Vasiliy Antipov Symphony (complete) скачать в хорошем качестве

Vasiliy Antipov Symphony (complete)

0:00 Allegro Moderato 13:32 Adagio in 5/4 24:50 Passacaglia in 12/8 32:44 Finale. Molto Moderato In composing this symphony, I applied revolutionary new methods, in particular the principle of fractalization of form. This was made possible through a technique I developed called integrated forms. The essence of these integrated forms can be simply described as follows: if one takes a familiar musical form — such as a fugue — and breaks it down into its components (subject, countersubject, answer, episode), and replaces each of those components with a fully developed form (e.g., a canon instead of a subject, or a ground or fugue instead of a countersubject), the result is a superstructure composed of smaller forms. Of course, one can formulate a concept of any complexity—the real challenge is to make it sound convincing. That is the true task. In this symphony, the opening theme 00:13 is a (non-strict) canon in the woodwinds. It is then taken up by the trumpets — 00:35 , while at the same time a full fugue unfolds in the strings as a countersubject. From this combination arises a new form — a ground 01:10 . The fugue proceeds into a stretta, while the canon experiences vertical collisions 01:15 . (The application of this principle is demonstrated separately in a MIDI emulation with annotated score that I published on my YouTube channel) The symphony consists of four movements: 0:00 Allegro Moderato 13:32 Adagio in 5/4 24:50 Passacaglia in 12/8 32:44 Finale. Molto Moderato The symphony is through-composed, and material from each movement evolves further in the next. For instance, the opening two notes—C-sharp and D-sharp—from the first movement are continuously developed: First section 0:00 Second section 01:30 Third section 05:40 Fourth section 08:41 This idea runs throughout the entire symphony and forms the foundation of the second, third, and final movements. Another, subtler concept of continuity lies in the interplay of forms. The first movement opens with a canon, which evolves simultaneously with a fugue and later a ground. In the third movement 24:50 , this combination gives rise to a hybrid of canon, fugue, and ground 27:40 , which is only possible because each thematic entry begins on the same pitch. This trait links the fugue with the canon and ground. Later, the brass enter with the passacaglia theme layered directly over this hybrid canon-fugue-ground theme 28:29 , thus fully realizing the concept of integrated forms. This hybrid canon-fugue-ground theme 27:40 from the third movement in 12/8 reappears in the finale 34:37 in 4/4. This creates a unique texture: while the strings play polyphonic lines reminiscent of old French chansons known from musical literature, the other voices present the theme in 12/8—decomposed and regrouped into 4/4. Many more such examples could be cited. I plan to publish a detailed analysis of the full symphony soon. Here, I have merely touched on a few of them to demonstrate that the symphony is highly unified in structure and features thorough development. The first movement 0:00 is the most complex in structure and listening experience, but the music gradually becomes simpler, so that the finale 32:44 sounds almost classical in style. Here is the link to the full piece. It is, of course, still a MIDI version, but if you follow the score and imagine the real orchestral sound, the work will come to life in your mind. Now that the symphony is complete, the next and most difficult task is to bring it to performance. I would therefore be grateful for any help, contacts, or advice. If you find my work valuable, you can support me via PayPal: https://www.paypal.me/VASILIYANTIPOV