Day 225
13 August 2017:
Rachmaninov – Symphony No. 2 (1907)
That Sergei
Rachmaninov actually wrote a second symphony is a triumph over adversity
possibly unequalled in music. His first (see Day 138) had been subjected to
wilfully brutal criticism by almost everyone who felt compelled to document
their opinion of the poorly performed premiere. Rachmaninov suffered depression
and a full psychological breakdown as a direct consequence, and barely wrote a
note of music for three years afterwards. Having written his hugely popular
second piano concerto in the intervening twelve years since the disastrous
first, Rachmaninov was still plagued by doubt over this work, and revised it
repeatedly before releasing it into the wild.
It has, of course,
become one of his most successful compositions, and indeed one of the most frequently
performed symphonies in the whole late-Romantic repertoire. It features in
tonight's all-Rachmaninov programme at the BBC Proms, performed by the BBC
Scottish Symphony Orchestra, so that meant a return of the Proms tie-in, whereby
I aim to listen to that particular performance (which was rather difficult to
co-ordinate as I was in Prague at the time). It's one of the few symphonies to
have inspired a pop song, with the third movement Adagio having been lifted by Eric Carmen for his minor 1976 hit Never Gonna Fall in Love Again. Carmen
must have been quite the Rachmaninov fan, as this was in turn a follow-up to
the global hit All by Myself, which
ripped off the second piano concerto. It has to be said that the symphony as we
now recognise it has only in recent years run to the full hour of music that
Rachmaninov originally wrote. For most of its performance history it was
presented in a savagely cut state, with edits approved by the composer
sometimes reducing its length to around 40 minutes. Thankfully we now hear it
in all its glory and the work is all the better for it.
Day 226
14 August 2017: Mozart
– Symphony No. 35, 'Haffner' (1782)
This symphony had a
far more interesting life than most of Wolfgang Amadeus Mozart's earlier works.
For the most part, Mozart wrote to order, usually quite quickly, for a specific
performance and then moved on to the next piece. It is questionable he would
ever intend such works to be heard again. This, however, was a symphony fashioned
from earlier music: a serenade he had written for the ennoblement of Sigmund
Haffner the Younger five months earlier. The six-movement serenade was,
according to a letter he wrote to his father at the time, written over almost
as many nights whilst working on his opera The
Abduction from the Seraglio during the day!
When, in December of
1782, Mozart decided to present a concert of his music, he revisited this earlier
music – essentially dropping two of its six movements, a march and a minuet –
and formed it into the symphony we know today. The said concert was a bit of an
oddity: the first three movements of the 'Haffner' symphony opened proceedings,
and then after some of his arias, a couple of his piano concertos, and various
other items, the finale of the symphony concluded the concert. In keeping with
many symphonies of the time, it begins with a loud, unison theme, which
effectively served the purpose of silencing the crowd. The opening movement is
a conventional sonata form, while the Presto
finale makes use of a theme from the aria Ha,
wie will ich triumphieren from the opera he was working on at the same
time, The Abduction from the Seraglio.
A rare example of symphonic material that re-uses music already re-used before!
Day 227
15 August 2017:
Schumann – Symphony No. 3, 'Rhenish' (1850)
I admitted, when
featuring Robert Schumann's first symphony back in February (see Day 38), that
he was a composer I rarely listened to. So when this one cropped up on the
schedule, to tie in with the Scottish Chamber Orchestra's performance of it at
tonight's BBC Prom, I thought I probably should know it, but couldn't recall
anything about it. As soon as the first bars were played, however, a welcome
spark of recognition occurred that made me wonder why I'd neglected it for so
long.
It's a marvellous
symphony, somewhat at odds with the circumstances surrounding its composition.
The Schumann family had recently moved to Düsseldorf, as Robert had taken up
the role of the city’s Music Director. Their new apartment was in the centre of
the city and, by all accounts, noisy, which meant Schumann's attempts at composition
were constantly disrupted. According to his wife Clara this caused her husband
a form of 'house rage'. Nevertheless, his response to his new surroundings in
the Rhineland was to pour out this joyous work, with the tone set from the off
with a majestic opening theme. I happened to be travelling from Prague to
Bayreuth today, and listening to this with the German landscape as a backdrop –
albeit Franconia rather than North Rhine-Westphalia – suited the music
perfectly. I think it may be time for me to bring Schumann back in from the
wilderness to which I've dispatched him.
Day 228
16 August 2017: Balakirev
– Symphony No. 2 (1908)
I didn't really do
Mily Balakirev any favours by scheduling this for today. His second symphony is
the lesser well-known of his pair, and certainly not one I'd ever heard before.
Unfortunately, I ended up listening to this 50 minutes of totally unfamiliar music
shortly after returning to our gasthof
in Bayreuth after spending the previous six hours attending Tristan und Isolde at the Festspielhaus.
After that, anything would have been an anti-climax, so poor old Balakirev was
onto a hiding to nothing. Anyway, I decided to do the decent thing and give it
a second listen on our flight back to the UK a couple of days later.
