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Wonderfully attractive and compelling music
This music is fabulous! It absolutely compels one's attention, with its power, directness, and colour.While the thematic and harmonic material is definitely contemporary, these elements are rhytmically and formally framed in recognisable structures.This music holds the listener from beginning to end.Don't miss Holmboe's symphonies!!!

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Some good and great stuff...But be patient
I didn't know about Bax and suddenly I am listeing to his complete symphonies. Great work, but you will call it great only after you listen to all the symphonies at least a couple of time. unconventionally large time scales, big bursty orchestration followed by pianissimo passages, sudden solos entering after orgasmic full blooded orchestra all happening in between chunks of large tone poems sections. All this makes for a pretty unwieldy work at first hearing, but when you listened to it, you feel this is the best way it should sound. There is music which is great sounding at first hearing and then gathers dust, and there is music which is a bit hard to like, but once the trouble is taken and the terrain is charted, it doesnt seem incomprenhensible anymore, infact it becomes your most fav music. Baxs synmphonies fall in the 2nd category. The Music at times sounds like prokofiev, shostokovich to me and at times like Bax. But its a unique blend. The orch soudn produced by BAX is fantastic. He puts a very quite instrument solo just after crash boom bang. And the music does not follow formal structure, it meanders, but its fantastic sounding.

Sym5 and 6 will take time ..you need to hear it 2-3 times

sym 1 and 2 sounds a bit peasantly, but bit more hearing and you like it.1 and 2 have a faustian character

sym 3 and sym 7 is the BEST.

Sym 7,3 and 4 is easily aprochable, most likeable first listener point of view.

Bax Symphonies: Thomson/LPO/Ulster Orchestra
This was a most welcome addition to my CD collection and Thomson has done a first rate job of putting together Bax's symphonic output on a five CD boxed set. Thew juxtaposition of the works is somewhat strange, thecriterion being the optimal use of the 5 CD's time viz: disc's 2 and 3split Symphony No 4 (movement 3 is put on disc 3) and the resulting disc 3is somewhat 'funky' ro my mind with the Symphony No 2carrying on afterthe Finale to No 4. I don't want to sound churlish given the quality of themusic but I would have like to have seen Chandos give us an additional discon the set so that all the symphonies would have had their own disc withthe exception of disc 1 which would contain Symphonies 1 & 6 alcompleto, thereby avoiding this artificial splitting. I would have beenhappy to pay the extra money which would have saved me a lot of messingabout with my CD programmer! I generally agree with the comments of theearlier commentator on the music although I would advise any true lover ofthis music to also listen to the 1960s/70s issue of the Symphonies (minus 3&4) on the Lyrita label which is not currently available on CD. Tolisten to the Thomson's recording of Symphonies No 1 and 2 we can pick upthe truth of Bax's words when he said that his best symphonies were hisearly works Nos 1-3. He thought he had burnt himeslf out after the early1930s. His original programme notes called No 1 'Adventures on theprecipice' and of No 2 'In the abyss'. To be sure, the modern Thomsonrecording is technically brilliant matching his performance as he picks upthe pagan power of these works, the brass sforzandi shattering the grimsmoky beginning of No 2 and the cold glittering tone colour of the celestaostinati against the baleful horn's call somehow summoning up the legendsof Cuchulainn and the Nordic Sagas.The Lento with its leading violintells us a sad Celtic story builds to a shimmering climax like the wind offthe West Irish coast leads us into the terrifying finale with its uncannypredictive assembly of a thermo-nuclear catastrophe with boiling skies andan Epilogue which asks: What now? The feeling at the end of thismagnificent work is that we have been told a Saga of bravery, fortitude,suffering and death. The version of Symphony No 3 is the best yet I haveheard, certainly preferable to the Naxos offering which to my mind issometimes taken too fast. The Symphony No 4 was written when Bax wasattempting to write music of a more extrovert nature and the first movementbears this out, although the slow movement despite its lyricism appearssomehow artificial and hollow when compared with the more heartfelt andoriginal No 1, for example. The strident finale, with its trumpet andpercussion fff is of the genre of his 'Music to a Picaresque Comedy', istruly delightful and Thomson makes the most of this unusual mood in Bax,making the orchestra jump through the loudspeakers! The 5th and 6thsymphonies are brilliant, the spectre of Sibelius presenting itself asBax's music became more terse and economical. However, as non plus ultra,Thomson pulls a gem out of his hat with No 7, this CD is given its ownjewel case in the box and it seems appropriate as this is the most playedsymphony of my set and played such is a veritable jewel. This is manifestin the multitude of layers of orchestration, harmony, beat and counterpointwhich are here displayed in showcase fashion. The closing of the firstmovement with its uncanny sad woodwind lament against discordant mutedtrombones chords summon up a sense of disquiet and unease as we driftunhappily into the next movement as a storm brews under dark skies. Thesection of the next movement was marked by Bax 'In Legendary Mood' and iswonderfully dark, mysterious and sensual. The CD collection comes to asoulful and pensive close which portrays Bax's words as his alter ego thepoet, Dermot O'Byrne: 'Dark are the paths of my heart...and sea winds blowthe winter in'; a must buy for all British Music fiends and a delight forany lover of post Wagnerian romantic emotion.

