词条 | A London Symphony | ||||||||||||||||||||||||||||
释义 |
A London Symphony is the second symphony composed by Ralph Vaughan Williams. The work is sometimes referred to as the Symphony No. 2, though it was not designated as such by the composer. First performed in 1914, the four-movement symphony was lost, reconstructed and later modified by Vaughan Williams. InstrumentationThe work is scored for:
StructureVaughan Williams said that while the title may suggest a programmatic piece (and the work includes sounds heard in London such as the Westminster Quarters), it was intended to be heard as absolute music. In a programme note in 1920, he suggested that Symphony by a Londoner might be a better title.[1] However, he allowed the conductor Albert Coates to provide elaborate descriptions for the 1920 performance. The symphony is in four movements.
The symphony opens quietly, and after a few nocturnal bars, the Westminster chimes are heard, played on the harp.[2]
The movement opens with muted strings playing ppp.[1] Vaughan Williams said that the slow movement is intended to evoke "Bloomsbury Square on a November afternoon".[3]
In the composer's words, "If the listener will imagine himself standing on Westminster Embankment at night, surrounded by the distant sounds of The Strand, with its great hotels on one side and the "New Cut" on the other, with its crowded streets and flaring lights, it may serve as a mood in which to listen to this movement."[3] In the definitive score, the movement revolves around two scherzo themes, the first marked fugato and the second straightforward and lively.
The finale opens on a grave march theme, punctuated with a lighter allegro section, with full orchestra initially forte and appassionato.[1] After the reappearance of the march, the main allegro theme of the first movement returns. Following this, the Westminster Chimes strike again, this time the harp plays the first three-quarters of the hour chimes,[1] and there is a quiet Epilogue, inspired by the last chapter of H.G. Wells's novel Tono-Bungay:[3] The last great movement in the London Symphony in which the true scheme of the old order is altogether dwarfed and swallowed up ... Light after light goes down. England and the Kingdom, Britain and the Empire, the old prides and the old devotions, glide abeam, astern, sink down upon the horizon, pass – pass. The river passes – London passes, England passes.[4] History and versionsThe symphony was composed from 1912 to 1913. It is dedicated to Vaughan Williams's friend and fellow composer George Butterworth (1885–1916) who was subsequently killed by a sniper on the Somme during World War I.[14] It was Butterworth who had first encouraged Vaughan Williams to write a purely orchestral symphony.[5] Vaughan Williams recorded that: We were talking together one day when he said in his gruff, abrupt manner: 'You know, you ought to write a symphony'. I answered... that I'd never written a symphony and never intended to... I suppose Butterworth's words stung me and, anyhow, I looked out some sketches I had made for... a symphonic poem about London and decided to throw it into symphonic form... From that moment, the idea of a symphony dominated my mind. I showed the sketches to George bit by bit as they were finished, and it was then that I realised that he possessed in common with very few composers a wonderful power of criticism of other men's work and insight into their ideas and motives. I can never feel too grateful to him for all he did for me over this work and his help did not stop short at criticism.[6] The work was first performed on 27 March 1914 at Queen's Hall,[7] conducted by Geoffrey Toye.[8] The performance was a success, but shortly afterwards the composer sent the score to the conductor Fritz Busch in Germany, and it disappeared in the upheaval of the outbreak of World War I.[9] The second performance was given in Harrogate on 12 August by the Harrogate Municipal Orchestra under Julian Clifford.