Woods and OOTS continue their cycle which pairs these two composers, with the world-premiere of Gál’s Fourth and Schumann’s Second. Written in his ninth decade and premiered in 1975, Gál’s Fourth and final Symphony is scored for chamber orchestra and akin to a concerto grosso. The music exhibits Gál’s trademark pastoral and lyrical style, yet inwardly this is music of intense rigor and deep concentration. While Gál’s compositional pedigree is strongly linked to the Austro-German tradition of the Viennese classical masters, Schumann’s Second looks to an earlier era, taking much inspiration from the spirit of J.S. Bach with its contrapuntal textures and chorale themes.
Avie continues to bring to light the music of Hans Gál – “music well worth championing,” according to The Sunday Times (London) – with the world premiere recording of the Third Symphony conducted by committed advocate, American conductor Kenneth Woods with the enterprising Stratford-upon-Avon based Orchestra of the Swan. Written in the post-war years, after the “continental Briton” had settled in Edinburgh, the work ranges from lyrical tranquillity to a densely contrapuntal and rhythmically complex style….
Kenneth Woods, Principal Guest Conductor of Stratford-upon-Avon based Orchestra of the Swan, has made international headlines for his ongoing cycle of world-premiere recordings of Hans Gál’s Symphonies. The set, paired with the symphonies of Robert Schumann, has been featured on National Public Radio’s All Things Considered and Performance Today, The New York Times, The Washington Post, in Gramophone and BBC Music Magazine, and dozens of other newspaper and online reviews, introducing a new generation to Gál’s wide-ranging and extensive oeuvre. Woods and OOTS continue the cycle with Gál’s Second and Schumann’s Fourth….
Aleksandr Lazarevich Lokshin was a Russian composer of classical music. He was born on September 19, 1920, in the town of Biysk, in the Altai Region, Western Siberia, and died in Moscow on June 11, 1987. An admirer of Mahler and Alban Berg, he created his own musical language; he wrote eleven symphonies plus symphonic works including "Les Fleurs du Mal" (1939, on Baudelaire's poems), "Three Scenes from Goethe's Faust" (1973, 1980), the cantata "Mater Dolorosa" (1977, on verses from Akhmatova's "Requiem"), etc. Only his Symphony No.4 is purely instrumental; all other symphonies include vocal parts.From Wikipedia
Not so under Jochum, whose new performance is grand, powerful, spontaneous. Aided by powerful sound, the performance is like no other in its power and impact though it partially resembles the Furtwangler in general intention. It is a more daemonic reading than the early Karajan or the Haitink. dramatic rather than epic but with a huge scope all of its own.