The Gothic: A Symphony Reborn Under Ole Schmidt's Sturdy Leadership
For 150 years since its completion in 1927, Havergal Brian's magnum opus has often been relegated to the fringes of 20th-century British music due to its sheer scale and eccentricity. Danish conductor Ole Schmidt's new recording with the Heritage label brings this grand symphony back into the spotlight, expertly taming its vast expanse through a deft balance of tradition and innovation.
The four-hour work is an intricate tapestry woven from disparate threads, showcasing Brian's unique response to the gothic era – oscillating between carefree melodies and fiendishly complex polyphonic textures. The 35-minute first movement stands as a triumphant entity in its own right, comprising three interconnected movements that demonstrate Brian's mastery of symphonic form. However, it is the hour-long Te Deum setting, steeped in influences from Bruckner, Berlioz, and Sibelius, which demands unwavering listener attention.
Under Schmidt's assured direction, a formidable orchestra of 158 players and a chorus of 560 singers come together in harmony, anchored by the soaring soprano of late Jane Manning. What sets this recording apart is its ability to 'do' the piece rather than merely keeping it under control – a feat that not all conductors have managed.
While sound congestion occasionally arises, Schmidt's thoughtful choices and willingness to take risks make for a captivating listening experience. This latest interpretation offers a compelling alternative to Ondrej Lenárd's Slovak account, cementing its place alongside the likes of Martyn Brabbins as a definitive rendering of this iconic work. John Pickard's insightful sleeve notes further enrich the listener's experience.
For 150 years since its completion in 1927, Havergal Brian's magnum opus has often been relegated to the fringes of 20th-century British music due to its sheer scale and eccentricity. Danish conductor Ole Schmidt's new recording with the Heritage label brings this grand symphony back into the spotlight, expertly taming its vast expanse through a deft balance of tradition and innovation.
The four-hour work is an intricate tapestry woven from disparate threads, showcasing Brian's unique response to the gothic era – oscillating between carefree melodies and fiendishly complex polyphonic textures. The 35-minute first movement stands as a triumphant entity in its own right, comprising three interconnected movements that demonstrate Brian's mastery of symphonic form. However, it is the hour-long Te Deum setting, steeped in influences from Bruckner, Berlioz, and Sibelius, which demands unwavering listener attention.
Under Schmidt's assured direction, a formidable orchestra of 158 players and a chorus of 560 singers come together in harmony, anchored by the soaring soprano of late Jane Manning. What sets this recording apart is its ability to 'do' the piece rather than merely keeping it under control – a feat that not all conductors have managed.
While sound congestion occasionally arises, Schmidt's thoughtful choices and willingness to take risks make for a captivating listening experience. This latest interpretation offers a compelling alternative to Ondrej Lenárd's Slovak account, cementing its place alongside the likes of Martyn Brabbins as a definitive rendering of this iconic work. John Pickard's insightful sleeve notes further enrich the listener's experience.
. I mean, 4 hours is a long time to sit through, right? And don't even get me started on the 'taming' of its vast expanse – what if it gets lost in translation? 
Plus, I've heard some people say that Ole Schmidt's approach sounds too polished, like he's trying too hard to make it sound modern. But at the same time, 158 players and a chorus of 560 singers is no joke, so you gotta respect that kind of ambition 
. Has anyone else given this one a listen?
it's like he took the biggest, most epic piece of music and made it feel all cozy and intimate at the same time 
. i mean, 4 hours is a lot to commit to, but trust me when i say its worth every single minute! 
schmidt's got this crazy skill where he can balance all those different sounds and styles together like a total genius 
. and that solo soprano? 
it gives chills just thinking about it! 
it was like, this perfect blend of spicy pepperoni and creamy mozzarella... anyway back to music i know some ppl love that gothic symphony but honestly have u heard of that one song by Tame Impala that's like 10 mins long and has 20 different instruments playing at the same time 
it's so trippy
Ole Schmidt really nails it, you know? It's like he takes the massive piece and brings out all the hidden gems. I mean, that first movement is insane! 
And can we talk about how beautiful the Te Deum setting sounds? It's like a symphony within itself... anyway, what's great about this recording is that it feels really alive, you know? Like the conductor is really in tune with the music 
. And can we talk about that Te Deum setting? It's like a spiritual experience 
(in a non-religious kinda way, obvi). I'm loving the fact that Schmidt isn't afraid to take risks and try new things - it makes for an absolute thrill ride of an album 
!
The fact that there's a 4-hour recording is kinda daunting, but I'm sure it's worth it for the die-hards. As a parent, it's cool to see how music can bridge generations - my kid's school put on a production of 'The Phantom of the Opera' and it was amazing to hear them sing in harmony 
I mean, 4 hours of music? That's a commitment 
! But honestly, it's worth it – the way he balances all those different influences and still makes it sound cohesive is pure magic 
. The orchestra and chorus are incredible too 
. Definitely gonna have to give it another listen soon