Pomp and Circumstance Marches - Edward Elgar
735 بار بازدید -
2 سال پیش
-
BBC Philharmonic Ochestra conducted by
BBC Philharmonic Ochestra conducted by Sir Andrew Davis (No.1-5). BBC National Orchestra of Wales conducted by Richard Hickox (No.6).
I - March No.1 in D major. Allegro, con molto fuoco - Molto maestoso - Tempo I: 0:00
II - March No.2 in A minor. Allegro molto: 6:12
III - March No.3 in C minor. Con fuoco - Vivace - Come prima - Cantabile - Tempo I - Vivace - Grandioso - Tempo I. Con fuoco - Animato: 11:34
IV - March No.4 in G major. Allegro marziale - Nobilmente - Grandioso: 17:29
V - March No.5 in C major. Vivace: 22:33
VI - March No.6 in G minor. Alla marcia - Vivace - Poco meno mosso - Con spirito - Giocoso - Largamente - Grandioso - Vivace: 28:44
Elgar's Pomp and Cicumstance marches were composed through his life; The first four were composed between 1901-7 and No.5 much later in 1930. No.6 was left as sketches when Elgar died in 1934, being completed by English composer Anthony Payne between 2005-6. The pieces are inspired in the traditional ideas and virtues of the british chivalriousness, which would be completely destroyed by the horrors of the first world war. The title was taken from Act III, Scene 3 of Shakespeare's "Othello":
"Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear-piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!"
No.1 was composed in July of 1901, being premiered in October 10 of that year, performed by the Liverpool Orchestra Society conducted by Alfred E. Rodewald. It is structured in an expanded ternary form (A-B-A'-B'-Coda). It begins with a brief but impetuous introduction, followed by the exposition of a magnificent main theme in form of a march. The trio opens with a solemn and lyrical second theme on the strings, which became extremely famous as an hymn titled "Land of hope and glory" from the "Coronation Ode" (1902) for King Edward VII. The march is then recapitulated, followed by the trio in a triumphal manner. A strong coda ends the march.
No.2 was also composed in 1901 and premiered along No.1, being structured in an expanded ternary form (A-B-A'-B'-Coda) . It opens with a brief fanfare, followed by a tense and energic march theme presented through staccatos of the strings. A resolute second theme is presented by horns and clarinets, with flourishes from the strings and brass joined by the glockenspiel. The trio opens with a solemn theme presented by the woodwinds with great simplicity. The march is then forcefully recapitulated, followed by the trio. A grandiloquent coda ends the march.
No.3 was composed in 1904, being premiered in March 8 of 1905, performed by London Symphony Orchestra conducted by Elgar himself. It is also written in an expanded ternary form (A-B-A'-B'-A''-Coda). It begins with a quick and dark march introduced by low woodwinds, leading to a bellicose second theme after a powerful crescendo, followed by the quick march. The trio opens with a perky and bucolic theme presented by clarinet over strings. The march is then brilliantly recapitulated, followed by the trio in a triumphal tone. The march then reappears, leading us to a forceful coda.
No.4 was composed in 1907, being premiered in August 24 of that year, performed by the London Symphony Orchestra conducted by the composer. It is structured in an expanded ternary form (A-B-A'-B'-Coda). It begins with a joyful and pompous march, radiantly exposed. The trio opens with a solemn and lyrical second theme on the strings, akin to "Land of Hope and Glory" trio of March No.1. The march is then recapitulated, followed by a triumphal interpretation of the trio theme. A solemn coda ends the march.
No.5 was composed in 1930, being premiered in September 20 of that year, performed by the London Symphony Orchestra conducted by the composer. As the previous ones, its structured in expanded ternary form (A-B-A'-B'-Coda). It begins with a lively march theme full of life and confidence, followed by a more subdued and pompous second theme on strings. The trio begins with a solemn, noble theme introduced by woods and fully exposed by strings. The march is recapitulated, followed by a brilliant interpretation of the trio theme. A potent coda ends the march.
No.6 was found as as sketches in 1996, being completed by Anthony Payne in 2005. It was premiered in August 2 of 2006, performed by the BBC Symphony Orchestra conducted by Sir Andrew Davis. It's structured in a mixture of rondo-ternary form (A-B-C-Trio-A'-B'-C'-Trio-Coda). It begins with a potent and firm march, a brief melodic interlude leads us to the second part of the march, with an energic and imposing second theme. The brief trio starts with a solemn and melodic theme, before the march is then quickly recapitulated. The trio reappears triumphally, leading us to a powerful coda.
Picture: "Aurora Triumphans" (1877-8) by the English painter Evelyn De Morgan.
