Symphony No.5 ''The Wine of Summer'' - Havergal Brian скачать в хорошем качестве

Symphony No.5 ''The Wine of Summer'' - Havergal Brian

Royal Scottish National Orchestra conducted by Martyn Brabbins. Roderick Williams as the baritone. I - Doloroso, spinato e tenuto - Lento e misterioso - Tempo rubato comodo - Lento - Lagrimoso ma amoroso - Tempo più grazioso - Poco adagio - Allegro con fuoco - Adagio: 0:00 Brian's fifth symphony was started in early 1937, originally projected as a cantata based on the poem of Lord Alfred Douglas, it was finished in 18 June 1937, and by then, he decided to rename it as a ''symphony for solo voice and orchestra''. Lord Alfred Bruce Douglas was a British poet, better known as the friend and lover of Oscar Wilde. The work was premiered in 11 December 1969, performed by the Kensington Symphony Orchestra conducted by Leslie Head, with Brian Rayner Cook as the baritone. The poem ''Wine of Summer'' describes a midsummer day in a wood, a vision of natural paradise that progresses to melancholy rumination over the author’s lost loves. The symphony is written in a single movement, divided in several sections, with a baritone soloist who declamates the text. Brian’s music is driven by the poetry throughout, it ebbs and flows around the baritone solo, delicately orchestrated and with a haunting strangeness. As a single movement of 20 minutes, it marks the beginning of the condensed approach that would follow the next symphonies of his later years. It opens with an introduction. Violins and the harp present a darkly mysterious motif, evoking a heat haze. The baritone enters with the text, supported by an ostinato on the flute. The ambient suddenly darkens with the line: "In the soft air the shadow of a sigh". It may be summer, but the wood is full of shadows. As the baritone continues singing, the music becomes more dissonant, but suddenly the tone becomes more majestic with the line: "Comes dimly floating to my listening ear." Follows an orchestral interlude, with the flute ostinato in the background. After a dissonant climax, the baritone continues in a more sober ambient, with a dialogue between the oboe and the violin. A more contrasting section comes with the line: "And hangs there shining in the white sunbeams". The tone suddenly becomes more mysterious with the line: "My nest is all untrod and virginal", but soon the music becomes more dissonant. A new ostinato from the winds calmly impulses the music, but it becomes warmer with the line: "The air is full of soft imaginings". The flute ostinato returns when the baritone declamates the line: "The hum of bees, the murmuring of doves". The music becomes more impressionistic and vaporous, as the text references the music produced by nature. A short orchestral interlude follows, the strings present a more noble motif, as the baritone continues. The music becomes more nostalgic, as the baritone interprets a fragment of decadent nature. A climax rises with the phrase: "My tedious night, I taste its ecstasy", the music becomes more lyrical, as the text becomes more melancholic. The baritone becomes the centre, with static lines from the orchestra. Then, an anguished solo from the cello comes. The baritone continues, with the music culminating in a march with the phrase: "Dead summer days ago, like fierce red kings". The march becomes a violent orchestral interlude, with the full force of the percussion and calls from the brass, dissonance at full display. The music takes an almost celtic lyrical turn with the line: "And this hour too must die, even now the sun". A mysterious passage begins with a dissonant call from the woodwinds, repeated several times. Then, the music becomes more rhythmic. A short fanfare opens the phrase: "Gone are the passion and the pulse that beat". The music become strongly passionate as the baritone recites. Gentle phrases of the wood, before a passionate crescendo begins with the phrase: "And loveless languor and indifference", rising in a new climax. The harp appears before the final paragraph, with the strings with a sober theme. The music suddenly becomes darker, with ominous calls from the brass. The orchestra seems to rise in a dark and unsettling climax, before the baritone finishes the text and the music suddenly vanishes. [Activate the subtitles to read the lyrics] Musical analysis partially written by myself. Source: https://bit.ly/3bYRquj To check the score: https://bit.ly/3AtXlWx