Symphony No.4 "Tansman Episodes" - Henryk Górecki
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- čas přidán 3. 07. 2024
- London Philharmonic Orchestra conducted by Andrey Boreyko.
I - Deciso, marcatissimo ma ben tenuto (♩ = 80-4) - (attacca): 0:00
II - Largo ben tenuto (♩ = 54-6) - Marcatissimo (♩ = 84) - Largo ben tenuto (♩ = 54-6) - Marcatissimo (♩ = 84) - Largo ben tenuto (♩ = 54-6) - Marcatissimo (♩ = 84) - Largo ben tenuto (♩ = 54-6) - Più largo, cantabile (♩ = 44-6) - Poco mosso (♩ = 69-72) - Più lento - Molto largo (♩ = 50-2) - (attacca): 4:46
III - Deciso marcatissimo (♩ = 72-6 / ♪ = 144-52) - Tranquillo e cantabile (♩ = c66 / ♪ = c132) - A tempo, energico - Tranquillo - Pochissimo più lento - Tranquillo cantabile - Molto espressivo, molto marcato ma ben tenuto (♩ = c84-8) - Poco tranquillo (♩ = c76) -Più lento, cantabile (♩ = 66-9) - Molto lento - Deciso marcato (♩ = 104-8) - Deciso, marcatissimo, energico - (attacca): 13:42
IV - Allegro marcato (♩ = 144) - Giocoso - Marcato (♩ = 141) - Maestoso ma deciso (♩ = 80-4) Largo deciso - (♩ = 80) - Deciso, marcatissimo ma ben tenuto - Molto lento, molto largo, cantabile - Deciso, marcatissimo ma ben tenuto: 25:25
Górecki's Symphony No.4 was "finished" in 2006, being commissioned by the London Philharmonic Orchestra. It was left written in a piano short score with indications for the orchestration. The composer died on November 12 of 2010, and his son Mikołaj (also a composer) orchestrated the piece. It was premiered in London on 2014, performed by the London Philharmonic Orchestra conducted by Andrey Boreyko.
The work's subtitle reveals its source of inspiration, although it is not quite apparent. The symphony was the result of several years of cajoling by Andrzej Wendland, who initiated a festival in Tansman’s name in Łódź, where Tansman was born. Wendland sowed the idea for a new work in Górecki’s mind, which although he had asked Wendland for a range of materials by and about Tansman, in the end he decided to write a work apparently not influenced by his compatriot, with one important exception: In a number of previous works, Górecki had included the names of dedicatees in the fabric of the music.
In the symphony, he derived the following musical cipher from Tansman (Górecki used the Polish original of the forename): A-La (A)-E-S (E flat)-A-D-E-Re (D) … uT (C)-A-S (E flat)- Mi (E)-A. Thus the name serves as the recurrent theme of the work. There are four movements, played without a break and with internal subdivisions, usually indicated by changes in tempo or instrumentation. This approach is developed in part from Górecki’s chamber music of the 1980s and 90s. The scoring is for large orchestra with piano and organ.
The first movement opens with the Tansman theme presented through imposing fortisisimo chords on bass drums blows. The dissonance increase as piano and organ enter. After four minutes the assault suddenly stops, as the theme is whispered in piano and glockenspiel. However, clashing chords end the movement violently, taking us to the next part.
The second movement begins with a chorale theme on cellos and basses, interrupted several times by dissonant and gritty chords. A second melodic theme is played by a pair of clarinets, which turns out to be the theme from the final movement of Szymanowski’s Stabat mater, one of Górecki’s favourite pieces. It is answered by whole-tone chords on piano, glockenspiel and tubular bells. An enigmatic third theme follows on second violins and violas, which extends in a haunting passage. The chorale theme reappears followed by the whole-tone chords responses. A final reminiscence of the second theme by the clarinets lead us to the second part.
The third movement opens with jagged Stravinskian rhythms and a jaunty tune in the brass, a variation of the Tansman theme resembling a circus march. Suddenly, the entire orchestra drops out, leaving only a trio of instruments. A gentle see-saw figure in the piano supports the repetition, for nearly nine minutes, of a simplistic yet uneasy tune for violin and cello, with a piccolo joining later. The rambunctious march returns to cap the movement with a few Haydenesque false endings with a touch of wit tempered by anxiety.
The fourth movement begins with the energetic Tansman theme, followed by references to several pieces; Górecki's own Concerto-Cantatam, Adam's Chairman Dances or Wagner's Ring cycle. After a recapitulation of the opening, the Tansman theme with a varied orchestration, giving way to an expressive piano solo. The final minutes return to the thunderous Tansman theme, now leading to even louder spasms of organ, brass and percussion. A sudden oasis of calm in warm, low strings is shattered with more blows, culminating in an extraordinary conclusion.
Pictures: Photographs of Alexandre Tansman in 1932 (left) and 1957 (right)
Sources: bit.ly/41aBT4J and bit.ly/41aBT4J
To check the score: bit.ly/3Kzu6I5 - Hudba
I was at the Royal Festival Hall for the premiere of this symphony.
Great symphony that also works as a synthesis of key elements from all his compositional career.
Muchas Gracias por compartir y dar a conocer esta sinfonia.
Thanks for posting this; an extraordinary symphony.
Proud to be polish
I just discovered this composer/ composition. Nice.
Google say jt productions
" She dances in the Wind " 1977 or
"Zappa Beefheart "
2009. thanks
my compositions.
Henryk Górecki:4.Szimfónia ,,Tansman epizódok" Op.85
1. Deciso - Marcatissimo ma ben tenuto 00:00
2. Largo ben tenuto 04:46
3. Deciso - Marcatissimo - Tranquillo e cantabile 13:42
4. Allegro marcato - Giocoso - Deciso - Marcatissimo ma ben tenuto 25:25
Londoni Filharmonikus Zenekar
Vezényel:Andrej Borejko
Muchas Gracias.
This is Awful ...No Melody .. just Noise ... just my opinion 😅😂
No
There is absolutely melody in this (see the repeated motif during the entirety of the first movement). "Melody I don't like" is not the same as "no melody."
Awful.
Agree 💯...
No