where more "peaceful" surroundings come forward.
> 
> Stroke is a piece concerned with many emotions, one that hopefully offers a quiet "hope" at the end. With a stroke, it is hard to tell which way it will go.


The composer discusses the piece in this brief clip:


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## Rhinotop

I listened to 'The Meeting of the Volga and the Don, Op. 130' and 'Zdravitsa (Hail to Stalin!), Op. 85' (this last one doesn't purely orchestral) by Prokofiev. They are really delightful pieces, specially 'Zdravitsa'. It has a russian savor so chic. I love it (it has nothing to do with political issues).


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## techniquest

Johnnie Burgess said:


> Maybe not that version, but did find this one:
> 
> Aram Khachaturian - Symphony no. 2 (1943) unofficial titled: "The Bell"
> 
> Royal Scottish National Orchestra, cond. Neeme Järvi


The Jarvi / Royal Scottish recording (Chandos) is _by far_ the best available (despite the recording made by the composer with the VPO). I was disappointed with the new CPO recording, as I was with the recent Naxos recording with the Russian PO under Yablonsky. It'd be interesting to see some new recordings of the 1st symphony.


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## starthrower

My favorite symphonic movement by Wellesz discovered last year.


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## Blancrocher

Georg Friedrich Haas - Dark Dreams (composed 2013; not yet recorded)

A slow, brooding piece, as is typical from this composer. I liked the ghostly hints of a march, which made it all the more menacing.


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## Pugg

techniquest said:


> The Jarvi / Royal Scottish recording (Chandos) is _by far_ the best available (despite the recording made by the composer with the VPO). I was disappointed with the new CPO recording, as I was with the recent Naxos recording with the Russian PO under Yablonsky. It'd be interesting to see some new recordings of the 1st symphony.


You might be right about the recording, the O.P however talked about recent discovery. 
I will try the Chandos though.


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## starthrower

Symphony No. 8 by Laszlo Lajtha. Can't find it on YouTube, but I'm sure Naxos streaming has it, since they distribute and manufacture the Marco Polo catalog. If you enjoy exquisite orchestration a la Ravel, Stravinsky, Debussy, combined with good taste and bombast free symphonic writing, I think you'll appreciate Lajtha. This symphony premiered in Paris in 1960 to much acclaim. Too bad it's been forgotten. In fact nos. 3-9 are all excellent works.


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## Blancrocher

Kaija Saariaho: True Fire, for baritone & orchestra (2014)

Dedicated to Gerald Finley, who performs in the clip above.

The composer's program note: http://saariaho.org/works/true-fire/


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## AClockworkOrange

Avey said:


> I am sort of addicted to this *Magnard* piece that I heard on the radio last night. The first half was sort of a slog on first listen (i.e., was not mesmerized on first listen), and then the adagio happened, which has totally gripped me. That is, I was mesmerized on first listen.


I have only just found this thread but this piece seems very interesting indeed. Thank you for sharing the piece - especially with a YouTube video/link :tiphat:


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## Gordontrek

Not a discovery but rather a "rediscovery" if that counts- I listened to the orchestral version of Ravel's Le Tombeau de Couperin again for the first time in Lord knows how long. The first time, I liked it but it didn't really send me to the moon. This time, it sent me to the moon. Absolutely blew me away. So much so, in fact, I've begun sketching out a wind ensemble transcription. Who knows how far that will go, but it's fun anyway. 
Recording was Dutoit/Montreal if you're curious.


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## Bettina

Eduard Tubin's Concerto for Balalaika and Orchestra. A fascinating work for an instrument that is not usually featured in concertos!


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## hpowders

I love Ravel's Le Tombeau de Couperin, Gordentrek. An oboist's delight.


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## Pugg

Gordontrek said:


> Not a discovery but rather a "rediscovery" if that counts- I listened to the orchestral version of Ravel's Le Tombeau de Couperin again for the first time in Lord knows how long. The first time, I liked it but it didn't really send me to the moon. This time, it sent me to the moon. Absolutely blew me away. So much so, in fact, I've begun sketching out a wind ensemble transcription. Who knows how far that will go, but it's fun anyway.
> Recording was Dutoit/Montreal if you're curious.