[10] There was a short score,[11] which had been prepared by Bevis Ellis, Francis Toye and George Butterworth, so it is possible that version was used instead. The composer, aided by Geoffrey Toye, Butterworth and the critic E. J. Dent, reconstructed the score from the orchestral parts, and the reconstruction was performed on 11 February 1915 by the Bournemouth Municipal Orchestra under Dan Godfrey.[5] The symphony went through several revisions before reaching its final form. Vaughan Williams revised it for a performance in March 1918, and again in 1919–20. This second revision became the first published version and was recorded for the gramophone in 1925 by the London Symphony Orchestra conducted by Sir Dan Godfrey. It was also recorded in 1941 by the Cincinnati Symphony Orchestra conducted by Sir Eugene Goossens.[12] It had already received its American premiere on 20 December 1920 when the New York Symphony Orchestra played it under the baton of Albert Coates. It is most unlikely that OUP sanctioned the use of the 1920 version in Goossens' recording, since Vaughan Williams had withdrawn it and all scores of the 1933 revision carry the statement "This revised edition supersedes the Original Version which should no longer be used". However, this recording was made in the darkest days of World War II, when communications between Britain and the USA were difficult, and a "rogue" set was used. In fact, the 1920 version was already in the public domain in the USA, having been published before 1923, so it may simply have been cheaper to record that version. It was still possible to buy scores and parts of the 1920 version in the USA until early in the 21st century, although this is no longer the case. While he was working on his fourth symphony in 1933, Vaughan Williams made time to revise A London Symphony yet again.[12] He regarded this version, which was published in 1936,[5] as the definitive one, and it is this version that entered the repertoire, being played in concert and on record by many conductors.[12] However, in 2001, when the composer's widow, Ursula, gave permission for a recording of the original 1914 score, there was a widely expressed view among music critics that the composer had cut many bars of interesting music.[12][13][14] One writer commented: "The 1913 score is more meditative, dark-shaded and tragic in tone, almost Mahleresque in its inclusiveness. By 1933, Vaughan Williams's concept of symphonic architecture was becoming more aligned with a Sibelian logic and severity."[12] The main differences between the first and last versions may be summarised as follows:
Below is a summary of the changes made between the original and the two published versions. It shows the number of bars in each movement and the total for the whole symphony:[15]
The final version is more than twenty minutes shorter than the original, as some indicative timings show: 1914 version:
1920 revision:
1933/36 revision:
RecordingsThere have been 28 recordings: Godfrey — LSO — Columbia 78s L 1717-22 (April 24 and May 1, 1925) Wood — Queen’s Hall Orchestra — Decca 78s X 114-8 (April 21-22, 1936) Goossens — Cincinnati SO — RCA Victor 78s 11 8375-8379 in set M 916 (Feb. 19-20, 1941) Mitropoulos — NBC SO — ( + Sargent’s recording of Symphony No. 9) Pristine Audio XR PASC 234 (Studio 8H, New York, Dec. 9, 1945) Boult — LPO — Decca LXT 2693 (Kingsway Hall, Jan. 8-11, 1952) Barbirolli — Hallé — Pye Red Label CCL 30134 (Free Trade Hall, Dec. 28-29, 1957) Sargent — Chicago SO — ( + music by Copland + Schuman-W) CSO CD 4677 00-07 (Ravinia, July 6, 1967) Barbirolli — Hallé — HMV ASD 2360 (Abbey Road, London, July 11-14, 1967) Boult — LPO — HMV ASD 2740 (Kingsway Hall, March 1-2, 1971) Previn — LSO — RCA Red Seal SB 6860 (Kingsway Hall, Jan. 6-7, 1972) Handley — LPO — Classics for Pleasure CFP 40286 (Kingsway Hall, Jan. 5-6, 1977) Previn — RPO — ( + The Lark Ascending) Telarc