I do not at all share the view of those who negatively compares Hartmann's numbered symphonies with this piece.For sure this piece is his most intense, but that does not mean the others lack in that sense. Especially symphonies nos. 6 and 7, even 3, has great intensity. Both 6 and 7 also has a magnificent rythmic impulse that is unlike anything found here. They are all brilliant pieces wriiten by one of the greatest symphonists of the 20th century.
+Azkartu Bidaiatzen Yep! It's the 1943 masterpiece. There is a new one by the American Symphony Orchestra and Leon Botstein conducting in full digital sound, but it is protected by Itunes quality in case it might be re-reproduced. Both are good! ps. I deduct by both your first and last name you're Basque, am I right?
An incredible musical vision of what must have been going on around the composer at the time of writing. I dislike mixing music with politics, but emotion inspires music, and this is work is just running over with it. Fantastic composition.
+Alexis Diamant It is really a shame.Many of these works were reworked in the Symphonies because Hartmann believed they were "tainted" by the ban himself and the Nazis put on his music. Only the Hymnen survive integrally as they are, yet I also would like that music of his, especially for the anti-Nazi, anti-war message they convey.
+Past_notes This is one of the strongest anti-war works I know of, but also one of Hartmann's best... You rarely hear him surpass the heights he reached with the Hymnen. The work as a whole is striking. Such invention.... I don't really know what happened after that. Yes, as you say, the ban, but he also, I think, became a wee-bit too self-critical in an earnest attempt to keep up with what was happening around him musically and compositionally. He suddenly had all these new people whose works he performed at the Musica Viva. I remember seeing pictures online of Hartmann with Messiaen and Boulez from the late 1940s in Darmstadt and also reading that he didn't think highly of Stockhausen's music (Darmstadt and New Music people in turn didn't talk much about Hartmann in the 50s and 60s as evinced by a story told by Paavo Heininen who discovered Hartmann on his own while studying with B. A. Zimmermann in Cologne)
+Alexis Diamant Thanks for commenting. It's quite true, I've listened to the rest of his symphonies and they do not possess the same power and drama as the Hymnen do. BTW, although he was not a fan of the Darmstadt school, it seems his later works and reworkings are somehow influenced by pre-Darmstadt Messiaen. Listen to the toccatas in the final three symphonies and there are traces of Messiaen's Turangalila and other 1940's works.
+Past_notes Just an update: I found a recording of the Sinfonia Tragica with Marek Janowski and the Berlin Rundfunk-Sinfonieorchester. I find it very much in the same league with the Hymnen, possessing, that is, musical invention of the highest order, as far as Hartmann is concerned. Amazon has it, Spotify has it and so does Itunes.
![[ ออกกอง ] วัยหนุ่ม 2544 โลกหลังลูกกรง..ทัวร์กองถ่ายหนังใน "คุกของจริง" | JUSTดูIT.](http://i.ytimg.com/vi/vB--aOkZCpw/mqdefault.jpg)
Structure of the first movement:
0:00 Introduktion
1:24 Ritornell
1:41 Thema
3:24 Ritornell
3:33 Variation
4:36 Ritornell
4:42 Variation
5:59 Ritornell
6:04 Variation
7:33 Coda
I do not at all share the view of those who negatively compares Hartmann's numbered symphonies with this piece.For sure this piece is his most intense, but that does not mean the others lack in that sense. Especially symphonies nos. 6 and 7, even 3, has great intensity. Both 6 and 7 also has a magnificent rythmic impulse that is unlike anything found here. They are all brilliant pieces wriiten by one of the greatest symphonists of the 20th century.
This is a superb work, one that lingers in the memory for a long time. Hartmann should be performed more often.
Bavarian Radio Symphony Orchestra gives here an astonishing version of Hartmann's
S.H. , surely the 1943 Masterpiece.
+Azkartu Bidaiatzen Yep! It's the 1943 masterpiece. There is a new one by the American Symphony Orchestra and Leon Botstein conducting in full digital sound, but it is protected by Itunes quality in case it might be re-reproduced. Both are good!
ps. I deduct by both your first and last name you're Basque, am I right?
An incredible musical vision of what must have been going on around the composer at the time of writing. I dislike mixing music with politics, but emotion inspires music, and this is work is just running over with it. Fantastic composition.
+Alexis Diamant It is really a shame.Many of these works were reworked in the Symphonies because Hartmann believed they were "tainted" by the ban himself and the Nazis put on his music. Only the Hymnen survive integrally as they are, yet I also would like that music of his, especially for the anti-Nazi, anti-war message they convey.
+Past_notes This is one of the strongest anti-war works I know of, but also one of Hartmann's best... You rarely hear him surpass the heights he reached with the Hymnen. The work as a whole is striking. Such invention.... I don't really know what happened after that. Yes, as you say, the ban, but he also, I think, became a wee-bit too self-critical in an earnest attempt to keep up with what was happening around him musically and compositionally. He suddenly had all these new people whose works he performed at the Musica Viva. I remember seeing pictures online of Hartmann with Messiaen and Boulez from the late 1940s in Darmstadt and also reading that he didn't think highly of Stockhausen's music (Darmstadt and New Music people in turn didn't talk much about Hartmann in the 50s and 60s as evinced by a story told by Paavo Heininen who discovered Hartmann on his own while studying with B. A. Zimmermann in Cologne)
+Alexis Diamant Thanks for commenting. It's quite true, I've listened to the rest of his symphonies and they do not possess the same power and drama as the Hymnen do. BTW, although he was not a fan of the Darmstadt school, it seems his later works and reworkings are somehow influenced by pre-Darmstadt Messiaen. Listen to the toccatas in the final three symphonies and there are traces of Messiaen's Turangalila and other 1940's works.
+Past_notes Just an update: I found a recording of the Sinfonia Tragica with Marek Janowski and the Berlin Rundfunk-Sinfonieorchester. I find it very much in the same league with the Hymnen, possessing, that is, musical invention of the highest order, as far as Hartmann is concerned. Amazon has it, Spotify has it and so does Itunes.
De momento el que mas me ha gustado es la de Fantasia, que para mi tiene sentido