Day 137
17 May 2017: Glenn Branca
– Symphony No. 13 (Hallucination City) for 100 Guitars (2000)
Well this is certainly
a bit different. American composer Glenn Branca often uses electric guitars as
the basis for composition, although he has also written for conventional
orchestra. For this symphony, written in the year 2000, the initial hope was to
gather an ensemble of 2,000 guitarists. He eventually scaled it down to a
still-quite-mighty 100 guitarists and it was first performed at the foot of the
World Trade Centre the following year, just three months before they were
destroyed in a terrorist attack.
I can't pretend it's a
wholly enjoyable listen. The work begins promisingly enough with a steadily
building crescendo over an insistent march rhythm in the percussion, eventually
reaching a peak of almost white noise as the full battery of such a mass of
heavily amplified guitars is unleashed. Unfortunately though, there's only so
much of that sound one can listen to before tiring of it, and that's less than ideal
for a work that lasts well over an hour. In the inner movements especially, I
wished for some kind of light and shade or aural shaping instead of just
unrelenting dissonance. It was still an interesting diversion sitting between
Dvorák and Rachmaninov!
Day 138
18 May 2017: Rachmaninov –
Symphony No. 1 (1895)
There is some truth in
the phrase 'no pain, no gain', and there is a school of thought that if Sergei
Rachmaninov hadn't been subjected to some of the most brutal criticism ever
heaped on one symphony in the history of music, he might have been a very different
composer. The failure of this symphony led almost directly to the triumph of
his second piano concerto, although it was probably a route he himself would
rather not have taken. The disastrous first performance of this work was
largely attributable to the conductor Alexander Glazunov, who was reportedly
drunk and indisputably incompetent. As a result, it was savaged by the critics,
some of whom may have allowed a St Petersburg–Moscow rivalry to impair their
judgement, and Rachmaninov consequently suffered a complete psychological
collapse. His depression lasted three years, and after a course of
psychotherapy, he eventually began composing again, with the aforementioned Piano Concerto No. 2 being the first
major work he produced following this symphony.
The composer is
alleged to have destroyed the score, and it wasn't performed again in his
lifetime. It only exists at all because the orchestral parts were discovered
the year after his death, from which the full score could be reconstructed.
Many people view this as Rachmaninov's greatest symphony, which is praise
indeed given the popularity of No. 2. I don't think I would go that far,
although it is a wonderful piece. There are long sections where the music seems
introverted, almost as though composer is talking to himself, although that
does give the work an intimate feel. One thing is for sure, and that is the
criticism it received at the time was thoroughly undeserved.
Day 139
19 May 2017: Louise
Farrenc – Symphony No. 2 (1846)
Louise Farrenc occupies
a very unique place in French music. Aside from the obvious fact of her gender,
she was one of very few French composers writing symphonies in the 1840s. If
she was aware of the work of Hector Berlioz in the previous decade, she
certainly chose not to follow in his footsteps. Instead, she allied herself
very firmly to the Germanic tradition, to such an extent that if someone had
told me this was middle-period Mendelssohn, I would have had no reason to doubt
them.
The most obvious model
for this symphony is actually Beethoven's second symphony, also in D major,
with the opening couple of minutes bearing more than a passing resemblance to
the Beethoven. It soon develops a life of its own, however, with Farrenc's
French accent cutting through the music from time to time. It's all very
enjoyable, but it has to be said, a little backward-looking for the mid-19th
century.
Day 140
20 May 2017: Valentin
Silvestrov – Symphony No. 4 (1976)
I only discovered
Ukrainian composer Valentin Silvestrov very recently, and as a consequence I've
been trying to shuffle my Symphony A Day schedule (yes, this is all planned out
months in advance) to try and squeeze in a few more of his works. Like a number
of post-war composers, he began his career writing in a modernist style, but
after a period out of the limelight in the mid-seventies Silvestrov reinvented
himself as a neo-classicist and this is one of the earliest work from this
second period.
