Es ist schon eine Tradition auf diesem Blog

von LePenseur

 

 

... am Sonntag eine zum betreffenden Monatstag passend "numerierte" Symphonie ausfindig zu machen. Das ist zu Monatsbeginn einfach, eine erste bis neunte Symphonie findet sich zuhauf! Speziell zu Ende des Monats wird es eng: da bleiben meist nur Gebrüder Haydn und natürlich Mozart über ... und dann noch der englische Komponist

Havergal Brian

den außerdem

"kein Schwein kennt", sodaß für Novitäten gesorgt ist! Daß Brian doch schon ziemlich "modern" und daher auch dissonant unterwegs ist, trübt für manche Musikliebhaber in traditionellen Bahnen etwas den Genuß ... aber Opfer müssen halt gebracht werden ...

 

Zur heutigen, dreisätzigen Symphonie No. 27 in c-moll von Havergal Brian stehen unter dem Youtube-Video folgende Erläuterungen:

 

Philharmonia Orchestra conducted by Sir Charles Mackerras. Katherine Bryan as the flautist. 

 

 I - Lento - Allegro giocoso e marcato sempre - Moderato: 0:01 

II - Lento ma non troppo: 7:51 

III - Finale. Allegro con anima: 15:06 

 

Brian's Symphony No.27 was composed in 1966, being premiered on a BBC broadcast in 9 January 1979 by the Philharmonia Orchestra conducted by Sir Charles Mackerras. The first public performance took place in 17 March 2012, with the California Orange County High School of the Arts Symphony Orchestra, conducted by Christopher Russell. 

 

No.27 is the last from a trilogy of three-movement neoclassical symphonies. The flute has a strong importance in this work, specially the first movement, which makes us wonder if this maybe wasn't projected as a flute concerto that ended up as a symphony (like Brian's third symphony, which was conceived at the beginning as a concerto for two pianos). 

 

The first movement is written in a pretty free way. Starts with a bucolic introduction dominated by the flute, one of the most lyrical passages of Brian. Timpani blows lead to the exposure of a vigorous main theme. After a pause, the flute performs a sort of cadenza, followed by a gentle and lyrical section introduced by the strings. The snare drum leads to a more dissonant and vigorous section, with the prominence of percussion. After a strong climax, the music fades out in a gentle tone. 

 

The second movement is also free in structure. Opens with a lyrical and flowing main theme, developed in a chromatic but gentle manner. The music develops as it were a set of free continuous variations on said theme. We find some contrast with solemn phrases from the horns and rest of the brass, followed by strings. The music rises in a firm climax. A more meditative section leads to a calm and mysterious coda. 

 

The third movement, as with the previous ones, has a free structure. It begins with potent brass calls before evolving in a more joyful and playful way. Vigorous and bright marches are contrasted by gentle, lyrical dialogues between winds and strings. Pretty much of the whole movement is based on this dynamic. A more solemn section, with dense brass sonorities gives way to a false recapitulation of the previous material, which is truly a new development. After a dissonant climax, comes a new solo from the flute, supported with soft timpani blows. The coda finishes the work with a soft and positive ending.