Symphony in
C
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"Symphony in C" (Symphony #1) is dedicated in loving memory of my father, Robert H. Edward.
Nominally
in a single extended movement, the Symphony in C is still clearly
divided into
4 constituant parts: the opening Moderato, a scherzo, an adagio, and
the final
ricercare.
This work
follows the extended development of a single thematic idea, which, as
stated in
the first minute of the symphony, will generate all of the subsequant
melodic
material. This initial statement is entrusted to the violas, in unison.
They
are gradually joined by the cello section and the double basses. The
volume
increases as the density and texture thicken, and rolling timpani
prepare the
grandiose entrance of the violins. Most of the symphony relies on
changes in
mood and texture rather than actual changes of thematic material to
create
contrast.
The tempo
picks up slightly as the woodwinds, accompanied by scampering strings,
repeat
the chorale-like violin melody. Material gets tossed back and forth
between the
different choirs of the orchestra – woodwinds to strings to brass and
back. The
texture gradually thickens contrapuntally as well with fugal entrances
and
episodes.
The mood
turns aggressive as the brass instruments dominate the orchestral
texture and
the tempo again speeds up. This faster section continues with a grand
statement
of the main theme in the violins, with fragmented material being tossed
back
and forth beneath by the brass, woodwinds and lower strings.
A solo
cor-anglais and flute end the movement softly.
Follows a
cadenza for flute solo, presenting the thematic fragments that will
make up
most of the upcoming scherzo 2nd movement. The mood turns
rambunctious as the scherzo proper starts, with percussive outbursts
and
orchestral flurries, musical moods alternate between the opening
playfullness
and more introspective second material. Contra-basses and bassoons
announce the
Trio section, an extended fugue with episodes, which grows steadily to
a
dissonant climax that heralds the return of the scherzo material in
reverse
order.
The Adagio
mesto 3rd movement presents the opening theme in a denuded
fashion –
as an exposed oboe solo over slowly pulsating strings. This rises to an
inevitable climax and dives immediately into the Ricercare finale. This
Ricercare takes the moods and textures of the symphony and replays them
in
reverse order in a sort of “rondo of fugal expositions”, the “refrain”
of the
rondo being a varied fugal statement of the opening motif. The symphony
finishes on a grand chorale-like statement of one of the lesser-heard
motifs
from
the first movement, an affirmative and hopeful ending to a symphony
that has travelled such varied emotional paths.