Symphony No.1 in D minor ''Gothic''

Brian Havergal | Boult Adrian

Information about this music video:

1h 40m 36s
Title on Youtube:
Symphony No.1 in D minor ''Gothic'' by Havergal Brian (Score)
Description on Youtube:
Sir Adrian Boult, Conductor Performed by the BBC Symphony Orchestra, BBC Choral Society, City of London Choir, Hampstead Choral Society, Emanuel School Choir and the Orpington Junior Singers Royal Albert Hall - 1966 Soloists: Honor Sheppard - Soprano Shirley Minty - Alto Ronald Dowd - Tenor Roger Stalman - Bass First part I - Allegro assai: 0:00 II - Lento espressivo e solemne (attacca): 11:23 III - Vivace (attacca): 22:08 Second part IV - Te Deum laudamus. Allegro moderato sempre marcato e con brio: 33:57 V - Judex crederis esse venturus. Adagio solenne e religioso: 51:56 VI - Te ergo quaesumus. Moderato e molto sostenuto: 1:06:12 I do not own anything in this video, all rights go to Testament UK. I do not make any money off this these videos. (I would love to use the 2011 BBC Proms recording of this, but Hyperion wont allow it...) The Symphony No. 1 in D minor (The Gothic) by Havergal Brian is a symphony composed between 1919 and 1927. At around one and three quarter hours, it is among the longest symphonies ever composed (with Gustav Mahler's 90-to-105-minutes 3rd Symphony—usually evoked as the longest symphony in standard repertoire—, Kaikhosru Shapurji Sorabji's nine-hour 2nd Organ Symphony and Dimitrie Cuclin's unperformed six-hours Symphony No. 12) and, along with choral symphonies such as Ludwig van Beethoven's Ninth Symphony or Mahler's Eighth Symphony, it is one of a few works attempting to use the musically gigantic to address the spiritual concerns of humanity. With a key-scheme that begins in D minor and eventually closes in E major, the work is an example of progressive tonality. Part one is exclusively orchestral; part two requires the full ensemble, with choral parts set to the words of the Latin religious hymn, the Te Deum. The three movements in Part One play for about forty minutes uninterrupted, and set the stage for the choir-dominated Part Two, which is over an hour in duration and contains a huge range of styles of music, daringly welded together in an attempt to solve the "finale problem" which Brian had set himself. It is written for an extremely large symphony orchestra, four additional brass orchestras, four vocal soloists, four adult choirs, and children's choir.