An einem 29. werden die zum Tagesdatum passenden Symphonien rar

von LePenseur

 

 

... und will man nicht auf die allzeit bewährten Großmeister Wolfgang Amadé bzw. Joseph zurückgreifen (was natürlich nur eingeschränkten Neuigkeitswert hat), steht man ziemlich ratlos da. Oder vielmehr: man stünde, gäbe es da nicht den ebenso unbekannten wie produktiven Briten Havergal Brian, der im Jahr 1967 seine Symphonie No. 29, in Es-dur, vollendete — im reifen Alter von 91 Jahren ...

Uraufgeführt wurde sie erst neun Jahre später (da war der betagte Komponist schon verstorben), ich vermute einmal: aus Anlaß einer Gedenkfeier zur 100. Wiederkehr seines Geburtstages. Unter dem YT-Video gibt es nicht nur die Zeitangaben für die vier Satzanfänge (die Sätze schließen attacca, d.h. ohne Pause aneinander), sondern auch eine gute Kurzanalyse des Werks:

1. Adagio - Allegro - (attacca): 0:00 

2. Lento cantabile sempre - (attacca): 8:54 

3. Allegretto grazioso - (attacca): 13:15 

4. Adagio - Allegro molto - Adagio: 17:28 

 

Brian's Symphony No.29 was composed in 1967. It was premiered in a private concert in January 1976, performed by the Monday Night Orchestra conducted by Alasdair Mitchell. The first public performance took place on November 17 of the same year, performed by the North Staffordshire Symphony Orchestra, conducted by Nicholas Smith. 

 

The work is perhaps Brian’s most lyrical late work, pursuing in a more emotionally expansive way the warm-hearted and generous impulses that No.28 had intermittently revealed and ruthlessly shut down. Almost double the length of its predecessor, No.29 also comes closer than its predecessor had to the classical four movement model, though the movements play without a break. 

 

The first movement is structured in ternary form. Opens with a slow and solemn introduction, quickly leading to the main part. A lively and energetic main theme is presented, which is the subject of a constant transformation, becoming more tense and dissonant as it goes on. The middle section opens with a melodic theme introduced by the strings in a simple two-part imitative counterpoint, before opening out into more developed and complex polyphony. The cheerful main theme is then recapitulated by the whole orchestra, rising in a new dissonant climax. There is no formal coda, the music simply stops before directly leading to the next movement. 

 

The second movement is also written in ternary form. Begins with a gentle main theme introduced by the strings, relatively brief, but emotionally wide-ranging. The middle section opens with another melodic theme, barely contrasting, presented by the clarinet. This theme passes through several instruments in various solos. The main theme is then fully recapitulated, but suddenly, dissonances and march rhythms seem to attempt to break the calm, unsuccessfully as they fade out as fast as they came. Instead of a coda, a low-key chord takes us to the next part. 

 

The third movement is a sort of scherzo in ternary form. Begins with delicate rhythmic lines preceding a chromatic but lively theme. The trio section opens with a calm trio between the clarinet and two bassoons, followed by the strings in counterpoint. The rhythmic main theme is then briefly recapitulated. Timpani blows transition directly towards the last movement. 

 

The fourth movement is monothematic in structure. Begins with an imposing fanfare of brass and percussion, shortly followed by the exposition of a brilliant and cheerful main theme. As the movement progresses, more tense and chromatic motifs and materials are presented, until it becomes evident that any expectations of a triumphal conclusion will be defied. The music rises in an imposing climax enhanced by the brass and march rhythms. Then the music dissolves into a mysterious section, filled with the rich sonority of low woodwind and multi-divided strings, eventually concluding with a cadence to a glowing chord of E flat major.

Bloß mit der Beschreibung als "Brian’s most lyrical late work" kann ich mich nur eingeschränkt einverstanden erklären! Gerade am Beginn ist eine seit den frühen Symphonien Havergal Brians (etwa der monumentalen No. 1, aber auch seiner No. 4 "Siegeslied") kaum mehr gehörte Reminisenz an die so typisch britische, gelassene "Grandiosität" Sir Edward Elgars vernehmlich, die dann auch im Finale wieder aufgenommen wird. 

 

Schönen Sonntag noch!