Suffolkcoastal's Symphonic Journey

[Ahollingsworth1961]

What a good thread. Lots of symphonic music to check out. Haven't heard of much of it.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1985

S Albert: Symphony No 1 ‘River Run’
Diamond: Symphony No 9
Hovhaness: Symphony No 60 ‘To the Appalachian Mountains’
D Jones: Symphony No 12
M Keal: Symphony
Lees: Symphony No 4 ‘Memorial Candles’
G Lloyd: Symphony No 11
T Marco: Symphony No 2 ‘ Espacio Cerrado’
D Matthews: Symphony No 3
Rautavaara: Symphony No 5
Rochberg: Symphony No 5
Rorem: String Symphony
Segerstam: Symphony No 9 (Orc hestral Diary Sheet No 3)
M Taylor: Symphony No 1 ‘Sinfonia Brevis’
Vainberg/Weinberg: Symphony No 19 ‘Bright May’
Williamson: Symphony No 7
Zwilich: Symphony No 2 ‘Cello’

Stephen Albert’s 1st Symphony is a four movement work of a little under 35 minutes duration. It is a colourful and often dynamic score, full of incident and as well as having real symphonic breadth. The opening is rather Stravinsky like, but Albert soon finds his own voice and creates a rich kaleidoscope of textures. The work is approachable and well worth listening to.

David Diamond’s 9th Symphony is scored for Baritone and Orchestra and lasts about 35 minutes. It follows a gap of just over 20 years since the composer’s last completed numbered symphony. Diamond sets texts by Michelangelo and the work is an amalgamation of the tougher more acerbic Diamond of the later 1950’s and 60’s and the more lyrical composer of the 1940’s. The score is expansive and expressive and exhibits Diamond’s considerable skills in counterpoint and spinning out rich long lyrical lines. There is also the familiar nobility of expression and skilful orchestration.

Hovhaness’s 60th Symphony is a four movement work of around 33 minutes duration. This is in many ways a typical later Hovhaness symphony, however the composer had undertaken a study of native Appalachian folk music and this helps to yield a refreshing folksiness into Hovhaness’s music and creates a welcome contrast.

The 12th Symphony of Daniel Jones is a short four movement work of around 17 minutes duration. It is an attractive and broadly lyrical work and is in someways, like its predecessor a relaxation from his slightly more demanding earlier symphonies. The slow 3rd movement is particularly expressive and the finale has an affirmative vision, which is sometimes absent in Jones’s music.

The Symphony of Mina Keal is a four movement work of around 30 minutes duration. It was one of a number of works composed by Keal between the ages of 70 and 90 after returning to composition after a nearly 50 year gap when she had to concentrate on business activities. The Symphony is a craggy and rather uncompromising work and impresses with its power and seriousness of purpose. Keal maintains an intensity of expression throughout and the work is well worth hearing.

Benjamin Lees 4th Symphony is a three movement work lasting a little over 60 minutes. The 2nd and 3rd movements are settings of poems by the holocaust survivor Nelly Sachs sung by a mezzo-soprano (the work was written for the 40th anniversary of the end of the Holocaust), there is also a prominent part for solo violin, representing the eastern European Jewish soul. The work is expansive and is in predominately slow tempi and is dark, serious and brooding as one would expect. Strangely though the work doesn’t move one as much as perhaps one would expect. There are some powerful and telling passages, but also passages that are perhaps less than inspired, leaving a feeling of disappointment, considering what a good composer Lees normally is. Other listeners may get more out of the work than I do, so it is still worth considering.

The 11th Symphony of George Lloyd is a five movement work of almost 60 minutes duration. The central movements, especially the 3rd and 4th have some attractive ideas, with the 4th movement finale is rather inconsistent and almost superfluous. The 1st opens with an interesting idea, but the movement soon looses direction and focus and disappoints.

The 2nd Symphony of the Spanish composer Tomas Marco has a title which translates as ‘closed spaces’. It is a one movement work of about 15 minutes duration. The tempi are generally of the slower variety throughout and Marco creates a dense and almost granitic sound world that is quite claustrophobic. The work could possibly do with more contrast, and the musical language has tonal elements though the overall language is fairly demanding.

The 3rd Symphony of David Matthews plays continuously and lasts about 23 minutes. It is a score rich in drama, that builds in intensity and then releases the tension in a fluid and dramatic manner. The Symphony concludes in a rather uncertain coda which in the end only deflects the tensions built up in the score. The language is quite approachable and this is certainly worth a listen.

Rautavaara’s 5th Symphony is in one movement and lasts around 30 minutes. Over 20 years separate it from its predecessor. The 5th is a dramatic and imposing work. The opening with great crashing chords that emerge from stillness is quite awe inspiring, like some vast doors being opened up into a different landscape. The continues its exploration and though the composer occasionally hints that he is about to recap a section, this is always deflected into new familiar but somehow unfamiliar territories. Rautavaara manages to hold the listener spellbound throughout this powerful and striking score. Certainly one to explore if you don’t already know the work.

The 5th Symphony of George Rochberg is in one movement and lasts a little under 30 minutes. This imposing work can be divided into a number of sections with an opening and closing statement surrounding episodes and developments. The episodes are reflective in nature while the developments are more dynamic and assertive. The power and seriousness of Rochberg’s writing are never in doubt as is a vein of despairing romanticism enhanced by the turn motive from Mahler’s 9th Symphony, which haunts the reflective episodes. The work has real inevitability and shows the hand of a true symphonist. Once again, a work that is well worth investigating.

Continued in the posting below.....

[Suffolkcoastal]

1985

continued from the above posting.....

Ned Rorem’s String Symphony is a five movement work of between 20 & 25 minutes duration. The 1st movement is a slightly frenetic waltz and this is followed by a short songlike ‘Berceuse’ very typical of Rorem. A slightly ironic and grumpy little scherzo, is then followed by a ‘nocturne’ which is the heart of the work, full of sadness and regret. The finale makes and effective conclusion and the writing here just occasionally brings to mind Britten’s Bridge Variations. Overall this is an attractive and well written work.

The 9th Symphony of Leif Segerstam’s already shows the characteristics of a considerable proportion of the composer’s (current) 265 symphonies. It is in one continuous movement and lasts about 20 minutes. Segerstam uses aleatoric elements within a strict structural design and the result is a work that comes across as often being strangely beautiful with some fascinating textures, that occasionally remind one of Ives, and which has a surprising feeling of inevitability.

Matthew Taylor’s 1st Symphony is a compact work of about 15 minutes duration. It is well written and quite approachable, if lacking somewhat in individuality.

Vainberg/Weinberg’s 19th Symphony is the final part of his symphonic trilogy ‘on the brink of war’. It is in one continuous movement and lasts about 35 minutes. The influence of Shostakovich and occasionally Prokofiev are more noticeable here than in its two predecessors, but the composer’s individual voice also shines strongly through. It is at times more determined and less pessimistic than the other two symphonies in the trilogy and more agitated moments are contrasted with more distinctly pastoral ones, and it is the latter that eventually wins through to end the work in a kind of hesitant and uncertain peace.

