"Les Soli" Symphony for Strings, Harp and Percussion - Lázsló Lajtha скачать в хорошем качестве

"Les Soli" Symphony for Strings, Harp and Percussion - Lázsló Lajtha

Budapest Chamber Symphony Orchestra conducted by Simone Fontanelli. I - Concert joyeux. Presto: 0:00 II - Gilles "Hommage à Watteau". Comme un menuet: 9:05 III - Pastorale d’automne. Andante con moto: 17:15 IV - Féerique. Presto: 23:37 Lajtha's "Les Soli" Symphony was composed in 1941, between his second (1938) and his third (1948). It was premiered after the war in a radio broadcast, performed by the Hungarian Radio Symphony Orchestra conducted by Viktor Vaszy. It was first performed outside Hungary on September 11 of 1952, performed by the Orchestre National under the baton of Gaston Poulet. The piece can be broadly described as a concertante work, as the subtitle indicates: the instrumental solos. The work is scored for strings, harp and percussion, with no woodwinds. Its closest relatives would be the two sinfoniettas for string orchestra. The sequence of its movements is a nod in the direction of the classical four-movement symphony. When composing the work, Lajtha was influenced by the programme symphony as well as the concerto and the suite, of which he was particularly fond. Each movement has a separate title, and these atmospheric names point to an external, if not detailed, programme. The first movement is loosely structured in sonata form. It begins with a lively and playful main theme, contrasted by a more lyrical second one with a folkish air. The movement unfolds almost like a whirling, merry dance in which virtuosic solos take place. It could even be music for ballet or mime, only intensified in the colourful development that ensues. More dramatic touches remind us the piece was written during the horrors of World War 2. After a varied recapitulation of the material, an animated coda ends the movement. The second movement takes the form of a minuet as a homage to his favourite painter Jean-Antoine Watteau, a French Rococo master. His painting "Gilles" hangs in the Louvre, and was admired by the composer. It depicts a sad clown in white clothes: the Pierrot figure from the commedia dell’arte. The character of the movement is similar to that of the painting: A delicate but melancholic minuet is presented, followed by several solos, most notably by the viola. The measured, restrained elegance of this aristocratic dance, and the freely roaming, heart-wrenchingly sad, lamenting melody of the viola solo create a peculiar contrast. A charming coda ends the movement. The third movement is written in ternary form. It opens with a nostalgic and contemplative main theme on the cello, unfolding in an expressive and ornamented manner. Lajtha’s oeuvre contains many evocations of the various seasons, particularly autumn, as is reflected in this movement. A more active central passage offers us more activity and virtuosity from the musicians, before the music turns more static and pensive once again. A calm coda ends the movement. The fourth movement is very free in form. It begins with several motives composed of short fragments and gestures, which are transformed and modified with great fantasy and colour. The title alone, Féerique (fairy-like) conjures up Mendelssohn’s fairy music, and Lajtha’s music, full of pizzicati and scurrying semiquavers, lives up to this. The virtuosity of solo violinist specially shines in this movement, with concertante-like presto sections. The presence of the harp gives that extra magical touch. A lively coda ends the work playfully. Picture: "Luxe, Calme et Volupté" (1904) by the French painter Henri Matisse. Source: https://tinyurl.com/26sx2s79 Unfortunately, the score is not freely available.