Symphony No.3 in B major ''The Flush of Youth'' or ''La Melodia'' - Rued Langgaard скачать в хорошем качестве

Symphony No.3 in B major ''The Flush of Youth'' or ''La Melodia'' - Rued Langgaard

Danish National Symphony Orchestra conducted by Thomas Dausgaard. Per Salo as the pianist. I - Poco animato festivo (0:00) - Molto con fuoco - Con moto - Lento (Cadenza) - Animato festivo (Tempo primo) - Grave maestoso - Poco più con moto - Grave maestoso (11:44) - Lento misterioso - Poco più lento - Molto animato agitato - Allegro ma non troppo (17:53) - Più lento - Vivace - Maestoso glorioso - Lento maestoso - Più mosso - Lento allargando Langgaard's Symphony No.3 was conceived as a solo piano work in 1915, which he expanded into a symphony in 1916. However, despite the name, the work is actually a piano concerto. It was originally a 45-minute work featuring a wordless chorus, being premiered in Copenhagen on 1918, with Victor Schiøler at the piano and Langgaard as the conductor. The work was badly received, being called "an endless invertebrate" by critics. The symphony was revised in 1926 and 1934, eliminating the choral part and making substantial cuts up to its current length. Unfortunately, the original version was lost with the exception of the choral part, so we cannot make comparisons. The work originally was subtitled "La Melodia" (the melody), but in 1926 was given the subtitle "Midsummer Sounds". A third subtitle appeared much later, being "The Flush of Youth". Langgard wrote a vague article about the work, claiming that the music symbolizes something in the world of music that words cannot express; elsewhere he speaks of "an eternally sounding harmony", and in a third context it would appear that the work is an expression of truth-seeking artistic creative power, symbolized by an eternal flame. The work is structured in a three-movement piano concerto fused in a single movement. It opens with a first part structured in a modified sonata form. It begins with a powerful chord, followed by the entry of the piano as strings present a solemn and rhythmic main theme ("the melody"). A more elegant and lyrical theme is then presented. Instead of a development section, a calm transition leads us to a virtuosic cadenza for the soloist. The recapitulation begins as the main theme reappears, followed by the second. The piano performs a second, more lyrical cadenza, which culminates in a grand climax as the orchestra enters. A diminuendo leads us to the next part. The second part is a slow intermezzo written in ternary form. It opens with horns introducing a main theme of funereal character, fully exposed by orchestra over the fateful blows of timpani. If we examine it closely, we can see it is a variation of the main theme, "La Melodia". A brief middle section features the piano with a charming and graceful second theme, also a variation of "La Melodia". However, the main theme is soon recapitulated. An ethereal, almost otherworldly passage contains immense beauty, before a sudden crescendo leads us to the final part. The third part is also written as a modified sonata. It begins with the bright and cheerful reappearance of "La Melodia" as the main theme, with the piano ornamenting the music. A more melodic second theme is presented as well. A brief development transforms these materials in a romantic manner, culminating in an orchestral climax. After a new climax, the soloist performs a new cadenza in which soon after other instruments and the wordless chorus join. A powerful final climax, of epic proportions, leads us to a vibrant and energetic coda. Picture: "Woman in front of a Mirror" (1841) by the Danish painter Christoffer Wilhelm Eckersberg. Musical analysis partially written by myself. Sources: https://bit.ly/40WxAL1 and https://bit.ly/3S2nX9y To check the score: https://bit.ly/40Xd5xW