Malcolm Williamson’s 7th Symphony is scored for string orchestra and is a four movement work of around 22 minutes duration. The 1st movement follows a slow-fast-slow pattern and this is followed by a rather humorous short scherzo. The 3rd movement is slow and of a intense grave melancholy and is quite moving. An engagingly bright finale concludes this attractive and approachable work.

Finally Ellen Zwlich’s 2nd Symphony. It is a three movement work of about 25 minutes duration. The title ‘cello’ refers to the prominent role given to the orchestral cellos in the work, exploiting their characteristics and even providing a cadenza for the section in the 1st movement. The work has plenty of apt sweeping lines and drama and is quite effective, if a little anonymous in style. The Symphony though is quite approachable.

[Black Swan]

Suffolkcoastal,

Another great list. Is the Diamond 9th available on CD? I have all of the recordings by Scharz and the Seattle Symphony.

[Suffolkcoastal]

Sadly I'm afraid it isn't, only nos 1-5, 8 and the slow movement of No 11 are available on CD currently. Even I don't have the complete No 11. I just cannot understand why all Diamond's symphonies haven't been recorded.

[Black Swan]

Thanks for the reply. I agree and I have the same recordings as you. I originally bought them and they now have been reissued on Naxos. I can't understand why they have not been recorded. But it is a loss.

[Beef Oven]

Suffolkcoastal,

Another great list. Is the Diamond 9th available on CD? I have all of the recordings by Scharz and the Seattle Symphony.

I also have the same Gerard Schwarz recordings as you, and I've often thought about adding the rest - well, now I know I can't!!!

Thanks to you and SC, I won't have a frustrating and futile experience in the future!

[Suffolkcoastal]

More from the journey through my symphonic collection:

1986

Arnold: Symphony No 9
A Butterworth: Symphony No 4
Eliasson: Symphony No 1
Kancheli: Symphony No 7 ‘Epilogue’
Panufnik: Symphony No 9 ‘Sinfonia della speranza’ (revised version)
Segerstam: Symphony No 11 (Orchestral Diary Sheet No 5)
Segerstam: Symphony No 12 ‘After the flood’
1987
Richard Rodney Bennett: Symphony No 3
Rouse: Symphony No 1
Sallinen: Symphony No 5 ‘Washington Mosiacs’ (revised 1987 version)
Segerstam: Symphony No 13
Segerstam: Symphony No 14 ‘Moments of Peace III’
R Simpson: Symphony No 9
Skulte: Symphony No 9
Ustvolskaya: Symphony No 4 ‘Prayer’

Malcolm Arnold’s 9th Symphony is a four movement work of around 45 minutes duration. It is an unusual work and in many ways quite different from its 8 predecessors, though passages in the 7th and 8th symphonies do foreshadow the world of the 9th. Much of the writing is in two parts and is very sparse. The first two movements are hesitant and almost nonchalantly cool. The 3rd movement has flashes of the old composer, but the weight of the Symphony is in the huge slow finale, which is almost half the length of the whole work. This is amongst the most bleak and despairing movements in the symphonic repertoire, almost devoid of hope, a real coming to terms by Arnold of his agonising mental condition over the previous 10 or more years. Certainly a work that should be heard.

Arthur Butterworth’s 4th Symphony is a four movement work of a little under 40 minutes duration. This work is dramatic, turbulent and sometimes bleak and haunting nature music. The world of Sibelius’s Tapiola and the Bax Symphonies are sometimes brought to mind, but Butterworth does have a distinctive soundworld and many listeners will enjoy this work.

Anders Eliasson 1st Symphony is a 30 minute long work in three sections. The late Anders Eliasson was a Swedish composer who died in May this year at the age of 66. His 1st Symphony is a fluid and often dynamic work. The fluidity helps to maintain a continual forward momentum and a variety of interesting textures. The language is not initially easy to come to terms with, but has a degree of expressivity which is quite satisfying.

Kancheli’s 7th Symphony is in one continuous span and lasts about 30 minutes. This is in many ways a typical Kancheli symphony, though here Kancheli opens with powerful dramatic chords and there is a greater profusion of ideas than in his previous symphonies. The typical opposing dramatic outbursts and subdued sections are in evidence, but they seem more convincing and the Symphony as a whole has a greater cohesion than previously.

Panufnik’s 9th Symphony is in one continuous span and lasts about 40 minutes. This is an imposing and dramatically powerful work. The strength and commitment of Panufnik’s vision in this work is never in doubt, even though here and there he just seems to lose focus, but soon recovers it and the Symphony is a very convincing whole, with a gritty determination and sweeping self-belief. The musical language is not overtly problematical and this work is well worth seeking out.

Segerstam’s 11th Symphony is in the composer’s usual one movement and is of about 25 minutes duration. Again the aleatoric techniques and overall structure are deftly handled and the work is full of interesting textures and holds together fairly convincingly.
Segerstam’s 12th Symphony is also in the usual one movement and also of about 25 minutes duration, though as a whole I personally find this work less convincing.

Richard Rodney Bennett’s 3rd Symphony is of about 25 minutes duration and is an approachable and thoughtful work. The melancholy but expressive slow finale is much finest movement IMO and is in its way quite moving. Bennett’s style here has a distinctly American feel to it, but this is successfully absorbed in this attractive work.

Christopher Rouse’s 1st Symphony is in one continuous movement and lasts about 27 minutes. This Symphony is one large slow movement of quite striking power and intensity. Hints of the Shostakovich of the 4th Symphony, the Vaughan Williams of the 6th Symphony and Mahler are noticeable but welded into and dramatic whole that could be a late 20th Century answer to the opening Adagio of Mahler’s 10th Symphony. The depth and imagination and sustained strength of this work are quite impressive and the musical language is fairly approachable. This is certainly among the better American Symphonies of the last quarter of the 20th century.

Sallinen’s 5th Symphony is in one continuous span, but is divided into 5 sections, with two sections entitled Washington Mosaics I & II flanking three central intermezzos. The 1st movement creates an impressive and serious tapestry of sounds. The first two intermezzos are atmospheric and enhance the drama created in the 1st section, the third intermezzo scored for strings and harp has a striking romantic intensity. The final section is hard driven and determined and is a highly successful conclusion to a bold and original symphony that is among the composer’s finest works.

Segerstam’s 13th Symphony follows his usual one movement structure and is about 25 minutes in length. The work is scored for strings, piano & percussion. The textures produced and the controlled structure make this among Segerstam’s more effective scores of the period.

Segerstam’s 14th Symphony is scored for solo baritone and orchestra and is again in one movement, however the duration this time is nearly 40 minutes. I personally do not find this amongst the most successful of Segerstam’s works. The baritone’s part is awkward and rather ugly and the result of the controlled aleatoric techniques here have a tendency to be rather messy and unconvincing. Segerstam struggles to keep control for the 40 minute span, and this work might be a little more successful if it was considerably shorter, though I personally have my doubts.

