Symphony No.15 in A major - Havergal Brian

RTÉ National Symphony Orchestra conducted by Tony Rowe. I - Maestoso e marcato (0:00) - Cantabile e espressivo molto (11:06) - Allegro con brio (17:49) Brian's Symphony No.15 was composed between February and Abril of 1960. It was premiered in a BBC radio broadcast in 23 June 1976, with the Royal Philharmonic Orchestra conducted by Stanley Pope. It is structured in a single movement with three sections, scored for a large orchestra. The work forms part of a pentalogy of one-movement symphonies (from 13 to 17) of a more experimental nature. The first section opens with a pompous and Elgarian fanfare, full of optimism and splendour. This theme becomes the main one of the symphony, which will reappear adopting different forms. After a climax, a lyrical passage comes, with smooth phrases of woodwinds and strings. The main theme reappears in an inventive way, followed by a more melodic part as a contrast. A more reflective, even serious atmosphere seems to establish itself, with an anxious melody over an ostinato in harp and timpani. The march reappears again, imposing itself, followed by a gentler variation. This is followed by a lyrical and noble variation introduced by the strings, which becomes dissonant and explodes in a new climax. New material is presented over a restless bass rhythm, but always we return to the march. The rhythm suddenly accelerates with a solo from the xylophone, culminating in a new climax. A slow and mysterious transition for harps, celesta, pitched percussion and woods leads to the next section. The second section opens with a solo from the clarinet, introducing a gentle and moderate theme, taken by the rest of the orchestra. The main theme reappears in the background, appearing in a duo of horn and flute, accompanied by the glockenspiel. The music evolves gracefully, with castanets and percussion instruments sustaining the calm rhythm. The main theme reapears in the background again, in a solo from the horn over an ostinato of the flute and the string's pizzicatos. The entrance of the brass introduced a majestic variation of the main theme, richly harmonised, and there are further instrumental solos before the lyrical theme returns, being further developed in a contemplative way. A charming transition of Glockenspiel and muted horns lead to the final part. The third section begins with a dance-like variation of the main theme, almost like a parody of itself. It is contrasted against a smoother, waltz-like motif. It is followed by the dance theme in piano. During the development of these elements, Brian contrasts massive tutti textures against lightly-scored ensemble writing, while the timpani having a prominent role. A new variation in the form of the march comes, leading to a strong climax. The dance theme is recapitulated in a light ambient. Finally a version of the march theme itself returns as a concluding fanfare, ending in the resplendent A major with which it began. Picture: "The Island of Life" (1888) by the Swiss painter Arnold Böcklin. Musical analysis partially written by myself, Sources: https://bit.ly/3mMxSPx and https://bit.ly/2HYDZ48 Unfortunately the score is not freely available.