Symphony No.1 "Levendia" - Manolis Kalomiris скачать в хорошем качестве

Symphony No.1 "Levendia" - Manolis Kalomiris

Vienna Radio Symphony Orchestra conducted by Mitiades Caridis. I - Heroically and Passionately. Maestoso patetico: 0:00 II - The Graveyard on the Mountain Slope. Lento: 15:19 III - Hellenic Feast Mixed with Sorrow: Scherzo. Vivo: 25:05 IV - Grand Chorale on the Kontakion "To Thee, the Champion Leader": Finale. Maestoso: 33:13 Kalomiris' Symphony No.1 was composed between 1918-20, being premiered on September 15 of 1920 at Herod Atticus Theatre in Athens, performed by the Greek Army Orchestra & Choir of the Hellenic Conservatory conducted by Kalomiris. The composer conceived his first ideas on the mountains and plains of Macedonia, and attempted to express in music his emotions on Greek "Leventia" in all its expressions: the joy of life, war, dancing, love and death. "Leventia" is a complex Greek word, meaning valour, gallantry, virility, youthful vigor, handsomeness and above all, manly bravery. The work was written to celebrate recent episodes of Greek bravery during the Balkan Wars in the beginning of the 20th century, as well as the victories during the effort to liberate the last Greek lands from the Turks. The successful Balkan Wars ended, however, with the Asia Minor catastrophe, in which all Greeks were driven from their ancient homelands and in which Smyrna, the home city of Kalomiris, was destroyed and lost. The first movement is structured in sonata form. It begins with a majestic and portentous fanfare, which is followed by a lively and rhythmic main theme of heroic tone, expressing in music the force of youth and the joy of passion and victory. A more melodic and peaceful second theme offers contrast, colourful and expressive in nature. A more dramatic development ensues, with militaristic echoes, culminating in a solemn climax. After a brief pause, the recapitulation brings back the themes, before a violin performs a delicate solo of great beauty. A noble and forceful coda ends the movement triumphally. The second movement is written in form of an arch, based on a poem that describes a mountain slope in which the Greek heroes lie. A lyrical and melancholic main theme is introduced by the oboe d'amore, soon taken by other instruments. The music becomes more tragic and dissonant until reaching a powerful climax in the middle section. The main theme is then recapitulated in a soft and very expressive manner, almost like a cradle song. A peaceful coda ends the mournful movement. The third movement is a scherzo in ternary form. It opens with forceful chords, before a light and joyful main theme is presented. It represents a group of young soldiers in a feast, enjoying their life to the fullest. Suddenly, an oriental second theme, perhaps of Turkish origin, appears and mixes in this bacchanal. The music gradually slows down until the trio comes with a sad, dance-like second theme that expresses the sorrows and pessimism of the soldiers. The scherzo seems to continue, but the trio is recapitulated in a more haunting way. The scherzo then resumes until an energetic coda ends the movement. The fourth movement is a choral finale, based on a Byzantine Hymn to the victorious Virgin Mary. It begins with a solemn introduction, followed by the introduction of an ancient byzantine melody, which for centuries was a symbol of the desired liberation of Constantinople. The chorus enters with the first phrases of the poem, followed by a lyrical orchestral response. The chorus repeats the stanzas softly until the end of the poem. A solemn climax is reached, followed by a four voice fugato and a canon. A meditative section brings contrast, before the heroic main theme of the first movement reappears. A triumphal coda, with all the forces, ends the work brilliantly. [Activate the subtitles to read the lyrics]. Picture (from left to right): Greek infantry charge in river Ermos during the Greco-Turkish War (1919-22). "The Turkish Navy attacking the Greek coast" (1897). "Resting from battle" (1921) by the Greek painter Georgios Prokopiou. Musical analysis written mostly by myself. Sources: https://rb.gy/k1o4c, https://rb.gy/49sve and https://rb.gy/h2ukh Unfortunately, the score is not available.