The 9th Symphony of Robert Simpson is in one continuous span lasting around 45 minutes though it can be divided into three sections, with two broader spans surrounding a central scherzo. This work is IMHO among the greatest symphonies of the 20th century. One tempo is maintained throughout with Simpson shortening and lengthening note values to create the impression of faster and slower music. This allows for seamless transitions and creates the effect of riding over some vast landscape. The logic, power and inevitability of the work are awe inspiring and the compositional technique breathtaking. This work cannot be recommended highly enough and why this Symphony isn’t in the regular repertoire of the world’s finest orchestras defies belief.

Skulte’s 9th Symphony lasts about 35 minutes and is an unashamedly romantic work of a slightly cinematic bent. The Symphony has a rather sombre and tragic demeanour and holds together reasonably well. The language is very approachable and for a lot of time wouldn’t be out of place in 1907 let alone 1987! It occasionally reminds me of Miaskovsky, but Skulte lacks Miaskovsky’s technique and individuality.

Finally Ustvolskaya’s 4th Symphony. Like her 3rd this isn’t really a symphony in the traditional sense. It is scored for just trumpet, piano, tam-tam and contralto and lasts only a little over 7 minutes. It is a curious stark and gritty little piece, dominated by two little phrases, an ascending 3 note one and a descending 4 note one. It is the sort of the work that will fascinate some listeners, but keep others firmly at arm’s length.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1988

Aho: Symphony No 7 ‘Insect Symphony’
R Edwards: Symphony No 2 ‘Earth Spirit Songs’
Englund: Symphony No 7
Holmboe: Symphony No 12
Hovhaness: Symphony No 63 ‘Loon Lake’
Kinsella: Symphony No 2
J Lloyd: Symphony No 4
Nordheim: Symphony ‘Magma’
Schnittke: Symphony No 5 (Concerto Grosso No 4)
Siegmeister: Symphony No 8
R Simpson: Symphony No 10
Sumera: Symphony No 3
T Wilson: Symphony No 4 ‘Paseeleth Tapestry’

Kalevi Aho’s 7th Symphony is in 6 movements and lasts a little over 45 minutes. The material is taken from his, at that time, unperformed opera ‘Insect Life’. The weight of the work falls on the last two movements which are much longer than the previous four. The movements themselves contrast well with each other and this skilful use of contrast helps to give cohesion to the work. The writing is often very engaging and imaginative and the orchestration excellent. The Symphony certainly wets one’s appetite to hear the opera.

The 2nd Symphony of the Australian composer Ross Edwards is scored for soprano & orchestra and lasts about 20 minutes. It is a work stylistically very typical of the 1980’s return to tonality. In the more ecstatic sections the influence of John Adams is quite apparent, but there is also music suggestive of the vast Australian landscape. A slight but very approachable work.

Einar Englund’s 7th Symphony is a four movement work of a little over 30 minutes duration. The 1st movement is very restless and rather anxious. The 2nd movement has a distinct nocturnal atmosphere and has an expressive cello solo near the beginning and the movement as a whole as a haunting melancholy. The 3rd movement is moderately paced and the composer marks it ‘like a sad dance’ which pretty well describes the movement. The finale has a blunt, grim determination ending in a defiant acceptance. Englund’s style is certainly quite distinct and his symphonies are amongst the finest post-Sibelian Finnish symphonies.

Holmboe’s 12th Symphony was the result of a commission from the then BBC Welsh S O, in honour of the composer’s forthcoming 80th Birthday in 1989. It is in three movements and lasts around 23 minutes. The 1st movement is rather mosaic like in its skilful use of contrasted short sections. The central movement is a beautifully poised Adagio sereno, which is in arch form. The finale opens with a short slow introduction before launching into a vigourous and assertive movement, quite typical of Holmboe. This is an attractive and well written symphony which many listeners would enjoy.

Hovhaness’s 63rd Symphony is a two movement work of a little over 25 minutes duration. The 1st movement is short and acts as a Prelude to the rest of the work. Cries of the Loon (Great Northern Diver) and Hermit Thrush are imitated in the 2nd movement. Otherwise this is a typical late Hovhaness symphony, modal and straightforward, though perhaps relying too much on the composer’s own mannerisms and clichés.

John Kinsella’s 2nd Symphony is of between 40 and 45 minutes duration. This is rather similar to his 1st Symphony, in that it is a broadly romantic and at times slightly cinematic work. There is certainly plenty of drama, atmosphere and sweeping ideas and textures, that one could occasionally call Sibelian. The work is quite attractive though and admirers of George Lloyd might appreciate this work and his 1st symphony too.

Jonathan Lloyd’s 4th Symphony is in one movement and lasts a little over 30 minutes. The work opens gently with wispy overlapping scalic figures, the symphony proceeds by contrasting reflective and peaceful sections with elements derived from Latin-American dance music and Jazz creating a collage like effect. The Symphony is certainly entertaining but I don’t think it stands up well to repeated hearings.

Arne Nordheim’s ‘Magma’ was described as a symphony when I first encountered it, though it isn’t formally labelled as such, so I decided to include it. It is in one movement lasting around 22 minutes. It is a powerful, dramatic and also (suitably) granite like. The energy of the work is also quite striking, though some of the textures are rather dense at times. Stylistically the language is not excessively challenging.

Schnittke’s 5th Symphony is given the dual title of Concerto Grosso No 4. It is in four movements and lasts a little under 40 minutes. The 1st movement is quite short and is somewhat neoclassical in manner, this is followed by the rather dense and terse 2nd movement, in which one occasionally feels too much is going on. The 3rd movement is the longest and is the heart of the work and extremely intense. The slow finale has the feeling of a funeral cortege which finally dissolves away. The work is challenging at times, but is worth investigating, though personally I need many more listening before I can really make my mind up about it.

Elie Siegmeister’s 8th Symphony is a three movement work of around 20 minutes duration. This is a fairly uncompromising work, the 1st moving beginning hesitantly but gradually increasing in texture and complexity. The 2nd movement continues the relative stylistic complexity but is somewhat anonymous and lacking in focus. There is better focus in the 3rd movement but this ends the Symphony in a fairly non-committal manner.

The 10th Symphony of Robert Simpson is his largest symphony, a four movement work of around 55 minutes duration. The 1st movement is taut and Beethovenian in its energy and drama. The 2nd movement is a strange subdued and wispy scherzo played piano throughout. The 3rd movement is slow though with an apparent faster section achieved by shortening of note values as in his 9th Symphony. The finale begins with a slow introduction before launching into a powerful and exciting fugal movement a real ‘tour de force’ of contrapuntal writing, urged on by two timpanists. Though not the equal of his magnificent 9th Symphony, this is a great and imposing symphony.

Lepo Sumera’s 3rd Symphony is a four movement work of around 25 minutes duration. The 1st movement is fairly static in nature but with a menacing figure in the percussion providing distinct unease. The menacing figure returns but mainly of the piano in the 2nd movement which has an element of surface calm. The 3rd movement is more ecstatic with clear minimalist influence in the bright clanging bell sounds from the percussion. The finale is the longest movement and seems gradually to lose almost all forward movement before ending in a chilled foreboding manner with piano giving the earlier percussive figure.

