Symphony No.14 in F minor - Havergal Brian скачать в хорошем качестве

Symphony No.14 in F minor - Havergal Brian

Royal Scottish National Orchestra conducted by Martyn Brabbins. I - Adagio comodo - Allegro moderato - Adagio legato e sostenuto - Tempo grazioso - Adagio - Allegro moderato ma deciso - Adagio legato e sostenuto molto: 0:00 Brian's Symphony No.14 was composed between 1959-60. The work was premiered in 10 May 1970, with the London Symphony Orchestra conducted by Sir Edward Downes. It is written in a single movement divided in several sections, forming part of a pentalogy of one-movement symphonies (No.13 to No.17) like the previous ones, is structured in one movement divided in several sections. The first section is an adagio comodo, working as an introduction. It opens with undulating lines from the cellos, supporting a bleak solo from the English horn. A timpani roll leads us to the next section, an allegro moderato. The main theme, presented by the strings, is turbulent and full of vigour, which is developed with lyrical contrasting counter-motifs from the winds. Then comes a great climax enhanced by brass and percussion. As the materials develop, with some interesting chamber-like passages, the tone becomes more dissonant in a complex harmony. The third section is a new adagio. A brief but very atmospheric passage of the horns and harps. The next section, in tempo grazioso, begins with an anxious theme, presented by the strings. A massive march comes in a very dissonant anticlimax. The whole section climaxes with the entrance of the organ. The music gradually calms down and gives way to the next part. A new adagio section comes, of a more reflective nature, with the protagonism of the strings. A transition from the woodwinds takes to a new allegro moderato section, with an energetic theme on the strings, enhanced by the brass. In contrast, a more playful counter-theme is presented, unfolding in a grand march. A brief, lyrical solo from the violin adds more contrast, taking us to the final part. Forceful orchestral outbursts are contrasted with more melodic motifs. The final section, an adagio, grows in a long crescendo, taking us to a victorious, brilliant coda. As with the previous symphony, we have no context or ideas Brian could have left to us, making it pretty enigmatic and hard to interpret. Like many of Brian's one-movement symphonies, we can find the old four-movement structure in its roots, blended pretty effectively with transitions. Some musical critics, like John Whitmore or Malcolm MacDonald's (writer of a three-volume study of the 32 symphonies of Havergal Brian) consider this one the weakest and most forgettable symphony of Havergal Brian. Despite these opinions, we let the listener form his own judgement on the piece. Picture: "The Approaching Man" (2010) from the series "The White Wood". Painted by Scottish painter Mark Edwards. Introduction and analysis of the piece done by myself. To check the score: https://bit.ly/3KsPa1e