The Essence of Sir Arnold Bax
Sir Arnold Bax (1883-1953) was the leading British composer in the 1930s after his reputation grew immensely due largely to the 1922 premiere of his powerful, agonizing First Symphony.Although his Symphonic Poems such asTintagel (1908), the Garden of Fand (1916), & November Woods (1918)placed Bax among the recognizable of composers, his symphonies did more tofurther his reputation.

His first symphony (1921-1922) has it's relationsto Myaskovsky's symphonies no. 6 & 16, Glazunov's Eighth symphony,Vaughan Williams' Sixth symphony & Nielsen's Fourth & Fifthsymphonies because it is reflective of the tragic past.In Bax's case, hewitnessed the Eastern Uprising of 1916 in Ireland (against British forces)which resulted in killing of many of Bax's friends. His father past awaytwo years later.The symphony's first movement is energetic, expressive,yet dark & angered. The second movement is elegiac, powerful &morbid, probably the most moving of all of Bax's compositions. The Finale,with all it's struggles, ends in bright optimism.

The Second symphony(1924-1926) returns to the tragic past of the composer. It employed agreater orchestral force than it's predecessor (with the organ included).Of all works of the composer, this symphony is the most powerful &pessimistic, ending in quiet contemplation.

The turning point in Bax'slife is represented in his Third symphony (1928-1929), where somemisfortunes were not forgotten, but where there's still life & hope.The first two movements are brighter, beautifully scored, & evocative.The last movement is with some sort of gaiety & festivity before themagically Epilogue appears. The epilogue of the symphony at last had apeaceful ending that is not of a tragic nature.

The Fourth & Fifthsymphonies (1930 & 1932 respectively) showed the more brighter side ofthe composer.The Fourth depicts the sea (like his Seventh & Tintagel)whereas the Fifth (dedicated to Jean Sibelius, who, with Sergei V.Rachmaninoff, admired Bax) depites optimistic energy (The Finale's Epiloguewith its triumphant, festive spirits & the breathtaking slow movementwith wonderful imagination & highly attractive orchestration).

TheSixth symphony (1934-1935) begins with the theme which repeats itselfinsistently before the Allegro con fuoco enters.The movement began withcoldness, but with passion, and passion predominates the entire firstmovement before the climax is heard. The movement ends boisterously. Thesecond movement is both lyrical & calm whereas the last movement, aslong as the first two movements, begins with an appealing clarinet solotheme, used again later.After the clarinet, the strings enter to repeatthe theme already established. The pace quickened to a lively scherzo wherethemes becomes varied. After the grandious climax, we have now, theEpilogue, as magically as the one in the Third symphony although slightlymore disturbed.