Finally the 4th Symphony of Thomas Wilson. Lasting a little under 30 minutes this is a bold and confident work. It was commissioned for the 500th anniversary of Paisley’s borough status. This well wrought piece keeps the listeners attention throughout and has plenty of contrast and interest. Wilson’s music is seldom heard these days which is a pity as he was a fine composer.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1989

Bolcom: Symphony No 5
Danielpour: Symphony No 3 ‘Journey without distance’
Maxwell Davies: Symphony No 4
Eliasson: Symphony No 3
Hoddinott: Symphony No 7
Hoddinott: Symphony No 8
Kernis: Symphony No 1 ‘Symphony in Waves’
Nordgren: Symphony No 2
Penderecki: Symphony No 4
Salmenhaara: Symphony No 5 ‘isle of Bliss’
R E Ward: Symphony No 6
Yannatos: Symphony No 3 ‘Prisms’

Bolcom’s 5th Symphony is a divertimento like work in four movements lasting between 20 & 25 minutes. The 1st movement alternates hesitancy and a certain bluntness, the 2nd is rather sarcastic in its mix of ‘Abide with me’, the Tristan prelude, Mahler and lighter fare and at times comes across like a drunken wake. The 3rd movement ‘Hymn of Love’ is perhaps not particularly loving, more ‘tongue in cheek’. The finale entitled ‘Machine’ is a racy and energetic movement. The work is good fun if rather slight.

Richard Danielpour’s 3rd Symphony is scored for soprano & orchestra with a brief part for chorus. The Symphony is in one continuous movement but is two parts and lasts about 30 minutes. The text is taken from Helen Schuman’s ‘A Course in Miracles’. The 1st part alternates dynamic and urgent orchestral sections with more lyrical ones for the soprano. The 2nd part is predominately lyrical and at times really quite beautiful. The language is quite tonal and not difficult and this is an appealing work which many listeners may respond to.

Peter Maxwell Davies 4th Symphony is in four movements which play without a break and lasts a little over 40 minutes. It is scored for a ‘classical’ sized orchestra. The smaller orchestral forces help to create a work that is at times more bleak than his previous symphonies, the writing being often quite austere, the argument it presents, straight. This helps to concentrate the listener’s ear on the material and structure. Certainly another impressive symphony from the composer’s pen.

Anders Eliasson’s 3rd Symphony is scored for solo saxophone and orchestra and lasts a little over 25 minutes. This is a dramatic and often expressive work the resources of the saxophone fully utilised, creating music that is in turns, tense, brooding, wistful and passionate. The work comes off well and the language is not excessively difficult, but whether this work is for you, would depend on one’s personal reaction to the solo saxophone, so important to the work its role is.

Hoddinott’s 7th Symphony is scored for organ and orchestra and is in three movements and lasts around 25 minutes. The 1st movement has a moto perpetuo like momentum and drive. The 2nd movement is deeply meditative and intense, whilst the finale is dramatic with again plenty of power and momentum. The organ is largely well integrated into the whole and the Symphony is inventive and effective.

Hoddinott’s 8th Symphony completed the same year is scored for Brass & Percussion and is in 4 movements lasting around 16 minutes. The work is well written for the medium, demanding and virtuosic, but approachable. The percussion adds typical Hoddinott colouring. The 3rd movement has a noble gravitas and the 2nd movement a virtuosic scherzo.

The 1st Symphony of the American composer Aaron J Kernis is a five movement work lasting around 40 minutes. Elements of minimalism, John Adams, jazz, romanticism and atonality rub shoulders in this rather eclectic work which has an open fresh sound. The wave motion is particularly noticeable in the 1st movement and it and the still 3rd movement are the most effective. The finale is perhaps rather too imitative of Adams music of the period.

The 2nd Symphony of Pehr Nordgren lasts a little over 30 minutes and is a stark, rather tense and gloomy work. Much of the tempi are on the slow side helping to create a dark, almost claustrophobic tension that is rarely relaxed. The language is not excessively demanding, but the composer does build up clustered textures, but it is certainly worth a listen.

Penderecki’s 4th Symphony is in one continuous movement lasting around 30 minutes. It begins in a hesitant manner before a more animated section intrudes. There follows a long slow still section with solos for Cor Anglais and Bassoon. A further animated section follows before a slow and slightly sad conclusion. Penderecki fully adopts a tonal language in this work which at times hints at Shostakovich (his 8th Symphony seems to have been at the back of Penderecki’s mind). Personally though I find the work rather lacking in inspiration, though others may get more out of this score.

Salmenhaara’s 5th Symphony is scored for soprano, baritone, chorus and orchestra. It is in four movements and lasts about 35 minutes. Stylistically it is straightforward and very approachable, occasionally even Sibelian in feeling, and sounds at times like it could have been written 70 or more years earlier. However there is an appealing freshness which in the end is actually strangely quite satisfying.

The 6th Symphony of the late Robert E Ward is scored for a rather small chamber orchestra and lasts about 20 minutes. It is straightforward and tonal and is a delightfully simple, lyrical and fresh sounding work with absolutely pretentions of depth or grandeur, just plain joyful music making.

Finally the 3rd Symphony of James Yannatos. It is scored for string orchestra and is an approachable and expressive work. Its four short movements play without a break and the work has an expansive feel that belies its short duration. It is effectively written for the medium and though slight, worth a listen.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1990

G Coates: Symphony No 7
Corigliano: Symphony No 1
Harbison: Symphony No 3
L Harrison: Symphony No 4 ‘A Last Symphony’
Lazarov: Symphony No 2
G Lloyd: Symphony No 12
D Matthews: Symphony No 4
Norgard: Symphony No 5
Norholm: Symphony No 8
Norholm: Symphony No 9 ‘The Sun Garden in three shades of light’
A Panufnik: Symphony No 10 (revised version)
Sallinen: Symphony No 6 ‘From a New Zealand Diary’
Segerstam: Symphony No 16 ‘Thoughts at the Border’
R Simpson: Symphony No 11
Yoshimatsu: Symphony No 1 ‘Kamui-chikep’

The 7th Symphony of Gloria Coates is in three movements and lasts around 27 minutes. The 1st movement is dominated by Coates’s trademark glissandi which are often used in canon. The 2nd movement is also canonic in nature assembling more complex textures. The 3rd movement makes much of converging glissandi. Though initially of some interest, Coates’s textures soon wear rather thin and she struggles to really hold the listeners attention.

The 1st Symphony of John Corigliano is a four movement work of about 40 minutes duration. Corigliano turned to the symphony quite late and was already in his early 50s. The inspiration was the loss of friends during the Aids pandemic and each of the first three movements is dedicated to a lost friend. The Symphony opens in a bluntly angry manner , this is opposed by music of poignancy and sadness and the ghostly use of an offstage piano playing an Albeniz Tango to harrowing effect. The 2nd movement, a Tarantella, is a portrait of madness and delirium that is both shocking and haunting. The 3rd movement is a Chaconne, with a theme on solo cello of great poignancy, which is assaulted by more dissonant textures. The short finale recalls the previous three movements and acts as an epilogue ending in a mood of sad remembrance. This is a deeply moving work and a real listening experience.

