Symphony No.24 in D major - Havergal Brian

New Russia State Symphony Orchestra conducted by Alexander Walker. I - Allegro - Maestoso e marcato molto - Adagio: 0:00 Brian's Symphony No.24 was composed between May and August 1965. It was premiered on 1 April 1973 on a broadcast of BBC radio 3, performed by the London Philharmonic Orchestra conducted by Myer Fredman. Unlike the two previous, two-movement symphonies, No.24 has only one movement, but that movement divides into three sections: the outer two on a large scale, the central one much shorter. It is also the last part of a trilogy of symphonies composed within a nine-month period. 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. Here, 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. The first section opens with timpani rolls, introducing a brilliant march, carried along in a strong 4-in-a-bar rhythm by "marching" crochet patterns and admitting plenty of martial and ceremonial musical imagery. The mood, though, is on the whole much more positive than in the two previous symphonies. Though the textures, as always with Brian, are highly contrapuntal, they are less involved. The music breathes and flexes its muscles, and the bar-to-bar metamorphosis of motifs often displays a delightful sense of wit and fantasy. A kind of recitative for the cellos links to a short, playful scherzo led off by solo bassoon: lightly and deftly scored, with infectious high spirits and a dance-like momentum. After this a fanfare for brass and percussion proves to be the prelude to a valedictory Adagio, the only true "slow movement" in these three symphonies, whose broad expressive sweep and wealth of singing melody constitute a moving epilogue to all the intense contrapuntal effort that went before. Lyrical expansion is at a premium here, as the music explores to the full a definite sense of fulfilment. Some darker areas are uncovered, but all is contained and assimilated within the prevailing benedictory mood. The coda, beginning quietly with a rising figure that is reminiscent of the opening of Symphony No.22, builds up to a final sense of heroic affirmation. Picture: "Saint George and the Dragon" (1889) by the French painter Gustave Moreau. Source: https://bit.ly/3pSQMYD To check the score: https://bit.ly/3AuHuXT