Symphony No.10 in C minor - Havergal Brian скачать в хорошем качестве

Symphony No.10 in C minor - Havergal Brian

Leicestershire Schools Symphony Orchestra conducted by James Loughran. I - Adagio e solenne - Adagio - Allegro con fuoco - Lento espressivo: 0:00 Brian's Symphony No.10 was composed between 1953-4. The work is stylistically related with the two previous symphonies: No.8 & 9. While they are different in structure, the three share the abundant use of marches (whether funeral or triumphal), the prominence of brass over strings, and musical influences from Elgar and Mahler. It was premiered on 3 November 1958, in a live broadcast on the BBC 3 with The Philharmonia Orchestra conducted by Stanley Pope. The first public performance was given at the Free Trade Hall, Manchester, on 17 April 1975 by the Hallé Orchestra conducted by James Loughran. The work is structured in a single movement divided into several sections, in a similar way to the eighth symphony. The form and the themes of this work in general are very condensed. It is also orchestrated for a large orchestra, with a large percussion ensemble. The first section, in the form of theme and variations, begins with a portentous and dramatic march as the main theme, which is the genesis motif the whole work. It follows a slow and tense first variation, with the prominence of the wood in a restless ambient. The second variation is a return of the expansive initial march in a slower way, with the brass adding a majestic touch. The third variation is more lyrical but distressing, presented by the strings. It is developed in a more optimistic and heroic way. The fourth variation begins with a dissonant climax of the theme, being more playful in nature. New outbursts lead to the next section. The fifth variation returns to the anguish of the third, presented again by the strings. The conclusion is delicate and lyrical, in a tone of hope. The music blends directly with the next part. The second section is a brief Adagio. The atmosphere is mostly static, the strings present a melodic theme with the contrast from the woodwinds, with some dissonances in between that seem to announce the violence of the next section. Gentle touches from the harp and glockenspiel leads us directly to the next section. A wild and unorthodox scherzo begins with a dissonant orchestral explosion, followed by a march supported by the whole percussion and brass ensemble, with the wind machine behind. It quickly gives way to a static "trio". The main motif from the first section is darkly restated by the bassoon, slowly followed by the rest of the woodwinds until a great crescendo, taking us to the next part. The last section begins with a distant call of the trumpet, presenting the theme of the march in a majestic way. The winds enter with a slow, syncopated dance. The strings emerge lyrically, now free of the previous dissonances. The first violin takes centre stage in an expressive solo, creating a dreamy atmosphere. Then, the march motif is presented again, in a very dissonant way before leading to a climatic martial march. Dramatic and heroic motifs alternate each other, like a fight in the orchestra enhanced by the brass. The coda is long and reflexive, with long notes from the strings and the brass, concluding the work in a lyrically optimistic way. A symphony of strange structure and of mysterious meaning. As usual, Brian gave no explanation of the meaning the piece. If we take the initial theme of the march, from which the whole work is constructed, as if it were a kind of fate theme, we could describe the symphony as the eternal struggle of humanity against forces outside and inside it, finishing with hope. Musical analysis written by myself. To check the score: https://bit.ly/3wDA6Z0