Symphony No.11 in B-flat minor - Havergal Brian скачать в хорошем качестве

Symphony No.11 in B-flat minor - Havergal Brian

National Symphony Orchestra of Ireland conducted by Adrian Leaper. I - Adagio - (attacca): 0:00 II - Allegro giocoso - Adagio - [Tempo I] - Andante espressivo teneramente: 6:32 III - Maestoso e pesante - Allegro alla marcia - Grazioso - Allegro marcia: 20:37 Brian's Symphony No.11 was composed between February and April of 1954. It was premiered in a private performance in 1956, being publicly performed in April 8 1959, by the London Symphony Orchestra conducted by Harry Newstone. This work came after a trilogy of symphonies (Nos 8 - 10) characteristic for their intense and dramatic nature. In comparison, No.11 is much more lighter and joyous. It’s more transparently scored than most of the other symphonies, though still requiring a big orchestra with an array of percussion. The first movement is a polyphonic elegy, being monothematic. It starts where the tenth symphony finished, with the same three notes in inversion, from which the entire work is built. An expansive and contemplative theme is presented by the strings. A music that lies between Mahler's styles and Shostakovich's adagios, but without its tragic expression. The music alternates between anxious and noble moments. After a short but brilliant climax, the violin performs an expressive solo, which leads to a new, massive climax. After it, the music calms down with phrases of the wood. It concludes with an uplifting coda. A pedal note of the flute takes us to the next part. The second movement is a fusion between a scherzo and a slow movement as intermezzos. It opens with joyful rhythms from flutes, harps and percussion (a reference to the opening of Mahler's Fourth Symphony, and forms a background to a playful and cheerful theme on four horns, based on the opening three notes. The melodic material is simple, being used in several variations, taking on a distinctly archaic (perhaps ironic) minuet-like air. The first intermezzo opens with a calm and idyllic on clarinet and flutes, supported by the rest of the wood. Follows a series of dialogues and exchanges between woodwinds and strings. Then comes a lyrical passage for harp and woods. The scherzo comes back with energy, only to lapse once more into the "minuet" vein. More melodic elements are born from the horns, leading to the second intermezzo. It opens with an expressive theme on the strings, also based on the three-note motif. The music grows more dissonant and chromatic, rising in several climaxes like waves. Follows a very quiet and lyrical passage with the prominence of strings. The coda references the scherzo theme through light percussion blows, while cellos and basses calmly reference the main motif. The third movement is written in ternary form. It begins with a pompous and ceremonial march of great splendor. The music culminates in an intense climax. The middle section is a gentle pastoral dance presented by the wood, coasting with the initial majestuosity. The initial march is recapitulated. Brass fanfares lead the music to an expansive coda, in which the last recognizable allusion to the three-note motif appears on trumpets and trombones before the symphony ends in a triumphant blaze of E major. Picture: "The Pleiades" (1885) by the American painter Elihu Vedder. Musical analysis partially written by myself. Sources: https://bit.ly/3CDV9vR and https://bit.ly/3jF4bjO Unfortunately the score is not freely available.