Havergal Brian: Symphony No. 1 "Gothic"

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Product Details

  • Release Date: 6/15/2004
  • Label: Naxos
  • UPC: 747313241828
  • Catalog Number: 8557418-19
  • Sales rank: 118,295

Tracks

Disc 1
  1. 1 Part 1. I - Allegro assai (1:01)
  2. 2 Part 1. I - Allegro assai (4:27)
  3. 3 Part 1. I - Allegro assai (3:32)
  4. 4 Part 1. I - Allegro assai (4:44)
  5. 5 Part 1. II - Lento espressivo e solenne (6:09)
  6. 6 Part 1. II - Lento espressivo e solenne (2:52)
  7. 7 Part 1. II - Lento espressivo e solenne (3:24)
  8. 8 Part 1. III - Vivace (1:52)
  9. 9 Part 1. III - Vivace (2:35)
  10. 10 Part 1. III - Vivace (3:23)
  11. 11 Part 1. III - Vivace (1:39)
  12. 12 Part 1. III - Vivace (1:12)
  13. 13 Part 1. III - Vivace (1:01)
  14. 14 Part 1. III - Vivace (1:14)
  15. 15 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (1:29)
  16. 16 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (1:08)
  17. 17 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (1:40)
  18. 18 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (2:04)
  19. 19 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (0:55)
  20. 20 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (2:53)
  21. 21 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (1:28)
  22. 22 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (0:26)
  23. 23 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (2:05)
  24. 24 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (2:54)
  25. 25 Part 2. Te Deum. IV - Te Deum laudamus: Allegro moderato (2:51)
Disc 2
  1. 1 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (5:44)
  2. 2 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (1:03)
  3. 3 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (2:20)
  4. 4 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (1:55)
  5. 5 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (1:43)
  6. 6 Part 2. Te Deum. V - Judex: Adagio molto solenne e religioso (3:01)
  7. 7 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (5:49)
  8. 8 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (1:29)
  9. 9 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (3:27)
  10. 10 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (2:54)
  11. 11 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (1:14)
  12. 12 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (2:00)
  13. 13 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (0:48)
  14. 14 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (1:58)
  15. 15 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (4:11)
  16. 16 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (5:30)
  17. 17 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (2:14)
  18. 18 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (1:51)
  19. 19 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (0:52)
  20. 20 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (1:26)
  21. 21 Part 2. Te Deum. VI - Te ergo quaesumus: Moderato e molto sostenuto [Pa (0:38)
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Album Credits

Performance Credits
Ondrej Lenard Primary Artist
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Study of the work will reap great reward

    The work is not as wild and weird as some have. It is very diatonically based, starting in D minor and progressing logically to E major by the end, when the chorus alone offers up the final Latin prayer for creative power to continue. Brian's symphony is not the first to end in a different key, and many other more established composers (Mahler for one) have done so, and at this point in the history of music a symphony does not have to end in the same key it began in. It is true that to the uneducated listener the work might be somewhat confusing on the first hearing, but one must remember that so would many other lengthy works that are still considered "classics." One should not base judgment of a work with one listening. Knowledge comes from repeated evaluation, not whimsical first impressions. “The Gothic” does not wield that much bombastic rhetoric. It does have some moments when the entire forces are used, but this is only a few times in the span of the approximate two hours. There are many times when the music is soft, and tranquil. Banality is sometimes necessary to a composer, much like it is with Mahler. You take the tranquil along with the banal…Mahler is creating a world. Brian, in a sense, is creating his own world of events too within his symphonies, and it might require banality at times, but not all the time! I don’t believe that music can mutter and babble. I heard no such thing on the recording. Last time I checked, even the most uninspired music cannot mutter and burble. Music is an organization of sound progressions, whether they are good or bad. The symphony is vast, but not incomprehensible. The score (unfortunately $125) will reveal that there is a great deal of thematic relation throughout the entire symphony. An example of this is the opening theme’s d-f-d-a-f-d rising and falling theme and its relation to the primary theme of the double fugue in the last movement (e-g-e-b-g etc.). Intervallically and rhythmically they are both similar. It doesn’t just end with that. There is a wealth of musical logic progressing through this symphony. I personally did not realize it the first time I heard the piece, but I have since listened anew each time with amazement at the concise formal logic of the symphony. It is long, but not as unendurable as some say. Any random concert you attend is likely to have an intermission. I see nothing wrong with stopping the CD and taking a break between the 1st and 2nd half of the work. If you live in the states, I wager you will not be hearing a performance of this symphony in concert any time soon. Despite the fact that Leonard Bernstein wanted to do an American premiere, we will be waiting indefinitely it seems. I suppose that great art must sometimes suffer in neglect when money seems to be too much of an issue. Don’t base your entire knowledge of a piece of music from the notes that came with the CD. I get the feeling that too many draw their knowledge in this way. That’s not the “be-all end-all lickety-split” guarantee to understanding a piece of music. If you are planning on buying and listening to this work I recommend you take the educated path, and get inside the work a little bit more. For more accurate info about "The Gothic" and what it is about, search for the HB Society website. This is a masterpiece of early 20th century music, not flawless, but all music, just as life, has flaws. Mozart, Beethoven, Brahms, Wagner, Debussy, Schoenberg, Messiaen, Cage, Adams, and the like all have their share of “ho-hum what have we here” moments. We accept these along with the rest of the masterful moments they created! Brian really belongs in the category of master. But time moves slowly. Bach was confusing to many of his generation, and was out of performance until Mendelssohn revived him in the 1800’s. Perhaps someday someone wh

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