The 3rd Symphony of John Harbison is in five fairly short movements and lasts about 23 minutes. The movements are entitled ‘Sconsolato’, ‘Nostalgico’, ‘Militanto’, ‘Appassionato’ and ‘Esuberante’. The titles some up the mood of each movement pretty well. Harbison’s language is fairly straightforward, with a ‘bright’ open sound typical of American composers of the period and the work is quite appealing.

The 4th Symphony of Lou Harrison is in four movements and lasts about 40 minutes. In many ways this sums up Harrison’s music, and is one of a number of works of the time in which Harrison uses more conventional forces. Elements of eastern and western traditions are combined with Native American ones and Harrison’s distinctive use of a ‘tack piano’ (with nails inserted in to the hammers to create a metallic effect). The 1st movement is relaxed and gentle, the 2nd is rather entertaining and the 3rd has an element of nostalgia. In the finale Harrison calls for Baritone/Narrator who speechsings three Native American legends which is quite entertaining, though perhaps not for repeated listening.

Lazarov’s 2nd Symphony is a two movement work of a little under 20 minutes duration. It is a tense and rather unsettling work. The 1st movement opens in a somewhat tortured, dreamlike state. The 2nd movement seeks to counter the tension on the 1st movement and the work finally resolves in a chorale like episode. The Symphony feels unfinished to me and one feels that perhaps another movement would give the work greater balance.

The 12th Symphony of George Lloyd is a one movement work of around 40 minutes duration and was the composer’s final completed symphony. The Symphony is roughly in three sections, the first, and Introduction and Variations, is lighter than usual with Lloyd and is quite attractive. An adagio section follows which had a relaxed lyricism which is again appealing. With the final section Lloyd somewhat overreaches himself in aiming for something a little more grand which is a pity as the rest of the work really is enjoyable and relaxing listening.

The 4th Symphony of David Matthews is in five movements and scored for a small orchestra and lasts between 25 and 30 minutes. The 1st movement is rather pensive and hesitant with telling use of string harmonics. The 2nd movement is more racy and even has a touch of John Adams about it. The 3rd movement is an appealing, meditative and thoughtful movement, this is followed by a short and entertaining tango. The finale begins rather wistfully but picks up momentum and is occasionally slightly reminiscent of Tippett. A slight but attractive work, and fairly straightforward in language.

Per Norgard’s 5th Symphony is in one continuous movement and lasts nearly 40 minutes. Though in one movement, four sections can be defined. Norgard creates a highly individual sound world, that powerful and very striking and at times quite disturbing. The orchestral textures are very personal, with a distinct interest in arpeggiated figures. The language is fairly complex though tonal, often multiple tonal areas are used. The work is an intense and demanding listening experience but certainly worth the effort.

The 8th Symphony of Ib Norholm is in three connected movements and is of about 30 minutes duration. This is an expansive work with broader textures and a more ‘open’ expression than in his previous symphony. There is also a greater emphasis on tonality and the ebb and flow of the argument and harmonic texturing has a distinctly American feel to it, at least to my ears. The listeners interest is maintained throughout and this is well worth seeking out.

Norholm’s 9th Symphony is somewhat shorter than its predecessor, lasting around 25 minutes and is also in three movements. It has some of the expansiveness and colour of its predecessor and well as textures more akin to the 7th Symphony. The 1st movement has an expansive and generally lyrical feel to it with a certain warmth. The central movement is more disturbed, with its strange use of a rolled snare drum creating uncertainty. The final movement though is more lyrically expansive and closes the symphony is a sense of gentle ease.

Panufnik’s 10th Symphony was among his final works. It is a relatively short work in four sections which follow each other without a break. The opening section has a pleading and prayer like quality, the following section has more movement with a sense of anxiety underlying what initially seems like a calm exterior. The tension explodes in the short and punchily aggressive 3rd section, before the orchestral strings take over for the meditative final section, ending the work in a state of sad hesitancy.

Sallinen’s 6th Symphony is a four movement work of between 40 & 45 minutes duration. This is a colourful score rich in atmosphere and landscape. The opening movement is very broad and sustained in mood with this being punctuated by muted brass fanfare like ideas. The 2nd movement has plenty of colour and movement and has a floating quality that recalls John Adams. The 3rd movement is particularly worthwhile, encapsulating a range of emotions from the dreamlike, to the melancholic, to the disturbing and foreboding, a sense of time and remembrance seem to pervade this movement. The finale has much of the broad expansiveness of the 1st movement and provides a searching but ultimately positive conclusion. This work is quite approachable and with its vivid landscape painting is well worth a listen.

Leif Segerstam’s 16th Symphony seem to rely on the techniques familiar from the earlier symphonies, and is like them in one movement, however this work is much bigger and lasts around 53 minutes. The piano and percussion play a prominent role and the composer creates a fascinating textural sound world, that occasionally brings to mind Ives. However, whether Segerstam is ultimately able to justify the Symphony’s length is open to question and for me there aren’t enough reference points to clearly feel the works progression and direction and one tends to feel a certain sameness of sound after a while.

Robert Simpson’s 11th Symphony was among the last works he managed to complete before his crippling stroke which marred his final years. This work uses a ‘classical’ orchestra but with four horns and is in two movements and lasts a little under 30 minutes. The 1st movement is beautifully poised and balanced, beginning in expansive lyricism before becoming more complex. The 2nd movement is a kind of blend of scherzo and finale and impressively maintains its momentum for a full 15 minutes aided by Simpson’s awe inspiring compositional technique. A fine and fitting conclusion to a great symphonic cycle.

The 1st Symphony of Takashi Yoshimatsu is a five movement work of around 45 minutes duration. This is a colourfully orchestrated score blending a neo-romantic, minimalist and cinematic elements to create a sound world very typical of the time. The 1st movement begins on the basses and has quiet slightly jazzy underlying pulse, that just seems to hint at Arnold. The movement builds to a climax before ending back with the basses. The 2nd movement has a floating relaxed quality whilst the 3rd movement bursts forth with a distinctly urban American energy. The 4th movement is gently meditative and the finale has a certain expansive cinematic quality with a perhaps over inflated confidence. Still the orchestral colours make this work appealing even if the ideas themselves are not particularly individual.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1991

Diamond: Symphony No 11 – Adagio only
Foss: Symphony No 3 ‘Symphony of Sorrows’
J Gallagher: Symphony in One Movement (revised version)
Kinsella: Symphony No 4
Mathias: Symphony No 3
Segerstam: Symphony No 17 ‘Thoughts before 1992’
Ustvolskaya: Symphony No 5 ‘Amen’
Vasks: Symphony No 1 ‘Voices’

For some inexplicable reason only the 3rd movement of Diamond’s 11th Symphony has been recorded. This is a beautifully poised and lyrically expressive movement of Brucknerian grandeur. Diamond completed his 11th Symphony before the 10th (at which he worked sporadically for a number of years) and from the nobility of this movement, it utterly unbelievable that the whole Symphony has yet to be recorded.

