Concerto for Orchestra in E-flat - Havergal Brian скачать в хорошем качестве

Concerto for Orchestra in E-flat - Havergal Brian

Royal Scottish National Orchestra conducted by Martyn Brabbins. I - Maestoso - Allegro moderato - Maestoso - Andante cantabile - Animato - Allegretto scherzando - Lento: 0:00 Brian's Concerto for Orchestra was composed in 1964, being premiered on April 12 of 1975, performed by the City of Leeds College of Music Symphony Orchestra conducted by Joseph Stones. Although entitled a concerto, it started life as a symphony, originally to be called simply "Sinfonia". However, just over a week later, in a letter dated 5 July, he decided to call it a concerto. When asked about why name the piece an orchestral concerto and not, say, a symphony, Brian admitted that he couldn't find difference or didn't remember it. Certainly there's virtuosity in the writing, particularly between instrument groups than solo instruments, thus it is more in line with the baroque concerto grosso (within a XX century musical framework) that the traditional Classical/Romantic conception of a concerto. The work is structured in a single movement, subdivided in three sections. The first section, structured in a compressed sonata form, opens with a timpani roll, followed by an opulent and heavy first theme, presented through a thick orchestration. A more playful second theme is presented by the woods. Follows a short development of these elements, featuring Brian's characteristic use of counterpoint, after which a varied recapitulation takes place. A playful duet between flute and oboe leads us to the next part. The second section, structured in ternary form, begins with a brass call, followed by a melodic theme on the oboe, taken and shared by the rest of the woods and strings. The middle section consist of a dissonant passage in which the music grows in a climax. The melodic theme is then briefly recapitulated. A transition with prominent piccolo, flutes, muted brass and percussion leads us to the next part. The third section has the spirit of a scherzo, begins with a parodic theme on woods, supported by a wide array of percussion, contrasted by a more solemn theme on strings. They alternate each other constantly and combine elements. A massive and brilliant coda ends the whole work. Picture: "London Symphony Orchestra Recording Schumann's 3rd Symphony" (1968) by the Canadian painter Ruth Tomlinson. Musical analysis partially written by myself. Sources: https://bit.ly/3hNoavR and https://bit.ly/3pMU5B4 To check the score: https://bit.ly/3F3A3sM