The Seventh & last symphony was completed in 1939 asa commisioned work for the New York World Fair of 1939. It was dedicated to"The People of America" & was premiered by Sir Adrian Boult.The first movement begins quietly before liveliness & majesty takeover. The movement is festive & passionate, ending quietly as it began,with a timpani roll & the theme played by the clarinet. The slowmovement is meditative & appealing whereas the finale begins withtriumph. That triumph would soon be replaced by a sober, saddening themeplayed by first the lower strings & then by brass & woodwinds.Seven variations follows, the first six of them active, boisterous, &perhaps pompous. The calm & serene seventh & last variation isperhaps the saddest of all of Bax's music, saying goodbye to the end of theepic journey the symphonies carried Bax & us as we relate to this greatcomposer.

Bax was autobiographical in his compositions. He, like CarlNielsen, Myaskovsky, Lyatoshynsky & Josef Suk, was very communicative& personal without regrets or apologies.The composer was imaginative& honest, with impeccable orchestration & craftmanship.BrydenThomson with The London Philharmonic & Ulster Orcestra did Bax thegreatest of justice in bringing his works from the cold & unfortunateobscurity. The performances: passionate, majestic, sympathetic, beautiful. The recording: atmospheric & perfect.

Should we hope for furtherrecordings of Bax with the Scottish National Orchestra under David LloydJones, who so far recorded Bax's First symphony with passion & a senseof urgency & excitement?

Asin: B000000AUQ
Sales Rank: 213290
Subjects:  1. Classical    2. Symphonic   

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A major British symphonist
Edmund Rubbra's symphonies received a very mixed reception in their time. Some listeners found their contrapuntal logic absolutely riveting, and complimented Rubbra on making them fall in love with music again. Others, however, found them too single-minded and rather drably orchestrated, comparing them to reinforced concrete or brown wallpaper. Over the years, however, the musical language became more flexible in its sequence and warmer in its harmony. Strict thematic logic is combined in the later symphonies with many a wayward shift in tempo and timbre; it is the combination of logic and freedom (without the logic the freedom would produce incoherence) that makes these works so human and so endlessly rewarding for a listener who is sufficiently sympathetic to the idiom (which is akin to that of Vaughan Williams and Finzi).
These performances do not entirely supersede the Lyrita recordings of the 70s (particularly of the 7th and 8th Symphonies). Hickox's direction of the Fifth is, however, even better than the classic recording by Barbirolli; it is the first recording, in my view, that makes the final epilogue convincing. The high quality of both playing and recording, and Hickox's complete understanding of the musical idiom, make this set worthy of unhesitating recommendation.

Truly a Giant of a Composer
This is music.This is truly ground breaking symphonies.There is power in every measure.Rubbra was truly a 20th Century Giant.He is in the same class as Elgar.All others of his day were mere imitators, lighweights; unable to come near the heights that he climbed.When you hear these recordings you are standing in the presence of greatness.The music is performed with enthusiasm, skill and daring.Richard Hickox knows how to inspire his band of Welshmen.The BBC National Orchestra of Wales is a true world class symphony orchestra.This is music.This set must be owned.

Asin: B000000AYH
Sales Rank: 266681
Subjects:  1. Classical    2. Orchestral    3. Symphonic   

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Exhilarating, astounding, amazing
If you like to delve into hitherto little-know regions of the repertoire, you are often pleasantly surprised by what you find and dismayed at the lack of exposure of so much great music. Over the years, I discovered Joachim Raff, I found Joseph Marx and Sergei Taneyev. However, I set out with little expectations when I'd purchased this set for a ridiculously low amount of money. I had never, ever expected to find anything of the quality that is present on this set.