The 3rd Symphony of Lukas Foss is in four movements and lasts a little over 30 minutes. The 1st movement contrasts long expressive lines with sharply rhythmic elements which punctuate the movement. The 2nd movement is claustrophobic and rather uncomfortable and slightly blues like. The sense of claustrophobia is also present in the strangely cryptic and static 3rd movement which is very austere. The final movement is broad and more openly expansive in a more recognisably American manner.

Jack Gallagher’s Symphony in One Movement lasts a little over 20 minutes. The work contrasts sparse and rather lonely sounds against more assertive and swift moving ones. The Symphony is colourfully orchestrated and the language not excessively difficult. The work though is rather anonymous and lacks distinct originality of style.

John Kinsella’s 4th Symphony is an expansive work of around 45 minutes duration. The Symphony is very much a work of nature and landscape with occasionally Sibelian textures. The language is quite straightforward and there is some dramatic writing, though one feels that the underlying emotion is only surface deep. The sound world is similar to his first two symphonies and whilst it has an initial impact, it doesn’t wear to well with more repeated hearings.

The 3rd Symphony of William Mathias was among his final works before his early death the following year. The Symphony is in three movements and lasts a little over 30 minutes. The 1st movement is anxious and uneasy, the central movement is one of sad intensity and great expression, with a haunting nocturnal quality full of memory and remains in ones memory. The finale begins in a brighter more optimistic world, but a central section allows darker emotions to resurface and the symphony ends in a mood of anxious defiance. This is a very moving and powerful symphony and is thoroughly recommendable.

Leif Segerstam’s 17th Symphony is in the composer’s usual extended one movement form. Though not as long as its predecessor, the work still lasts around 42 minutes. Percussion is again to the fore and is used to create some interesting texture. A sort of three sectioned structure can be heard with a more turbulent 1st section, a ghostly mysterious central section and a final sections that combines both. Segerstam just about succeeds in keeping control, though here and there one tends to lose concentration.

Ustvolskaya’s 5th Symphony is a one movement work of around 13 minutes duration. Like nos 3 & 4 it is sparsely scored, in this case for just violin, oboe, trumpet, tuba and percussion with a narrator who intones The Lord’s Prayer. The music is extremely sparse and claustrophobic and extremely intense, the violin being restricted to just three notes and the composer just about pulls it off, though any longer and restricted sound world would have started to wear thin and monotony is only just avoided.

Finally Peteris Vasks 1st Symphony, which is in three continuous movements and scored for strings alone, lasting a little over 30 minutes. The Symphony is rich in atmosphere and sonority and the sound world Vasks creates is strangely satisfying. The tempi are mainly on the broad side and the ghost of Sibelius can be sensed in the central movement. The language is approachable enough and the work has passages of haunting and moving expressivity.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1992

J Adams: Chamber Symphony
Balada: Symphony No 4 ‘Lausanne’
Blackwood: Symphony No 5
Broadstock: Symphony No 3 ‘Voices from the Fire’
P Glass: Symphony No 1 ‘Low Symphony’
Golovin: Symphony No 3
Hoddinott: Symphony No 9 ‘Visions of Eternity’
Hovhaness: Symphony No 66 ‘Hymn to Glacier Peak’
D Jones: Symphony No 13 ‘Symphony in Memoriam John Fussell’
Kernis: Symphony No 2
Koch: Symphony No 6 ‘Salve la Terra’
J Krenz: Symphony No 2 (Quasi una fantasia)
F Parac: Symphony No 2
Penderecki: Symphony No 5
Rautavaara: Symphony No 6 ‘Vincentiana’
Schnittke: Symphony No 6
Sumera: Symphony No 4 ‘Serena Borelis’
Yoshimatsu: Symphony No 2 ‘at Terra’
Zwilich: Symphony No 3

John Adams’s Chamber Symphony is a three movement work of about 22 minutes duration. Adams has by this time absorbed the obvious minimalist elements of his earlier worked and evolved a more extrovert and eclectic style. The Chamber Symphony is certainly an extrovert and entertaining work. The 1st movement ‘Mongrel Airs’ has touches of Stravinsky and Jazz. The 2nd movement ‘Aria with walking bass’ combined an expressive rather American melodic idea with a walking bass and more disruptive elements that give the movement an occasionally Ivesian touch. The finale ‘Roadrunner’ is mad-cap cartoon music and great fun.

Balada’s 4th Symphony is a one movement work of about 18 minutes duration. The title ‘Lausanne’ comes from the Lausanne Chamber Orchestra who commissioned the work and Swiss folk elements are woven into the score against more contemporary elements. The Symphony is at times rather severe, but gradually gains momentum with the 2nd half having a distinctly Latin feeling to add to the Swiss elements.

The 5th Symphony of Easley Blackwood is a three movement work of around 25 minutes duration. After the tough and uncompromising 2nd & 4th symphonies the 5th comes as quite a shock, as it is tonal and straightforward even romantic leaning. The outer movements are quite slight, but the central movement has a certain expressive gravitas that is quite satisfying.

Australian composer Brenton Broadstock’s 3rd Symphony is scored for soprano & orchestra and is in two movements with a total duration of around 20 minutes. Broadstock’s work takes the plight of the Jews at the hands of the Nazis and the native Aborigines of Australia at the hands of the white man as its inspiration. It is a dark and grittly honest work often powerfully absorbing with sustained intensity and shows a composer of some ability who clearly has something relevant to say.

Glass’s 1st Symphony is a three movement work of between 40 & 45 minutes duration. Its takes as its starting point the ‘Low’ album of David Bowie and Brian Eno. The score has plenty of recognisable Glass mannerisms, and the score is relaxed and fairly gentle and hypnotic. The expansive opening is actually very expressive and appealing although Glass struggles to maintain this.

The 3rd Symphony of Andrei Golovin is in one continuous movement and lasts around 25 minutes. The tempi are predominately on the slow side and the style is very tonal and often somewhat romantic occasionally reminding one of Howard Hanson. However as a whole I feel the work has little substance, direction or memorable ideas.

Alun Hoddinott’s 9th Symphony is scored for soprano & orchestra and lasts a little over 30 minutes. It is an expansive score of sometimes searching intensity, the soprano part being both questioning, searching and lyrically impassioned. The work has great fluidity aided by the composer’s rich and colourfully expansive orchestration. The Symphony reaches a luminous climax before opening out towards enternity.

The 66th Symphony of Alan Hovhaness was his penultimate symphony. It is a three movement work lasting a little under 20 minutes. Typical of the composer’s later symphonies in its modality and gentle but is very slight.

Daniel Jones’s 13th Symphony was among his last works. It is a four movement work of between 25 & 30 minutes duration. It is an approachable work full of nobility and clarity of purpose. The familiar Jones stylistic fingerprints are there and we have his final rhythmic scherzo, again one wishes this movement was longer and final expressive and deeply satisfying slow movement. Basically this work is a summing up of Jones’s later style and a satisfying conclusion to Jones’s symphonic canon.

