Day 39
8 February 2017:
Gubaidulina – 'Stimmen ... Verstummen', Symphony in 12 movements (1986)
And now for something
completely different. Sofia Gubaidulina is a Russian composer, now in her 86th
year, and widely recognised as one of the greatest living composers.
Gubaidulina is of mixed Tatar–Slavic ethnicity, and as a female composer of
avant garde music in the former Soviet Union, she didn't exactly have a lot
going for her at the start of her career. Despite repeatedly falling foul of
the ruling Communist Party, Gubaidulina was encouraged by no less a figure than
Shostakovich to be true to her ideals. If anyone could speak from experience on
that front, it was old Dmitri.
This symphony dates
from 1986 and is a breathtaking work. The title translates as 'Voices ...
Silence' and the contrast that marks the work is initialised in the first
movement, in which a D major triad is established rather like the opening of a
late-romantic period symphony, only to be rudely destroyed by the brass
section. This recurring theme of moments of calm disrupted by brutal aggression
occurs throughout the work's twelve movements. Some movements are quite short –
four are less than a minute in length – while the pivotal eighth movement
accounts for nearly a third of the symphony's entire length. There are some startling
extended techniques employed, especially for the brass, and there is even a
'conductor solo', in which the conductor performs rhythmic gestures in front of
a silent orchestra. I'll concede that contemporary music isn't to everyone's
taste, but I'd also say that this symphony is about as approachable as it gets.
Day 40
9 February 2017:
Barber – Symphony in One Movement (1936)
After yesterday's
symphony in 12 movements, here we have Samuel Barber doing it in one. If I was
being really picky, I'd argue that this is just a conventional four-movement
symphony with the clearly demarcated sections segued together. That said, the
symphony as a whole is an extended sonata form, with the second and third
movements acting as a development section of sorts, and the final movement a
recapitulation. It's clever stuff, by a composer whose oeuvre tends to be
overshadowed by his ubiquitous Adagio for Strings.
Barber wasn't the
first composer to attempt to condense symphonic form into a single movement
work; that honour goes to Sibelius, who did so in his sublime seventh symphony,
which predates this by 12 years. In fact, Barber modelled this work on
Sibelius's seventh, and there are some clear echoes of the Finn's masterpiece
in the Andante tranquillo slow section. Coming in at under 20 minutes, it's one
the shortest symphonies featured so far, yet it feels as if it says all it
needs to say without a note being wasted. Small, but perfectly formed.
Day 41
10 February 2017:
Penderecki – Symphony No. 3 (1995)
In drawing up the list
of 365 symphonies to feature this year, I had to make a judgment call on
whether to include all of the symphonies of some composers or just a selection.
While composers such as Mozart and Haydn just wrote too many to contemplate
including them all, others, such as Krzysztof Penderecki, were borderline
cases. He wrote eight, but I've chosen four. My particular favourite is his
second symphony, but as it is known as the Christmas Symphony, I'll be airing
that in December. So I'm jumping in at the third.
Penderecki had two
very distinct phases as a composer. His early work is extremely avant garde,
making using of extended techniques and non-standard notation to produce
sonorically challenging pieces. This music certainly caught the imagination of
film producers, and extracts from several of his early-period works were used
in the films The Exorcist and The Shining. In common with many other composers
from that period he later abandoned this style and went in completely the
opposite direction. While some of those contemporaries, such as Górecki and
Pärt, opted for so-called 'holy minimalism' (more of that later when their turn
comes), Penderecki drew on the late-romantic period, specifically Bruckner and
Mahler, and he sought to carry on that tradition but from a modern perspective.
This symphony is a perfect case in point. It's almost as if he's trying to
imagine what Bruckner would be writing if he were still alive today. The result
is, in my opinion, quite incredible.
Day 42
11 February 2017:
Elgar – Symphony No. 1 (1908)
As it's my birthday, I
had to pick a personal favourite listen to today, and what better than the
magnificent first symphony by Sir Edward Elgar. Like Brahms, who kicked off
this whole series, Elgar agonised over writing his first symphony for many years.
So long, in fact, that he was into his fifties by the time it was premiered. It
was well worth the wait though, being incredibly well-received, and
subsequently performed over 100 times around the world within a year. As such,
it became the first English symphony to make its mark overseas, and remains
extremely popular to this day.
There is scarcely a
moment of this work that isn't absolutely glorious. From the 'great beautiful
tune' that opens proceedings, through the scherzo and slow movements that
remarkably share the same thematic motif played at completely different tempi,
to the opening tune fighting to re-establish itself at the end – the hits just
keep on coming. The last three of four minutes of the third movement Adagio is,
however, the real heart and soul of this piece. Rather than the searing passion
typical of late-romantic symphonies, there's a very English elegiac quality,
which somehow has a greater capacity to soften the stiffest of upper lips. This
symphony can rightly claim to have put English music on the map.
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