At the summit, does time slow down?

Eine Alpensinfonie is one of the coolest pieces of music in the world. It’s super evocative, filled with typical Straussian majesty, and it has one of the most straightforward and easy to grasp narratives that a symphonic poem could ask for. While there are dozens of amazing spots found throughout the work, it’s somewhat self-evident that the baddest-ass part is when we make it to the top of the mountain. If Bruckner 9 is the music most likely to accompany the final battle between good and evil, then the summit music from Alpensinfonie is probably the most likely music to accompany a victory by the good guys. 

There are plenty of quality recordings of the piece, and many of them do the work justice. Of the readily available ones, I’m partial to the Marek Janowski/Pittsburgh Symphony recording, mostly because the Pittsburgh Symphony plays like they’re climbing the mountain so as to attack all of humankind with a great and wonderful noise. Most recordings take the summit music at a pretty similar clip, keeping things moving along at a moderate clip. 

One recording that I have, though, take their sweet time up there. Some years ago, the legendary Japanese maestro Takashi Asahina released a recording with some sort of pickup Japanese orchestra that billed itself as the “All-Japan Symphony Orchestra.” This recording is separate from the one he released with the Osaka Philharmonic, which is also excellent. Anyway, this All-Japan performance is mind-blowing to me, not the least of which reason is this insane experience at the summit. Asahina goes VERY slow through the entire section, and it feels completely different than any other recording I’ve heard. 

The link below is not to that performance, unfortunately. It’s to a performance that Asahina conducted with the NDR Hamburg back in 1990. The mountaintop music is about as slow as the All-Japan performance, though, which is the point of me writing this in the first place. The execution is pretty rough in the buildup to the climax, but once the climax hits, it’s pretty smooth sailing. I’m curious to hear your thoughts and opinions on the tempo. I love it, and I really think it changes the complexion of the entire piece. It’s definitely not for everyone, though.

Give it a listen and let me know what you think. If you just want to hear the summit music, cue it up to the neighborhood of the 22:50 mark and go from there. Happy climbing!

Asahina – Alpine Symphony

Something cool you might have missed: Festliches Präludium

Smooth gentleman of leisure, Richard Strauss

Smooth gentleman of leisure, Richard Strauss

My love for Richard Strauss is well-documented in these parts. I’m on record somewhere sometime in saying that he composed with the greatest ease of anyone who ever lived – more than even Mozart, the most common answer given when the “who’s the most naturally gifted?” question arises. Strauss has an innate ability to make music sound absolutely bad ass that towers over everyone around him, and while this is not necessarily to suggest that it means he is the greatest composer or the most meaningful or the composer we’ll turn to in our darkest hours for solace or whatever the fuck else we laud Beethoven and Bach for, we’ve gotta take Strauss for who he was, and that’s someone so unimaginably skilled that it literally and truly boggles the mind.  Continue reading