I really like this piece
a lot. The harmonic language is rich and conforms to the belief that I always
adhered to in my pitiful attempts at composition: that dissonance is just one
of the many colours available on the composer's pallete. This is music that
speaks to me directly somehow, and some of the writing is truly sublime. There
is a theme for a smaller string ensemble, which appears to have parachuted in
from a Renaissance work for viols, that first appears around the eight-minute
mark, and the effect is absolutely breathtaking. Likewise, the final five
minutes is an extraordinary pianissimo
of barely audible melodic fragments fading away to nothing. Absolutely stunning
– I don't think I can recommend this symphony highly enough.
Day 141
21 May 2017: Mozart –
Symphony No. 31, 'Paris' (1778)
In 1777, Wolfgang
Amadeus Mozart left the security of the Salzburg court and set out to Paris in
search of employment. During his time at Salzburg, Mozart wrote 17 of his
numbered symphonies (the 'Salzburg Symphonies') in just over three years.
Symphony No. 31 is the first of Mozart's late-period symphonies, and as such
are considered his more mature works. It was written for an unusually large
orchestra, causing Mozart's father Leopold to comment that 'the French must like
noisy symphonies'.
The work was
specifically written for a French audience while Mozart was embarking upon his
ultimately unsuccessful attempt to seek employment there. The symphony was
deemed a success, however, and was performed many times in the years after its
composition. Unusually, it has three movements, with the central Andante in 3/4 having replaced a 6/8 Andantino that was seemingly not well
received at the first performance. Possibly because of his failure to gain
employment there, Mozart appears to have developed some contempt for the
French, writing 'I hope that even these idiots will find something in it to
like'. I think we all can.
Day 142
22 May 2017: Rubbra –
Symphony No. 4 (1942)
Edmund Rubbra's fourth
symphony was written during World War II, and at the time, the composer was
stationed at an army camp in North Wales. There is something of the 'Keep Calm
and Carry On' spirit about the fact that Rubbra was somehow expected to not only
compose the work while there was a war on, but also conduct the first
performance at the Proms in August 1942. Even that seemingly immovable
commitment required some delicate negotiations with his army superiors; in the
end, he conducted the première in army uniform.
That Rubbra should
produce arguably his finest work under such circumstances is testament to the
man. In his second symphony (see Day 33), we heard him approach its composition
as a huge exercise in contrapuntal writing. Here, it is clear right from the outset
that the method is completely different. An insistent rhythm in the woodwinds
and horn pulses under ethereal chords in divided strings, creating a quite
unique aural landscape. In typical Rubbra style, the music simply gradually
evolves from that terrain, eschewing any traditional formal restrictions. The
first movement dominates the work, and is roughly equal in length to the
movements that follow it combined, with the third and fourth effectively two
halves of the same movement (the third is entitled Introduzione), again demonstrating Rubbra innate sense of form and
balance. Everything, about this symphony is wholly satisfying.
Day 143
23 May 2017: Schubert –
Symphony No. 4 (1816)
Franz Schubert named
this symphony Tragische (Tragic) for
seemingly no other reason than that it is in a minor key. The best potential
reason put forward for the title is that Schubert had recently been
unsuccessful in applying for a post at a German language school in Ljubljana.
What is tragic is the fact that none of Schubert's symphonies were performed in
his lifetime, with this one not actually seeing the light of day until 1849,
almost 21 years to the day after his death. Quite what motivated the
19-year-old Schubert to compose so many works on this scale with no apparent
prospect of hearing them publicly performed is something of a mystery.
The work opens with a
gesture very similar to the start of Haydn's Creation, and in entitling the
symphony 'Tragic', Schubert does seem to consciously connect with the Sturm und Drang ethos beloved of Haydn.
From then on though, Schubert adopts Beethovenian models of thematic unity
between movements, and some have observed the similarity between the opening
theme of this symphony and that of Beethoven's Op. 14 No. 4 string quartet. The
symphony contains one of the greatest symphonic slow movements Schubert ever
wrote, although the throwaway Menuetto
is something of a let-down after it. This is Schubert at his most serious and
shows his growing maturity as a composer.
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