Detroit Symphony Orchestra conducted by Neeme Järvi.
I - Longings. Moderato assai - Più mosso - Andante cantabile - Poco più lento - Poco più mosso - Allegro - Andante cantabile: 0:00
II - Sorrows. Adagio - Più mosso (non tanto) - Poco più mosso - : 7:25
III - Humor. Animato: 12:45
IV - Aspirations. Lento, con risoluzione - Più mosso - Più lento - Più mosso - Andante, molto espressivo - Lento, con risoluzione - Vivace - Maestoso: 15:53
Stills' Symphony No.1 was composed between October 30 and December 6 of 1930, being premiered on October 29 of 1931, performed by the Rochester Philharmonic Orchestra conducted by Howard Hanson. It was the first time in the history of the United States that a major orchestra premiered a symphony written by a black person. The work obtained a great triumph and soon was interpreted all over the country. The composer said: I "knew that I wanted to write a symphony, I knew it should be an American work. I wanted to show how blues, often considered as a low-level genre of expression, could be raised to the highest musical level".
At the beginning of the 20th decade, the black cultural movement known as "Harlem Renaissance" had been born, right when Still came to New York. Its objective was show that the black race had a rich culture, which would soon prove to the United States and the entire world. Still was an active member of this movement, influencing him in his music throughout his life. In 1924, he began to work on a trilogy of works that describe the Afro-American reality: The symphonic poem "Africa" represents its roots, the Afro-American Symphony the life of blacks in America, and Symphony No.2 "Song of a new race" the vision of an integrated society.
The first movement is loosely structured in sonata form. It begins with a slow introduction, in which English horn presents a blues theme that will become the core of the work. The muted trumpet presents the main theme, derived from said blues. After a climax, a lyrical second theme is presented by the oboe, inspired by spirituals. The following development is vigorous and colourful, leading us to an inverted recapitulation; with the second theme on strings and the main one on muted trumpet. The blues opening theme reappears in the final part fully orchestrated, leading to an uplifting coda.
The second movement is also written in sonata form. It opens with a melancholic main theme exposed by the oboe over strings and flute, derived from the opening blues. The blues theme itself reappears on the flute as a second theme, oscillating between major and minor. These materials are then developed in an expressive manner, always with a certain sadness. The recapitulation is also inverted, with the second theme before the main one. A meditative coda ends the movement.
The third movement is monothematic in form. It begins with a brief but atmospheric introduction, followed by the exposition of a lively and animated dance theme, syncopated in its rhythms. We can clearly hear the influence of ragtime and jazz. The use of the banjo adds local colour to the festive atmosphere. A tune vaguely reminiscent of Gershwin’s "I’ve Got Rhythm" appears as well. Still’s melody predates Gershwin’s, the tune being improvised by Still in the 1920s while performing in the Broadway show "Shuffle Along". A powerful coda ends the movement.
The fourth movement is very free in form, slightly resembling a rondo. It opens with a noble, hymn-like main theme derived from the opening blues. The main theme of the first movement appears on clarinet, followed by the main theme of the second movement in a menacing climax. It reappears more clearly and expressively after, leading us to a placid and calm passage. The main theme from the third theme suddenly appears in an energetic allegro. In the final part, the characteristic blues returns, which leads to a triumphal coda of great power.
Picture: "Aspirations" (1936) by the Afro-American painter Aaron Douglas.
Sources: bit.ly/3JVBLAw and bit.ly/3HW7vTQ
To check the score: bit.ly/3DYnQGm
27 июл 2024
