Symphony No.2 in G minor "Song of a New Race" - William Grant Still скачать в хорошем качестве

Symphony No.2 in G minor "Song of a New Race" - William Grant Still

Detroit Symphony Orchestra conducted by Neeme Järvi. I - Slowly - Faster - Slower - Tempo I: 0:00 II - Slowly, with deep expression - Much faster - Slower - Tempo I - (attacca): 9:56 III - Moderately fast: 18:18 IV - Moderately slow - Faster - Tempo I: 22:01 Still's Symphony No.2 was composed between 1936-7, being premiered on December 10 of 1937, performed by the Philadelphia Orchestra conducted by Leopold Stokowski. As the first one, it was very well-received. Contemporary reviewers found it "of absorbing interest, unmistakably racial in thematic materials and rhythms, and triumphantly articulate in expressions of moods, ranging from the exuberance of jazz to brooding wistfulness." At the beginning of the 20th decade, the black cultural movement known as "Harlem Renaissance" had been born, right when Still came to New York. Its objective was show that the black race had a rich culture, which would soon prove to the United States and the entire world. Still was an active member of this movement, influencing him in his music throughout his life. In 1924, he began to work on a trilogy of works that describe the Afro-American reality: The symphonic poem "Africa" ​​represents its roots, the Afro-American Symphony the life of blacks in America, and Symphony No.2 "Song of a New Race" the vision of an integrated society. The first movement is structured in a modified sonata form. It begins with a slow introduction with chiming celesta over string and winds, presenting a pastoral pentatonic melody, leading seamlessly to the main allegro. A blues main theme is presented, derived from the opening material. It is briefly developed before a more lyrical second theme is presented, full of a noble spirit. The development is more dynamic and energetic, culminating in a strong climax. An inverted recapitulation, with the second theme before the main one. A powerful and assertive coda ends the movement. The second movement is written in ternary form. It opens with a sweet and peaceful main theme, which grows until reaching a short-lived climax. The violin takes it in a glowing solo, before the orchestra continues unfolding this material in a deeply expressive and romantic manner. The middle section begins as a rhythmic and decided second theme appears, rising in a climax that directly lead us to the recapitulation of the main theme. After a peaceful passage, a dynamic transition leads us directly to the next part. The third movement is a short scherzo in monothematic form. It begins with a graceful main theme in a cakewalk rhythm, presented by oboe and then passed on strings. The music here is infused with the influence of American ragtime as well. The material is then developed in the form of symphonic jazz. Energetic figurations week the momentum and take the music forward. A bright coda ends the movement with vivaciousness. The fourth movement is very freely written, not following standard structures. It opens with a sudden outburst, followed by the exposition of a main theme derived from the first movement blues one. As it is developed in the form of fluid, continuous variations, it becomes more classical, perhaps to indicate the possible integration of black music in the patrimony of the white race. The music becomes more rhythmic and lively, leading to a solemn recapitulation of the westernized blues theme. A powerful and majestic coda ends the whole work. Picture: “The 99 Series/Part Three" (2014) by the Ethiopian photographer Aïda Muluneh. Musical analysis partially written by myself. Sources: https://bit.ly/3k0ha3H and https://bit.ly/3XvfyfW To check the score: https://bit.ly/3xvbMbX