This is not just great music, it is testimony to an inspired, inventive and incredibly talented composer whose neglect should end here and now. Gernsheims acquiantance with Brahms and their different musical fates are recalled in the (excellent) liner notes. Whilst Brahms supremacy is easily explained from historical reasons, the difference between his fame and Gernsheim's obscurity is altogether more difficult to fathom if you listen to the latter's work. All four of these symphonies are better than Brahms' third, and I would rate Gernsheim's second symphony above any of Brahms's (don't be fooled by its rather prosaic-sounding title).

K?hler and the Rheinland-Pfalz Orchestra play impeccably and do these complicated scores full justice.

Off The Beaten Path And Well Worth The Listen
Fate can be both kind and cruel. It throws into obscurity mediocre composers who deserve it and sadly talented ones who did not. Freidrich Gernsheim (1839-1916) is among the later and this very fine and relatively inexpensive 2 cd set should do much to bring him out of obscurity.
Gernsheim was a friend and champion of Brahms while being aquainted with Lalo, Saint-Saens and Rossini. Among his students was Humperdinck. His 4 symphonies were written between 1875 and 1895 and are in the late Romantic style of the time. If Bruch, Brahms, Dvorak or Schumann appeal to you then you will find much to enjoy in these symphonies. He has a fine gift for melody (just listen to the fine melody for clarinet in the "Notturno" of the 2nd Symphony)and a firm grasp of the late 19th century's ever evolving styles of orchestration. They may not be as over powering as those of his friend Brahm's but they are solid works on their own that are well worth the listen.
The performances by Köhler and the Rhineland-Pfalz State Philharmonic are all that one could ask for and Arte Nova's recording captures it all quite nicely. If you are interested in the music of the late 19th Century Romantic composers then these symphonies should not be missed.

Unknown Genius
As soon as Symphony No1 commenced I knew here was music by a genius. The texture, the working of themes and the superb command of the orchestra reveals a composer on a par with Schuman and Brahms. Why has the man been so ignored ? Buy this and you will experience one the great moments in symphonic music.

The orchestra and Conductor deserve special thanks for their superb rendition of these truelly great works.

Asin: B000059T1K
Sales Rank: 470097

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Don't expect anything like Mahler
Melartin is credited for introducing Mahler to the Nordic countries. Although his symphonies are often compared to Mahler's by critics, they are hardly Mahlerian at half of the length. In fact, they are typical miniaturist's symphonies, which vaguely reminded me of Sinding. Powerful and ambitious openings are drowned out by overflowing lyricism in the middle movements, which, despite their colorfulness, are sterile of ideas. Don't expect anything like Grieg either. Also a miniaturist, Grieg is ironically best known for his large scale orchestral works (Peer Gynt, Piano Concerto, etc.). His only symphony, dismissed by snobs as lack of originality, could well stand along side Mendelssohn's canon, had it bee composed by the latter. No doubt there are many good tunes in the symphonies, but they are nondescript and easily fade from memory. Stenhammar, credited for bring Bruckner to the Nordic and a self-described idyllic Bruckner, wrote symphonies genuinely like Bruckner, but Melartin certainly did not write like Mahler. Enjoyable music anyway.

fine performances of wonderful but virtually unknown music
I agree completely with the other review posted here. I even came by these recordingsthe same way he did; I read the glowing comments on one of the single issues and decided toinvestigate the whole set.This iswonderful music--beautfiully crafted, sometimes lyrical, sometimespowerful, but always colorful and interesting.As a conductor MelartinbroughtMahler to the Scandanavian countires, just as Wilhelm Stenhammar--his exact comtemporary--introduced Bruckner to the north; and one can hearthe Mahler influence in Melartin's dazzling orchestration.Melartingets a very briefparagraph in Groves; and, as nearly as I can determine,these are the only recordings of the symphonies available--perhaps, everavailable.I'm not going to play "is-it-as-good-as" games.Thequality of this music, however, raises real questions about the standardorchestral canon--what's in and what's out.There is a great deal of musicroutinely heard in the world's concert halls which is not the equal ofthese enjoyable symphonies.I don't know much about Leonid Grin, andit's always difficult to judge performances of marginalized repertoire whenyou've never heard it before.I remember Bernstein took an interest in histalents some years ago, and I think he now holds a post somewhere in the USsouth-west.All I can say is the music is compelling andhe gets topnotch results from a little known orchestra. Great sound and a goodprice!(Check out Melartin's violin concerto with Segerstam on the samelabel!)

