Denmark's Ole Schmidt takes on the monumental task of Havergal Brian's Gothic Symphony with confidence and finesse in this new live recording from 1980, marking its 150th anniversary. The notorious work, penned over eight years between 1918-1927, is a true masterpiece that defies easy categorization, veering wildly from gentle melodies to intricate polyphonic complexity.
Brian's Gothic Symphony stands as a testament to his idiosyncratic vision, drawing inspiration from the grandeur and eccentricities of the gothic era. The work's sprawling three-movement symphony is a compelling entity in its own right, but it's the hour-long Te Deum setting that demands unwavering listener attention.
Schmidt skillfully navigates the intricate web of influences, channeling the likes of Bruckner, Berlioz, and Sibelius. His orchestra of 158 players and chorus of 560 comes together in a dazzling display of ensemble, with soloist Jane Manning's voice soaring above the ensemble like a beacon.
While some may note minor congestion in the sound, Schmidt's bold interpretive choices shine through, elevating this recording to a fine alternative to Ondrej Lenárd's earlier take on the work. John Pickard's informative liner notes add an extra layer of depth to this milestone release, further solidifying Havergal Brian's place as one of Britain's most significant 20th-century composers.
Brian's Gothic Symphony stands as a testament to his idiosyncratic vision, drawing inspiration from the grandeur and eccentricities of the gothic era. The work's sprawling three-movement symphony is a compelling entity in its own right, but it's the hour-long Te Deum setting that demands unwavering listener attention.
Schmidt skillfully navigates the intricate web of influences, channeling the likes of Bruckner, Berlioz, and Sibelius. His orchestra of 158 players and chorus of 560 comes together in a dazzling display of ensemble, with soloist Jane Manning's voice soaring above the ensemble like a beacon.
While some may note minor congestion in the sound, Schmidt's bold interpretive choices shine through, elevating this recording to a fine alternative to Ondrej Lenárd's earlier take on the work. John Pickard's informative liner notes add an extra layer of depth to this milestone release, further solidifying Havergal Brian's place as one of Britain's most significant 20th-century composers.
I mean, I know some might say there's minor congestion in the sound but honestly it's just part of the magic 
and those liner notes by John Pickard are EVERYTHING 
Brian's symphony is literally a masterpiece and Schmidt brings out the best in it 
this is going to be my go-to album for, like, ever!!! 
. The way the orchestra comes together is just incredible – it's like a symphony within a symphony 
. I can see why it's getting compared to Bruckner and Berlioz... the grandeur and drama are unmistakable 
. And Jane Manning's solo vocals? Wow, she's got some serious pipes on her 
. Minor congestion in the sound aside, this recording is a must-listen for classical fans 
, 150th anniversary or not, who thought it was a good idea to put out another live recording of this super long and messy symphony? 
I mean, don't get me wrong, the guy Havergal Brian was a genius and all, but come on... 3 movements and an hour-long Te Deum setting that's just gonna drag you down 
. And what's with the orchestra size of like 700 people?! 
. I've always been fascinated by the complexity of the piece, how it seamlessly blends different styles and periods... it's like a time machine in music form! 
What I find really interesting is that Brian was this total outlier, creating something so unique that it defies easy categorization – just like Schmidt does with his interpretation. And can we talk about the soloist Jane Manning? Her voice is simply stunning 
. Ondrej Lenárd's take was solid, but this one's got some real oomph! 
. I mean, have you noticed how the orchestra and chorus are so perfectly in sync? It's like they're being controlled or something 
. And what's up with that Jane Manning soloist? She's got some serious pipes on her, but it's almost... too perfect 
. Like, is she even human? I'm not buying the "fine alternative" label either - there's gotta be more to this recording than meets the eye 
. And what's with the liner notes, anyway? Just a bunch of surface-level info about the composer... where's the hidden agenda? 
it's like he's painting a picture with sound, not just playing notes i loved how he balanced all the different styles & influences - bruckner, berlioz, sibelius... they're all there 
sound quality is pretty good too 
[listen on Spotify](https://open.spotify.com/track/7qXGKbXxH4lP3JY6NQ1cL8)
. Okay, maybe there's a bit of congestion in the sound, but honestly, I think that just adds to the drama and tension 