Rather like Stanford
in this country, Balakirev is arguably more famous for who he influenced than
anything else – in this case, his protégé Tchaikovsky. His own music has not
been treated well by history, and the fact that the supposedly better-known
first symphony (see Day 49) is rarely performed outside Russia to this day,
gives an indication of how far below the waves thus has sunk. He was 71 when
this symphony was completed, and after taking over 30 years to complete his
first, this one was knocked out in a comparatively cursory eight years. It
opens with two quite startling chords that rather threw me off balance,
sounding for all the world like the final two chords of another work. The
second movement is a scherzo marked alla Cosacca, and its Cossack style
would have been entirely in keeping with the Russian art form he and the rest
of The Five were attempting to create. This would also be true of the final
movement Polonaise, which was
actually a form more associated with Imperial Russia than Poland. I'm afraid
the second listen didn't really raise my opinion of the symphony much, however,
and it's unlikely ever to receive a third.
Day 229
17 August 2017: Lalo –
Symphonie espagnole (1874)
Yes, I know it's a
violin concerto really, but according the rules that I set out on day one,
Édouard Lalo chose to call this a symphony, ergo it qualifies. Also, it meant I
could incorporate a third Proms tie-in this week, as it features in tonight's
Royal Philharmonic Orchestra prom, with Joshua Bell as soloist. As a symphony,
it doesn't really fit the template, but then again, as a five-movement work, it
isn't a conventional concerto either. In fact, Lalo had written his Violin Concerto for the same soloist,
the famed Spaniard Pablo de Sarasate, the previous year. That he chose not to
call this 'Violin Concerto No. 2' is indicative of its different conception.
French composers of
the day appear to have had a fascination with the music of their Iberian
neighbours. Bizet wrote Carmen around
this time, Chabrier produced his rhapsody for orchestra España the following decade, and Ravel would draw upon it
repeatedly for Bolero, Rapsodie espagnole, and his one-act
opera L'heure espagnole in years to
come. The Spanish inflections in the music are very prominent throughout,
especially in the second movement Scherzando.
There are virtuosic fireworks throughout and the work has rightly become a
concert favourite, although it is probably the only work by Lalo I could name
off the top of my head.
Day 230
18 August 2017:
Stamitz – Mannheim Symphony No. 3 in B flat major (c. 1741)
Over the (checks) 230
days that I've doing this Symphony A Day thing, I've pondered on whether I may
have done a few things differently. The one thing I might have changed, had I
really thought it through rather than just deciding on a whim on the morning of
1 January to do this, is that I could have run the symphonies in chronological
order to show how the genre developed over the centuries. Had I done so, this
would have featured in the first week of January as one of the earliest
examples of the genre.
I find it fascinating
that Stamitz was writing this fledgling classical symphony at around the same
time as Handel was writing the Messiah,
and JS Bach produced his second book of Preludes and Fugues, The Well-Tempered Clavier. It's
groundbreaking stuff, with a recognisable sonata-form first movement, a stately
Andante central movement, and a
lively Presto finale in triple time –
all of which would influence Haydn in following decades. At around eight minutes in length, it is one
of the shortest symphonies I've heard this year but this is very much the tiny
acorn from which symphonic form grew.
Day 231
19 August 2017:
Pettersson – Symphony No. 9 (1970)
I featured Allan
Pettersson's 7th symphony a few months ago (see Day 116) and at the time he was
a relatively new discovery to me. He's rapidly becoming one of my favourite
composers and this is seen by many as the pinnacle of his symphonic output
(which amounts to 15 completed symphonies, and two further unfinished ones).
It's certainly the longest, running to 70 minutes in its slowest recorded
performance, and in common with most of his other symphonies it consists of a
single through-composed movement.
Quite often, when I
encounter composers like Pettersson whose work is rarely performed outside of
his native country, I find myself questioning why their music is so
infrequently programmed. It's pretty easy to see why in Pettersson's case,
however. Seventy minutes of unbroken music is a big ask of any audience, and it
would be difficult see how anyone could confidently programme the work and
expect much of a crowd to turn up. This is a shame, as it's a work that manages
to sustain the listener's attention throughout, much of which is down to his
trademark device of sustaining pedal notes and repeated osinati figures for so long that you're almost pleading with him to
resolve them. When the music finally lands onto a quiet, restrained major chord
in the last 30 seconds the effect is astonishing. A great symphony, but one in
which Pettersson is clearly pushing the levels of audience tolerability. He was
hospitalised for nine months after writing this, and along with the demands the
ninth symphony had engendered, these two factors probably contributed to the
fact that his next symphony was only 25 minutes long.
Day 232
20 August 2017: Parry
– Symphony No. 4 (1889)
While Hubert Parry
achieved great popularity in his own lifetime, his symphonies started to
dwindle into obscurity almost as soon as each was written. Even as long ago as
1949, AEF Dickinson was writing an article in The Musical Times, entitled 'The Neglected Parry' bemoaning the
fact his music – Jerusalem aside –
was rarely performed. The situation has scarcely changed nearly 70 years on.
Take this work for
example. It is Parry's longest symphony, with my copy of London
Philharmonic/Matthias Bamert CD (that remains the only recording of the piece
in existence) clocking in at around 42 minutes. It was originally composed in
1889 and given one performance, after which Parry declared his dissatisfaction
with the work. In 1910 he revisited the symphony, padding out the orchestration
and writing a new scherzo. And while
this improved the work in the composer's eyes, it did little for its fortunes.
After a solitary performance of the revised version, it remained unheard for a
further 80 years until Bamert picked up the score for the aforementioned
recording in 1990. It is the first of Parry's symphonies to have been written
in a minor key, and this led him to concede that it was 'a bit stern'.
Personally I think its length and choice of key lends it a gravitas that sets
it above its predecessors. It's a view that even the composer himself doesn't
appear to have shared though.
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