Asin: B000004550
Sales Rank: 293901
Subjects:  1. Classical   

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excelente m?sica, correcta interpretaci?n
Parece mentira que esta m?sica permanezca a?n hoy fuera de los circuitos habituales de conciertos y, cada d?a menos, de los planes de los grandes sellos discogr?ficos. Las sinfon?as de Gerhard forman parte de lo mejor quenos ha ofrecido la segunda mitad del siglo XX. Leyendo otras rese?as decompradores y cr?ticas de prensa especializada me sorprende la dificultadpara establecer una filiaci?n clara de esta m?sica, para m? est? muy claro:V?r?se (en primer lugar)y Stravinsky (en segundo), todo ello sobre untrasfondo, en forma de fugaces citas, de motivos espa?oles. La tercerasinfon?a, punto ?lgido del ciclo, constituye, por encima de"deserts" de Varese, el mejor ejemplo de la mixtura deelectr?nica e instrumentos tradicionales que nos ha deparado la m?sicahasta el momento. La segunda sinfon?a se ofrece en su versi?n revisada"Metamorfosis" y no en la original. Esta es la ?nica diferencia,en cuanto a partitura utilizada, con el ciclo grabado por el sello Chandos.

Asin: B00000300O
Sales Rank: 364825
Subjects:  1. Classical    2. Opera    3. Orchestral    4. Orchestral & Symphonic    5. Symphonic   

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Asin: B0000012UL
Sales Rank: 200663
Subjects:  1. Classical    2. Symphonic   

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MY OH MY!
Schmidt studied with Bruckner for a few years and played cello under Mahler.His other famous work is "The Book with Seven Seals" Oratorio.

So many things happen when you listen to these four symphonies and there's no way that you will be dissapointed with this set (which is the only complete set).My only recommendation is to try to find it used because it will kill your wallet to buy it new!

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Music of the 20th century
The second and third symphonies of French composer Arthur Honegger (1892-1955) contain passages of music which are among the most exalted ever conceived. These passages occur in the slow sections and are the metal among the dross which always constitutes the bulk of symphonic content. Those interested in the high musical art of the 20th century should seek out and evaluate these works. Some ideas in Honegger's other symphonies compliment the great achievements of the second and third and are therefore worthy of investigation at least. This 2-CD box set features performances of Honegger's complete symphonies (a total of five) which have been acclaimed as definitive. They were given by French conductor Serge Baudo and the Czech Philharmonic Orchestra between 1960 and 1973. Also included are three of Honegger's other works for orchestra. The sound quality of the recordings is excellent. Collection originally released in 1991. Stereo. Total time: 146 minutes.

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Martinu, Genius.Neumann, Friendly.
But not exceptional.

Listening to Martinu's music is to enter into a fascinating, unique sound world.It's at the same time beautiful, moving, and exciting.It's also very busy stuff, lots of syncopations.

His symphonies are terrific; I first fell in love with the 2nd (the opening tune is so cool), and the first soon followed, and then the rest.Neumann, as he says in one of the most egotistical interviews (included in the set), and the Czech Philharmonic have performed this music many, many times.And therein lies the problem, methinks.

This music is presented as a friendly stroll in the park.Friendly.Familiar.Blase.Now go listen to Ancerl, and you hear smoke from the instruments.Listen to Gibson on Chandos, and you have a combination of beautiful recorded sound and committed, interesting performances.I bet Jarvi (not yet heard) is a good bet, too.

