"Mêlée Fantasque" for Orchestra - Arthur Bliss скачать в хорошем качестве

"Mêlée Fantasque" for Orchestra - Arthur Bliss

BBC Philharmonic Orchestra conducted by Rumon Gamba. I - Allegro moderato - Allegro molto energico - Moderato sostenuto - Più mosso - Più animato - A tempo ma tranquillo - Allegro molto energico - A tempo meno mosso - A tempo ma tranquillo - Allegro moderato - A tempo, molto meno mosso: 0:00 Bliss' "Mêlée Fantasque" was composed in 1921, soon after the two studies for orchestra. Apparently it was conceived as a ballet, but has never been staged as such. It was premiered at a Queen’s Hall Promenade Concert on October 13 of 1921, conducted by the composer himself. Further performances took place in the following year in Prague and Vienna, under the baton of Sir Adrian Boult. It was revised two times in 1937 and 1965, this recording featuring the 1937 revision. It was dedicated to the memory of his friend Claude Lovat Fraser, painter and stage designer, with whom Bliss had collaborated on productions of Shakespeare’s "As You Like It" and "The Tempest". In a note to the revised versions, the composer described how he had tried "to convey the rhythmic verve and Bakst-like colour of many of Lovat Fraser’s paintings". These were "evoked in colourful episodes", which Bliss contrasted with "elegiac passages which hint at the loss of this gifted friend". The piece overall was clearly influenced by the new music appearing with Diaghilev and the Ballets Russes in their post-War London seasons. It is fascinating how Bliss found his mature voice so early on, the language he would immediately employ on a larger canvas in "A Colour Symphony". The work is very free in form, not fitting a standard structure. It begins with an allegro moderato that serves as an introduction, introducing a series of shadowy and lightly scored motives and ideas, which are the root of the piece. After a short pause, the allegro molto energico springs forth with a rhythmic and dynamic main theme, reminiscent of Stravinsky and derived from the introduction material. It unfolds with ever shifting modulations and superimpositions of keys and rhythms, showcasing Bliss' modernistic language. A marked second theme in form of a march is exposed by strings, which leads to a sustained climax. A transition leads to a lyrical and expressive third theme on strings, unravelled alongside elements from the march. This theme then takes centre stage in a highly evocative passage, almost funereal in tone. As mentioned before, all of this material is derived from the introduction. The allegro molto energico returns in full force and energy, rising to a boisterous climax. The third theme is recapitulated as a final homage to the deceased friend, gradually dissolving in the silence before an enigmatic coda ends the work. Picture: Set design for Act 1 and Scene 1 of Shakespeare's "Much Ado About Nothing" (1919) by English artist Claud Lovat Fraser. Musical analysis largely written by myself. Sources: https://tinyurl.com/229xu6fu and https://tinyurl.com/22adtf7g Unfortunately, the score is not freely available.