George Antheil vol. 2
Symphony No. 3 ‘American’ (1936)
Hot-Time Dance (1948)
Symphony No. 6 ‘After Delacroix’ (1947-48)
Spectre of the Rose Waltz (1946)
BBC Philharmonic Orchestra
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Making his BSO subscription series debut, John Storgårds will conduct four concerts with the Boston Symphony Orchestra and pianist Martin Helmchen. Helmchen will perform Mozart’s Piano Concerto No. 22 in E-flat at the Symphony Hall in Boston on the 24th, 25th, 26th and 29th of January. Further Finnish conductor Storgårds will bring three works by his fellow countrymen Saariaho (“Ciel d’hiver”) and Sibelius (Symphonies no. 6 and 7).
More info here.
Following the ‘Editor’s Choice’ (Gramophone) success of their first volume, the symphonic output of George Antheil, the self-proclaimed ‘bad boy of music’, is further investigated by the BBC Philharmonic and its Chief Guest Conductor, John Storgårds, in the second album of the series.
Following his early experimentations with modernist ideas as an enfant terrible in 1920s Paris, the stylistic trajectory of Antheil’s symphonies over the next decades mirrors his self-confessed desire to learn more orthodox compositional techniques. This album explores two more of his symphonies: Symphony No. 3 (compl. 1946), only one movement of which was performed during Antheil’s lifetime, and Symphony No. 6 (compl. 1950), in which the influences of Shostakovich and Ives make themselves heard.
Completing this exciting disc from the BBC Philharmonic and Storgårds are two lively symphonic pieces, Archipelago (1935) and Hot-Time Dance (1948), and a re-orchestration into a concert waltz of music from the strikingly eclectic score to Spectre of the Rose (1946). This film tells the gripping story of a male ballet dancer suspected of having murdered his first wife and of being on the verge of dispatching his second in the same manner.
Experience the Royal Stockholm Philharmonic Orchestra’s Eroica symphony under the baton of John Storgårds:
20. January 2019, Kultur- und Kongresszentrum Luzern, Switzerland
The Finnish conductor somehow topped this fine first half with an outstanding rendition of the overfamiliar Fifth Symphony of Tchaikovsky. He approached the piece with a confident hand, transferring that confidence to the bleak opening in the clarinet, supported by darkened low strings, and using clear articulation to differentiate motifs from one another. [...] If you are not a believer in Tchaikovsky, this performance could make you one.
Charles T. Downey, Washington Classical Review, 4 October 2018 National Symphony Orchestra Washington