Symphony No.5 ''Western Hemisphere'' - William Grant Still

Fort Smith Symphony Orchestra conducted by John Jeter. I - The vigorous, life-sustaining forces of the Hemisphere. Briskly: 0:00 II - The natural beauties of the Hemisphere. Slowly and with utmost grace: 3:24 III - The nervous energy of the Hemisphere. Energetically: 10:02 IV - The overshadowing spirit of kindness and justice in the Hemisphere. Moderately: 12:54 Still's Symphony No.5 was composed in 1945, being originally the third one before he withdrew it. After he wrote Symphony No.4 in 1947, he revised the work as the Fifth Symphony. The composer’s wife Verna Arvey, speaking for him, gave descriptive titles to the symphony’s four movements. It was premiered at the celebration of the composer’s 75th birthday on November 9 of 1970, performed by the Oberlin College Orchestra conducted by Robert Baustian Still wrote the following prefatory text: "One day in eternity has come to its close. A mighty civilization has begun, come to a climax, and declined. In the darkness, the past is swept away. When the new day dawns, the lands of the Western Hemisphere are raised from the bosom of the Atlantic. They are endowed by the Great Intelligence who created them and who controls their destiny with virtues unlike any that have gone before: qualities which will find counterparts in the characters of the men who will inhabit them eventually, and who will make them the abode of freedoms, of friendship, of the sharing of resources and achievements of the mind and of the spirit. These are our fellow-Americans in Latin America, Canada, and the islands of the Western Seas, who are today working with us to convert our ideals into realities." The first movement is written in a concise sonata form. It begins with a dissonant and menacing main theme, built on a three-note motive encompassing a minor third. This motive rises up the diminished scale along with a great deal of syncopation, creating a tense, brooding atmosphere. A more melodic and optimistic second theme is presented by woodwinds, with a two-note motive over more syncopation. A loud rising scale figure heralds the development section, becoming more agitated and leading to the recapitulation of the main theme in the strings. This builds quickly to a dramatic tutti climax with a tragic, brusque end. The second movement is monothematic in form. It opens with a languorous main theme on violins over marimba chords, full of a tropical air. The three-note motive of the beginning reappears, adding an element of tension. The music grows more expressive in the central part, but without reaching a climax. The main theme is then recapitulated gently. The coda subsumes the motive into a peaceful ending. The third movement is a short scherzo also in monothematic form. It begins with a nervous and dissonant main theme, derived from the three-note motive. This is intensified by the angular melodic figures and obsessive march rhythms. A two-note figure is tossed about violently as the movement charges to a bleak end in a minor key. The fourth movement is written in a modified sonata form. It opens with a rhythmic and dynamic main theme, contrasted by a more melodic second theme. Follows the development section, in which the harmony is much more dyatonic and optimistic in expression. There is no recapitulation, instead a solemn, hymn-like theme is presented. References to previous movements are also present. A dignified coda ends the finale. Still, a man of peace, expressed through this work the optimistic postwar vision of America freshly empowered as the savior of world freedom, prepared to spread that light to all humanity. Picture: Photograph of a statue of George Washington (1785-92) by French sculptor Jean-Antoine Houdon. Source: https://bit.ly/3lZJIe3 Unfortunately the score is not available.