Symphony No.23 in C major - Havergal Brian

New Russia State Symphony Orchestra conducted by Alexander Walker. I - Moderato - Allegro con anima - Tranquillo - Allegro con anima: 0:00 II - Adagio non troppo ma pesante: 6:54 Brian's Symphony No.23 was written between March and April 1965. It was premiered on 4 October 1973, performed by the University of Illinois Symphony Orchestra conducted by Bernard Goodman. The work forms part of a triptych formed by Symphonies No. 22-24. It is divided in two short movements like Symphony No.22 ''Brevis''. Brian did not give any overall description for the three, but the fact that he originally intended calling Symphony No.23 "Symphonia grandis" as a kind of answer to No.22 "Symphonia brevis", suggests he linked the two in his mind, and the strong sense of epilogue that occupies the latter half of Symphony No.24 is so clear and sustained that it seems to mark the end not just of this one work, but of a whole symphonic phase. All three symphonies could be viewed to some extent as studies in march-rhythms, something Brian would take up again in the first movement of Symphony No.25. The second movement of No.22 and the first main section of No.24 are quite clearly marches, of quite different characters (that of No.22 in 3/4 time), while both movements of No 23, more similar in basic pulse, are infused with march-rhythms while also diverting into contrasting episodes that bring in many other elements. However, though warlike imagery does make an occasional appearance, the battle is more of a Blakeian "mental fight", expressed through the continual metamorphosis of purely musical ideas and the wrestling of taut contrapuntal lines. Into all this clamorous and fully-scored orchestral activity, however, Brian sets unexpected windows of lyricism, where the interest is centred on just a few instruments. Compared to the predominantly nocturnal and ghostly No.22, No.23 is a more impulsive and martial in tone. The first movement is structured around a main theme. It begins with a sudden and forceful march as an introduction, dominated by brass and percussion. The main theme is angular and restless, emphasized by massive scoring and percussion. Martial motifs are contrasted against more melodic phrases from the woods. The entrance of the harps brings a contrasting section, with a complete change of mood and texture. Several instruments perform several solos over a darker and more shadowy ambient, a subtle development of the materials already presented so forcefully. Hints of the returning march-tread leads to the return of the main theme as partially recapitulation and development at the same time. After a dense and emphatic climax, it is followed by a decrescendo concluding in a calmly noble but firm coda in C major. The second movement resembles a passacaglia. Opens with a tense C minor theme introduced by the strings, guided by a firmly moving bass line containing what is the most important thematic element, which will be heard several times in different contexts. A more melodic variation is presented as a contrast, followed by several solos, most notably a beautiful dialogue for two violins. After a climax, new solo between the wood come, featuring Brian's characteristic use of counterpoint. New variations from the bass lines come, with the music contrasting between grave and noble melodies against more impulsive and abrupt motifs. After an intense climax the music slowly ascends, leading to the coda. Fanfares from the brass and blows from the timpani conduce us to a chaotic but powerful ending in a clear and brilliant C major. Musical analysis partially written by myself. Source: https://bit.ly/3pSQMYD To check the score: https://bit.ly/3AY7UTt