Asin: B000024E0P
Sales Rank: 260388

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Very satisfying.
This interesting compilation features Bruch's three symphonies and several works for solo violin and orchestra, all played exceedingly well, especially considering the dates of the original recordings (back when the Iron Curtain was nearly rusted through).The Leipzig Gewandhausorchester has a richness of sound and an expressive quality that affirms its legendary reputation and Bruch's music is its perfect match.

Bruch's symphonies were written after Wagner and Liszt had established themselves at the forefront of European music.Taking Mendelssohn as his model (Mendelssohn had died years before), Bruch's music is, by comparison to his contemporary vanguard, conservative and seemingly reactionary.Yet this does not at all mean that his music is inexpressive or lacking in interest.Quite the contrary, this is the most beautiful Romantic symphonic writing between the deaths of Mendelssohn and Schumann and during the rise of Bruch's friend Brahms.Each of these symphonies exerts its own character, although all contain warm, lush scoring, perfect craftsmanship, and an admirable overall unity.Bruch once stated that 'Melody is the soul of music' and surprisingly this is the one area in which these symphonies perhaps fail.There exist wonderful melodic passages to be sure, but these are at the price of certain lengthy stretches of busy motivic writing that while thematically related to the principal subjects, do not distinguish themselves.Yet would that all composers had this fault if their orchestration and their melodic material were as successful as that of Max Bruch!And which composer can claim that every moment in his works is worthy of our deepest attention?Would this even be desirable?This is music that relishes the sheer sound of the orchestra; these symphonies are of the warm, autumnal quality found in Beethoven's 6th and Schumann's 3rd and are perfect to accompany a long, solitary walk in nature or an evening with a loved one.

The above having been stated, the violin/orchestra works herein are, not surprisingly, full of wonderful melodic writing and can be considered extensions of his violin concerti and Scottish Fantasy.Most successful and profoundly sad is "In Memoriam" in c-sharp minor, a long, elegiac, and powerful utterance that deserves a much-needed revival.Also very beautiful is the Romanze, which was intended to be the first movement of another violin concerto, but was abandoned.Here Bruch is at his finest, outpouring long, opulent melody above beautifully supportive orchestration.Accardo plays this music well with a fine sound and appropriate passion.Although his attention to detail is perhaps not of the best violinists today, he is still to be admired for his obvious dedication to this music and I prefer a passionate, generous performance to one that is merely precise any day.Bravo.

This is an excellent set of discs and I recommend it highly.The Bruch symphonies are once again gaining a toehold in the symphonic repertoire and if you are perhaps wondering what these pieces contain, hesitate no further.

What if ? .........
Have you ever wondered what might have happened to the great Austro-German symphonic tradition if Brahms and Bruckner hadn't come along? Max Bruch provides one possible answer: a thoroughly original elaboration of the melody-based symphonic style of Mendelssohn (and, to an extent, Schumann). Bruch was a close friend of Brahms, but any influence from the latter is undetectable. Not too surprising: Bruch's first two symphonies were written well before the Brahms First appeared and are roughly contemporary with Bruckner's earliest symphonies. In any event, Bruch's symphonic style has little in common with the (in different ways) rigorously architectural styles of his two great Austro-German contemporaries. Nevertheless, Bruch's symphonies are, in their own way, superbly memorable. Bruch's melodies are distinguished, his counterpoint impeccable and his sense of orchestral color second to none. (Think of these pieces more as first-rate orchestral suites than as organically developed symphonies and you won't be far off the mark.) Most important, this music stays in your memory; none of the dull, uninspired note spinning provided by forgettable composers like Draeseke or Raff who are, every once in a while, trotted out by orchestras looking for 19th century novelties. Masur and the Gewandhaus Orchestra clearly have this music in their bones and play it to the hilt. The short works for violin and orchestra make for welcome bonuses. Recorded sound is wonderful and the price is right. Don't hesitate!