CD 80138 (Fairfield Halls, Croydon, Sept. 15-16, 1986) Haitink — LPO — ( + Fantasia on a Theme by Tallis) EMI CDC 7 49394 2 (Abbey Road, Oct. 9, 1986) Thomson — LSO — ( + Concerto grosso) Chandos CHAN 8629 (St Jude-on-the-Hill, Hampstead, March 14-15, 1988) Rozhdestvensky — USSR StSO — Melodiya CD 10-02170-2 (Philharmonia Building, Leningrad, May 2, 1988) Hughes — Philharmonia — ( + music by Elgar + Ireland) ASV CD DCA 634 (St Peter’s Church, Morden, Dec. 1-2, 1988) Slatkin — Philharmonia — ( + Norfolk Rhapsody 1 in e + Fantasia on a Theme by Tallis) RCA Victor Red Seal 09026-61193-2 (Abbey Road, June 1 to Nov. 29, 1991) Handley — RLPO — ( + Symphony No. 8) EMI Eminence CD EMX 2209 (Philharmonic Hall, Liverpool, March 3-4, 1992) Davis-A — BBC SO — ( + Symphony No. 8) Teldec 4509-90858-2 (St Augustine’s Church, London, March 1993) Bakels — Bournemouth SO — ( + Overture to ‘The Wasps’) Naxos 8.550734 (Poole Arts Centre, April 5-6, 1993) Norrington — LPO — ( + Fantasia on a Theme by Tallis + Serenade to Music) Decca 467 047-2 (Nov. 25-27, 1996) Hickox — LSO — ( + music by Butterworth) Chandos CHAN 9902 (Dec. 19, 2000) Seaman — Melbourne SO — ( + music by Chopin + Dukas) ABC Classics 476 8363 (Hamer Hall, Melbourne, May 6-7, 2005) Elder — Hallé — ( + Oboe Concerto) Hallé CD HLL 7529 (Bridgewater Hall, Oct. 14, 2010) Seaman — Rochester Philharmonic — ( + Serenade to Music) Harmonia Mundi HMU 807567 (March 2011) Yates — Royal Scottish National Orchestra — ( + Concerto in C for 2 Pianos and Orchestra) Dutton Epoch CDLX 7322 (Jan. 13, 2015) Manze — RLPO — ( + Symphony No. 8) Onyx 4155 (Philharmonic Hall, Liverpool, March 29-30, 2015) Brabbins — BBC SO — ( + Sound Sleep + Orpheus With His Lute + Variations for Brass Band) Hyperion CDA 68190 (Henry Wood Hall, Nov. 2016) References1. ^Mann, William: liner notes to EMI CD CDM 7 64017 2 {{Vaughan Williams symphonies}}{{DEFAULTSORT:London Symphony, A}}2. ^About 3:10 mins in. 3. ^1 2 3 Harrison, Max, liner notes to Chandos CD CHAN 2028 4. ^Wells, H. G., Tono-Bungay, Ch. 14. II 5. ^1 2 Kennedy, Michael and Stephen Connock, liner notes to Chandos CD CHAN 9902, 2001 6. ^Lloyd, Stephen, in Ralph Vaughan Williams in Perspective, ed. Lewis Foreman, Albion Music Ltd, 1998; the quoted text in (a) is a portmanteau of two originals, the bulk being from a letter to Sir Alexander Butterworth, father of the composer 7. ^1 {{cite book|title=The Standard Opera and Concert Guide Part Two|year=2005|publisher=Kessinger Publishing|isbn=978-1-4191-8139-9|author=Borowski, Felix|author2=George P. Upton|page=506}} 8. ^1 2 3 4 5 6 {{cite book|title=Masterworks of 20th-century music: the modern repertory of the symphony orchestra|page=434|last=Lee|first=Douglas A.|isbn=978-0-415-93846-4|year=2002|publisher=Routledge}} 9. ^Kennedy, Michael, A Catalogue of the Works of Vaughan Williams, OUP, 1964, p. 73. Kennedy quotes a letter from the composer: "I think it was [Donald] Tovey who suggested I should send it to Busch" 10. ^Lloyd, Stephen, in Ralph Vaughan Williams in Perspective, ed. Lewis Foreman, Albion Music Ltd, 1998 11. ^Lloyd, Stephen, in Ralph Vaughan Williams in Perspective, ed. Lewis Foreman, Albion Music Ltd, 1998 12. ^1 2 3 4 5 Tiedman, Richard, Tempo, New Series, No. 218 (October 2001), pp. 58–59, Cambridge University Press 13. ^The Guardian, 4 May 2001 (Andrew Clements) 14. ^March, Ivan (ed): Penguin Guide to Recorded Classical Music 2008, London, Penguin Books, 2007, {{ISBN|978-0-14-103336-5}}, p. 1440 15. ^Lloyd, Stephen, in Ralph Vaughan Williams in Perspective, ed. Lewis Foreman, Albion Music Ltd, 1998 16. ^Chan 9902 17. ^Columbia L1717-22 and Symposium 1377 18. ^Foreman, Lewis: booklet notes for Symposium reissue 19. ^Biddulph WL 016 20. ^Dutton CDBP 9707 21. ^EMI CDM 7 64017 2 6 : Symphonies by Ralph Vaughan Williams|1913 compositions|1918 compositions|1920 compositions|1933 compositions|Music about London |
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