Sources: https://bit.ly/38NgmJM and https://bit.ly/3GM6dtv
I - March No.1 in D major. Allegro, con molto fuoco - Molto maestoso - Tempo I: 0:00
II - March No.2 in A minor. Allegro molto: 6:12
III - March No.3 in C minor. Con fuoco - Vivace - Come prima - Cantabile - Tempo I - Vivace - Grandioso - Tempo I. Con fuoco - Animato: 11:34
IV - March No.4 in G major. Allegro marziale - Nobilmente - Grandioso: 17:29
V - March No.5 in C major. Vivace: 22:33
VI - March No.6 in G minor. Alla marcia - Vivace - Poco meno mosso - Con spirito - Giocoso - Largamente - Grandioso - Vivace: 28:44
Elgar's Pomp and Cicumstance marches were composed through his life; The first four were composed between 1901-7 and No.5 much later in 1930. No.6 was left as sketches when Elgar died in 1934, being completed by English composer Anthony Payne between 2005-6. The pieces are inspired in the traditional ideas and virtues of the british chivalriousness, which would be completely destroyed by the horrors of the first world war. The title was taken from Act III, Scene 3 of Shakespeare's "Othello":
"Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear-piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!"
No.1 was composed in July of 1901, being premiered in October 10 of that year, performed by the Liverpool Orchestra Society conducted by Alfred E. Rodewald. It is structured in an expanded ternary form (A-B-A'-B'-Coda). It begins with a brief but impetuous introduction, followed by the exposition of a magnificent main theme in form of a march. The trio opens with a solemn and lyrical second theme on the strings, which became extremely famous as an hymn titled "Land of hope and glory" from the "Coronation Ode" (1902) for King Edward VII. The march is then recapitulated, followed by the trio in a triumphal manner. A strong coda ends the march.
No.2 was also composed in 1901 and premiered along No.1, being structured in an expanded ternary form (A-B-A'-B'-Coda) . It opens with a brief fanfare, followed by a tense and energic march theme presented through staccatos of the strings. A resolute second theme is presented by horns and clarinets, with flourishes from the strings and brass joined by the glockenspiel. The trio opens with a solemn theme presented by the woodwinds with great simplicity. The march is then forcefully recapitulated, followed by the trio. A grandiloquent coda ends the march.
No.3 was composed in 1904, being premiered in March 8 of 1905, performed by London Symphony Orchestra conducted by Elgar himself. It is also written in an expanded ternary form (A-B-A'-B'-A''-Coda). It begins with a quick and dark march introduced by low woodwinds, leading to a bellicose second theme after a powerful crescendo, followed by the quick march. The trio opens with a perky and bucolic theme presented by clarinet over strings. The march is then brilliantly recapitulated, followed by the trio in a triumphal tone. The march then reappears, leading us to a forceful coda.
No.4 was composed in 1907, being premiered in August 24 of that year, performed by the London Symphony Orchestra conducted by the composer. It is structured in an expanded ternary form (A-B-A'-B'-Coda). It begins with a joyful and pompous march, radiantly exposed. The trio opens with a solemn and lyrical second theme on the strings, akin to "Land of Hope and Glory" trio of March No.1. The march is then recapitulated, followed by a triumphal interpretation of the trio theme. A solemn coda ends the march.
No.5 was composed in 1930, being premiered in September 20 of that year, performed by the London Symphony Orchestra conducted by the composer. As the previous ones, its structured in expanded ternary form (A-B-A'-B'-Coda). It begins with a lively march theme full of life and confidence, followed by a more subdued and pompous second theme on strings. The trio begins with a solemn, noble theme introduced by woods and fully exposed by strings. The march is recapitulated, followed by a brilliant interpretation of the trio theme. A potent coda ends the march.
No.6 was found as as sketches in 1996, being completed by Anthony Payne in 2005. It was premiered in August 2 of 2006, performed by the BBC Symphony Orchestra conducted by Sir Andrew Davis. It's structured in a mixture of rondo-ternary form (A-B-C-Trio-A'-B'-C'-Trio-Coda). It begins with a potent and firm march, a brief melodic interlude leads us to the second part of the march, with an energic and imposing second theme. The brief trio starts with a solemn and melodic theme, before the march is then quickly recapitulated. The trio reappears triumphally, leading us to a powerful coda.
Picture: "Aurora Triumphans" (1877-8) by the English painter Evelyn De Morgan.
Sources: https://bit.ly/38NgmJM and https://bit.ly/3GM6dtv
2 سال پیش
در تاریخ 1401/03/29 منتشر شده
است.
735
بـار بازدید شده