English Suite No.1 - Havergal Brian скачать в хорошем качестве

English Suite No.1 - Havergal Brian

New Russia Symphony Orchestra conducted by Alexander Walker. I - Characteristic march. Tempo di marcia: 0:00 II - Valse. Andante - Tempo di valse. Allegro - Andantino - (attacca): 4:51 III - Under the bench tree. Andantino - Tempo di valse. Allegro - Tranquillo - Andante: 10:05 IV - Interlude. Allegro con anima - Andante: 13:37 V - Hymn. Slow - Allegretto: 15:55 VI - Carnival. Allegro molto - The Dancers. Slower and graceful - Punch and Judy - The sleeping beauty. Molto andante - Fat woman. With mock solemnity: 19:45 Brian’s first English Suite was composed between December 1905 to March 1906, with movements two and three being taken from a previous work titled "Pantalon and Columbine" from 1902-3. It was premiered by the Leeds Municipal Orchestra conducted by the own composer. It's performance at the Proms concerts on September 12, conducted by Sir Henry Wood, was a huge success for Brian, to the point of bringing the interest of a patron that would support him economically for a few years. The work is cast as a vivid series of vignettes of aspects of village or country-town life in his native Staffordshire and neighbouring Shropshire. According to a January 1907 article in The Staffordshire Sentinel, Brian first had the idea of composing the Suite while attending a country fair in Market Drayton. The suite is probably the most immediately approachable large-scale work Brian ever wrote. Its successors are as much product of his maturity as the more "serious" contemporaneous pieces, and often share their startling individuality of language. No.1 is, however, a tuneful delight from start to finish. The first movement is monothematic in form. It opens with a portentous fanfare, followed by an Elgarian march on the woods, which is elegantly developed. The music rises in a climax, followed by a varied recapitulation of the march, little touches of orchestration are added or altered to avoid any danger of monotony. There is an English regalness and folkishness in much of this utterly charming music. A brilliant coda concludes this march. The second movement has a rondo form (A-B-C-B'-A'). It begins with a calm and serene waltz, which is contrasted by a more flamboyant and rhythmic second theme. A lyrical, pastoral third theme offers the adequate contrast. The second theme is then briefly recapitulated, a sudden transition leads us to the recapitulation of the waltz by the woods, which directly takes us to the next movement. The third movement is structured in ternary form. It begins with a folk-like theme on the clarinet, which passes to the rest of the wood with a Tchaikovskian lushness. Its sudden changes of texture and hints of distant revelry, are altogether more prophetic of the later Brian. A contrasting passage begins in the middle part, leading to an expressive climax. It concludes with a dream-like coda. The fourth movement is a short interlude in monothematic form. It begins with a colourful orchestration that takes us into a sort of fantasy world, with the prominence of celesta and harp. The flute presents a lyrical main theme. The composer described that it was “an attempt to convey in sound the emotion which arose while gazing from the Hanchurch hills, in Staffordshire, in the direction of the Wrekin, in Shropshire, the whole country suffused in brilliant sunlight”. An excited coda ends the movement. The fifth movement is structured in ternary form. It begins with a noble hymn presented by the brass, whose resemblance to the Salvation Army tune "Morningside", itself based on an old English air, may be too close to coincidence. The strings present a lyrical variation on the hymn in the middle section, offering contrast. The solemn hymn is recapitulated with almost no variation. A noble coda ends the movement. The sixth movement is a new, unorthodox rondo (A-B-C-D-E-A'). It begins with a festive main theme of great energy. The second theme, subtitled "the dancers", is lyrical and gentle. The third theme, subtitled "Punch and Judy" begins with the snare drum and piccolo with a military-like theme complimented by percussive effects. A muted trumpet proceeds to quote the melody from the English anthem "God save the Queen", also known as "My Country 'Tis of Thee". The fourth theme, subtitled "The sleeping beauty" is deeply romantic and passionate, with moments of great reflection. The fifth theme, subtitled "The fat woman", is parodic and funny, full of a false sense of solemnity. The festive main theme is then recapitulated. A brilliant coda ends the whole work. Picture: "Landscape with Pilgrim" (c1813) by the Prusian artist Karl Friedrich Schinkel. Musical analysis partially written by myself. Sources: https://bit.ly/3RdOXS4 and https://bit.ly/3KWszu0 Unfortunately the score is not freely available.