Mahler Symphony No. 10
Gustav Mahler: Symphony No. 10 (arranged for chamber orchestra by Michelle Castelletti)
Lapland Chamber Orchestra
John Storgårds, conductor
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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.
“The BBC Phil and Storgårds deliver it all with scintillating gusto.”
Storgårds conducts Haydn, Bartók and world premiere of the Trombone concerto Suuna by Jukka Tiensuu at the Helsinki Music Center in January 11th 2019. Watch and listen the whole concert:
John Storgårds conducts Tchaikovsky’s fourth symphony with Detroit Symphony Orchestra in November 2018. Watch and listen:
Experience the Royal Stockholm Philharmonic Orchestra’s Eroica symphony under the baton of John Storgårds:
Watch and listen Storgårds conducting Strauss with Lahti Symphony in September 2017:
A short introduction to Munich Chamber Ortchestra’s Haydn/Ligeti project:
21. April 2019, Kulturpalast Dresden
I was worried that the grim and fatalistic elements opening the final movement would go missing, but was I ever wrong. It’s as foreboding as it gets and the supremely beautiful flute melody that rises out of it is stunning. And to me, this final movement is pure, unadulterated Mahler at its best. And this performance exemplifies it very well. The final 5 minutes or so could melt the heart of a yeti.
Charles T. Downey, Washington Classical Review, 4 October 2018 National Symphony Orchestra Washington