I did find it on my shelf's, good reminder, thanks.


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## FBerwald

Pugg said:


> CPO is a master in recording and covers also.


Unfortunately when it comes to the booklets they go horribly wrong, and I mean Horrible. Some of the notes that are written by Eckhardt van den Hoogen and translated by Susan Marie Praeder have to be seen to be believed. seen not read. Try making sense of the booklet accompaniment to the Weingartner Symphonic cycle on CPO. I nearly lost interest in the music. So whenever I get a CPO CD, I avoid the booklet if the "pair" mentioned above have a combined role in the literature.


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## Pugg

FBerwald said:


> Unfortunately when it comes to the booklets they go horribly wrong, and I mean Horrible. Some of the notes that are written by Eckhardt van den Hoogen and translated by Susan Marie Praeder have to be seen to be believed. seen not read. Try making sense of the booklet accompaniment to the Weingartner Symphonic cycle on CPO. I nearly lost interest in the music. So whenever I get a CPO CD, I avoid the booklet if the "pair" mentioned above have a combined role in the literature.


Don't know that participial one, I am sure if you wroth to them they will response to your complain.


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## FBerwald

Someone I knew in another forum wrote but they never heard back. CPO is not that great at customer interaction. If you have a CPO collection, go through the booklets. If it's written by the people I mentioned, I'm sure you will be irritated as well. Nothing can be comprehended. It's all pseudo Psycho babble. Ill Share some with you later....

go through this thread for some amusing inside looks... http://members2.boardhost.com/MusicWebUK/thread/1455028237.html


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## Pugg

FBerwald said:


> Someone I knew in another forum wrote but they never heard back. CPO is not that great at customer interaction. If you have a CPO collection, go through the booklets. If it's written by the people I mentioned, I'm sure you will be irritated as well. Nothing can be comprehended. It's all pseudo Psycho babble. Ill Share some with you later....
> 
> go through this thread for some amusing inside looks... http://members2.boardhost.com/MusicWebUK/thread/1455028237.html


Strange, I ask them I believe four times and I even got a new booklet for one of my CD'S.


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## Johnnie Burgess

starthrower said:


> Symphony No. 8 by Laszlo Lajtha. Can't find it on YouTube, but I'm sure Naxos streaming has it, since they distribute and manufacture the Marco Polo catalog. If you enjoy exquisite orchestration a la Ravel, Stravinsky, Debussy, combined with good taste and bombast free symphonic writing, I think you'll appreciate Lajtha. This symphony premiered in Paris in 1960 to much acclaim. Too bad it's been forgotten. In fact nos. 3-9 are all excellent works.


Spotify has it.


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## Blancrocher

Saariaho, "Trans," for harp and orchestra (2015)

The composer's note: http://saariaho.org/works/trans/

*p.s.* Just a reminder that this thread is for new music-I've asked the mods to change its title so that its intention is clear.


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## DeepR

Gordontrek said:


> Not a discovery but rather a "rediscovery" if that counts- I listened to the orchestral version of Ravel's Le Tombeau de Couperin again for the first time in Lord knows how long. The first time, I liked it but it didn't really send me to the moon. This time, it sent me to the moon. Absolutely blew me away. So much so, in fact, I've begun sketching out a wind ensemble transcription. Who knows how far that will go, but it's fun anyway.
> Recording was Dutoit/Montreal if you're curious.


Love that work as well. I recommend the completion by Zoltan Kocsis.


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## techniquest

Pugg said:


> You might be right about the recording, the O.P however talked about recent discovery.
> I will try the Chandos though.


Admonished as I am, I would refer you to post #18.

I recently discovered the symphonies of Walid Gholmieh. Here's the 2nd Symphony - see what you think guys.


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