The 2nd Symphony of the American Aaron J Kernis is a three movement work over a little over 25 minutes duration. It was written in response to the recent Gulf War and is an imposing and dramatic work. The 1st movement is urgent and anxious with a determination in its energy. The central movement is a poised, expressive and expansive. The 3rd movement is grim and tough with great intensity of expression and ends the work on a note of brutality. This certainly worth a listen, the language is not excessively difficult, but has a biting edge to it.

Erland von Koch’s 6th Symphony lasts about 17 minutes and encompasses a wide range of emotions in a fairly short span. The language is quite straightforward and stylistically the work is somewhat eclectic and maybe has too much going on in its short span so that it loses focus.

The 2nd Symphony of the Polish conductor and composer Jan Krenz is a one movement work of around 30 minutes duration. The work is stark and austere throughout and has a sense of unrelieved tension. The language is brittle and hard edged and the composer is out to make a serious statement. The ear though craves for contrast as the textures have a certain sameness throughout, which despite the work’s power, create the sense of a lack of focussed direction in the work.

The 2nd Symphony of the Croatian composer Frano Parac is a short 17 minute work. It is eclectic in style and tonal, but lacks any sort of individuality or really memorable ideas.

Penderecki’s 5th Symphony is a single movement work of between 35 & 40 minutes duration. The work thrives on contrast, the slower somewhat hesitant sections are contrasted with athletic and powerfully dynamic quicker sections. This has an effect of creating great tension as well as bitter irony in a slightly Shostakovich like way. The language is not excessively difficult but has a hard biting edge to it, especially in the more dramatic sections emphasising the charged emotions of the work.

The inspiration for Rautavaara’s 6th Symphony was his opera Vincent, completed five years earlier and based on the life of Vincent van Gogh. The symphony’s material is derived from the opera and the resultant work is a four movement structure lasting around 42 minutes. The work has an important part for a synthesizer which is used to create ‘unearthly’ sounds to contrast and compliment the orchestral texture. The resulting work is certainly very dramatic and expressive. The 1st movement ‘Starry Night’ is by far the longest and is almost half of the work’s length. Like other symphonies derived from operas the work isn’t perhaps particularly symphonic in the traditional sense, however it still presents a drama in its own right.

Schnittke’s 6th Symphony plays continuously and lasts around 35 minutes. It is a dark humourless and grittily tough score. There is much of unison and block harmony and the symphony has a heavy reliance on the vertical rather than the horizontal. This increases the bluntness and severe nature of the score and work is quite an unrelieved and tough listening experience. How successful the work is, is a matter of personal preference and many listeners will be attracted to the abrupt drama of the work, while others may find the work somewhat claustrophobic.

Sumera’s 4th Symphony is a five movement work of about 25 minutes duration. The 1st movement is turbulent and energetic, the 2nd is ghostly and rather static with a gentle percussive beat underneath, this leads without of tempo into the 3rd movement which is basically a gentle cadenza for electric guitar and percussion, but which seems at odds with the rest of the work. The 4th movement is violent and aggressive before the eerie finale with its ghostly echoes of Sibelius’s Swan of Tuonela. A bit of a mixed bag then this work, the language though is not particularly demanding.

Yoshimatsu’s 2nd Symphony is a three movement work of around 32 minutes duration. The 1st movement ‘Dirge from the East’ is mainly of a meditative quality though this builds to a quicker conclusion. The 2nd movement ‘Requiem for the West’ has a gentle intensity and wistful, sad expression. The 3rd movement ‘Canticle from the South’ is built over an African style percussion led rhythmic ostinato and repeats in gradual crescendo a theme above it, and comes across as a sort of Bolero meets Steve Reich. Language wise the work is straightforward.

Finally Ellen Zwilich’s 3rd Symphony, which was composed for the New York Philharmonic’s Anniversary. It is a three movement work lasting a little under 20 minutes. The 1st movement is broad and searching in expressive manner. The central movement is quick and rhythmically athletic and this leads without a break into the very expressive and intense finale. The work is expertly written and orchestrated with prominence given to the violas in a number of passages. Overall though the work is short of really memorable ideas.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1993

Aho: Symphony No 8
Bedard: Symphony No 1
Bourgeois: Symphony No 6 ‘Cotswold Symphony’ 1988/92
Kinsella: Symphony No 6
Lutoslawski: Symphony No 4
Nordgren: Symphony No 3
Schnittke: Symphony No 7
Segerstam: Symphony No 18 in one thought ‘A Dream’

Kalevi Aho’s 8th Symphony is a 50 minutes long work in one continuous movement but divided into 8 sections. An Introduction and Epilogue surrounding a series of three scherzos each followed by an interlude. The three interludes have prominent organ parts and they are generally calm oasis after the arguments of each of the scherzo. The Symphony seems to hold together well and there is enough contrast in the scherzi to prevent any feeling of monotony. The Symphony concludes with a peaceful epilogue.

The 1st Symphony of the Canadian born Pierre Bedard is about 20 minutes long and is a fluid and dynamic work, powerfully wrought and of some intensity. The work makes quite an impact, its musical language is quite free but somewhat anonymous. Still the work has some degree of inevitability and is worth hearing.

Derek Bougeois 6th Symphony is a straightforward tonal work lasting around 25 minutes. It is pleasant and amiable enough without being of much distinction.

The 6th Symphony of John Kinsella, follows the same sort of stylistic path as his 1st, 2nd & 4th Symphonies. Basically romantic even cinematic, with a Sibelian like drama and atmosphere. As mentioned previously fans of George Lloyd may respond to Kinsella’s music as in some ways it follows a similar romantic sweep. The symphony for all its nature-like portrayal is rather unmemorable sadly.

The 4th Symphony was among Lutoslawski’s final works. It is in one movement lasting a little over 20 minutes. Like many of his other works it has a sort of three part structure with an introductionary/preparation like section, then a main section, and a summing up/conclusion. The opening section is actually quite lyrical and this contrasts with a more animated figuration. The main section has plenty of imaginative nervous urgency, but like the whole work is more subdued in nature when compared with his 3rd Symphony. The work concludes in a mood of relative calm. There is a feeling of closure in this Symphony and those who find his 3rd Symphony too challenging may find this work more appealing.

Pehr Nordgren’s 3rd Symphony is a six movement work lasting a little over 30 minutes. This Symphony is dramatic and serious stuff and with the exception of the 5th movement ‘defiance’ in slow tempi adding to an almost granitic quality. The 2nd and 4th movements are for piano alone and the piano seems to ruminate on what has just taken place in the previous movement. The work is scored for a large orchestra and the orchestration is somewhat on the dense side at time, almost too so, which aids to the tough, unmovable sense of the music. Certainly worth investigating, showing the diversity of styles that Scandinavian composer had adopted in the late 20th century.

Schnittke’s 7th Symphony is relatively brief, lasting only around 22 minutes. It is a strange score that keeps its secrets to itself. In many ways this work is a continuation from its predecessor, the same considerable use of sparse textures and unison writing with a lack of real polyphonic movement. Compared with the 6th Symphony though, this work is more subdued, the tension creating a feeling of resignation rather than defiance. The works relatively brevity is an asset and helps to concentrate the listeners mind.

Finally Leif Segerstam’s 18th Symphony. This Symphony, is as usual with Segerstam, in one movement, though shorter than some of its predecessor, being of around 22 minutes duration. The Symphony uses Segerstam’s now familiar techniques which percussion to the fore. The work is more turbulent and searching than its immediate predecessors. The work though struggles to maintain the listeners attention, and one feels that one has encountered some of these textures before in earlier works.

[Suffolkcoastal]

More from the journey through my symphonic collection:

1994

S Albert: Symphony No 2 (left incomplete 1992, completed Sebastian Currier)
Aho: Symphony No 9
Arnell: Symphony No 6 ‘The Anvil’
Maxwell Davies: Symphony No 5
Diamond: Symphony No 10 (final 2000 version)
P Glass: Symphony No 2 in C minor
Henze: Symphony No 8
Holmboe: Symphony No 13
McCabe: Symphony No 4 ‘Of time and the river’
Meale: Symphony No 1
Raichev: Symphony No 6 ‘Liturgical’
Rouse: Symphony No 2
Schnittke: Symphony No 8
Tischenko: Symphony No 7
Wernick: Symphony No 2

Stephen Albert’s 2nd Symphony was left incomplete following his tragic early death aged 51 in a car accident in 1992. It was complete in draft and some orchestration was indicated and Sebastian Currier completed and edited the work. It is in three movements lasting around 30 minutes. It is an expansive and moving score. The outer movements are expansive, the finale having an almost Mahlerian coda and the central movement is full of life. The score is quite approachable and well worth a listen.

Kalevi Aho’s 9th Symphony is really a Sinfonia Concertante for trombone and orchestra. The work is in three movements and lasts a little over 30 minutes. The trombone’s important solo role is quite taxing and in the amusing 1st movement a sackbut is used as the music amusingly mimics the pre-Baroque manner. This eclectic score is not the most tightly organised piece, but it is very entertaining and in the central movement lyrically expansive.

Arnell’s 6th Symphony comes after a 35 year gap from its predecessor. It is a short work lasting under 15 minutes and is in 4 sections. Its title comes from the use of a struck anvil at various points in the score. The language is very much of the composer of 30 years earlier, though there is sometimes a little more bite to the harmonies. One feels though that it is a little short and there should be more to follow.

Peter Maxwell Davies 5th Symphony is in one continuous movement lasting around 25 minutes and in duration is much shorter than the symphonies that surround it. The shorter duration is misleading as much is packed in to this work. Some of the material is derived from an earlier work Chat Moss and modality and plainchant play a key role, as does the ghost of Sibelius’s 7th. This is a dark work that proceeds in waves of great drama and power combined with moments of eerie stillness and loneliness. The work is quite striking in its impact and focus and real concentrates the listener.

The 10th Symphony of David Diamond is a large scale four movement work of around 50 minutes duration. The first movement is full of a continuous contrapuntal web that keeps the music moving. The 2nd movement is the largest and is a noble, eloquently expressive movement. The scherzo is relatively short with a touch of humour and plenty of scurrying energy. The finale is fairly broad and has an important part for organ. It is perhaps a little less focused than the other movements and has tender to wander somewhat. Still this is a fine work on a grand scale.

Glass’s 2nd Symphony is a 3 movement work of around 45 minutes duration. The work employs all the standard Glass techniques and mannerisms. Glass struggles to maintain interest of this large timespan and the result is an awkward patchwork that doesn’t add up to much. Also there is a lack of any really interesting or memorable material.

Henze’s 8th Symphony is a three movement work of a little over 25 minutes duration. The inspiration comes from A Midsummer Nights Dream. The score is transparent and quite light in texture and is quite captivating. The central movement in particular has a fascinating interplay of textures and the finale is a movement of captivating transparency. This is certainly worth listening to, even for those who don’t normally respond to Henze’s music.

Holmboe’s 13th and final Symphony is a three movement work of a little under 20 minutes duration. The 1st movement has an almost strident urgent momentum that propels the music forward. The 2nd movement begins more expansively but soon gains momentum and stops abruptly. The finale has plenty of forward movement but is also broader and expands towards the end leaving just a solo flute. A fine piece of craftsmanship, and a fitting conclusion to one of the more important 20th century symphonic cycles.

John McCabe’s 4th Symphony is in two movements and lasts a little over 30 minutes. The 1st movement begins quickly but gradually slows down, whilst the 2nd movement does the opposite. Each movement also moves through the cycle of 5ths, the first from D major to A flat minor and the 2nd from A flat minor back to D major. The opening is very Brittenesque and the score as a whole is very interesting and absorbing.

The 1st Symphony of the Australian composer Richard Meale is a one movement work of about 25 minutes duration. The score is neo-romantic in tone, almost cinematic at times and eclectic. The work is full of big seeping textures which have quite a vivid impact. Everything is derived from the opening, however there isn’t the real sense of inevitability you get from the finest symphonists and generally the work lacks some focus and direction.

Raichev’s 6th Symphony lasts about 30 minutes and is a rich and expansive score with plenty of atmosphere. The language is quite straightforward and the orchestration sometimes quite colourful, however though the atmosphere it creates stays with the listener the thematic content doesn’t. There is also one miscalculation towards the end when a wordless soprano is introduces who literally wails glissandi and the effect is horrible.

The 2nd Symphony of Christopher Rouse is a three movement work of a little over 25 minutes duration. The 1st movement has a nervous, anxious and anticipatory momentum that is somewhat unsettling. The 2nd movement, a memorial to the composer Stephen Albert is an expansive movement of real power that reaches a dramatic and dissonant climax. The finale is intense and full of momentum, but this time it leads to brutal violence as the work reaches a shattering conclusion.

Schnittke’s 8th Symphony lasts around 35 minutes and in many ways follows on from his 6th and 7th symphonies. Like these works the 8th is generally rather sparse texturally and horizontal movement of parts is kept to a minimum. The thematic lines here though are more expressive with an arching expansiveness. Harmonically the work is often quite dissonant with great clusters of sound being built and then diluted creating great unease and tension.

Boris Tischenko’s 7th Symphony is a five movement work of around 50 minutes duration. This is a difficult work to grasp overall and is rather enigmatic, encompassing as it does a considerable range of moods. The 1st movement has an odd nonchalant quality and a dance like freedom and the 2nd movement takes this dance like pulse to greater extent making much use of the ‘cakewalk’ rhythm. The third and fourth movement seem to go much deeper and are slightly Shostakovich like and very Russian in their brooding searching quality. The finale has plenty of wit, playfulness and dark sarcasm creating a mood that, like the whole work, is difficult to pin down. Certainly worth a listen though.

Finally the American Richard Wernick’s 2nd Symphony. Lasting a little over 20 minutes this work is scored for soprano and orchestra. It is a rather sombre score, with sparse textures and fragmented ideas. The work seems to lack real focus and is in no way memorable.