1st Movement (Listen to the first movement here)
As with all my previous symphonies, the opening bars contain the essence of the work. The struggle is evident from the sinuous counterpoint and and dotted rhythms of the first few measures. The ensuing allegro maestoso is a driven affair containing a powerful tutti that has a sweeping melody, accompanied by a rhythmic counterpoint in the woodwind. The second group of themes is no less urgent and it too erupts in conquering mood, blazing out a confident melody in the strings, followed a bar later by an imitation in the horns. After a surprise modulation to G major, the music is temporarily calm. However, the tension builds and it isn't long before there is another defiant outburst. Eventually the music settles down for a longer stretch of reflective tranquility. The recapitulation is yet another outcry of anguish but it too subsides and the music follows its natural course towards the end of the movement. A coda of two halves closes out the eventful first movement.
2nd Movement (Listen to the second movement here)
Characterised by a solo cello, the first eleven bars spin out a melody which is taken up by the orchestral strings. (Part of the solo cello melody becomes part of the rondo theme in the last movement). There is a secondary theme in G major presented by the oboe at a slightly faster tempo. The central section of the movement is much more eventful, bursting onto the scene from the outset. There are some raucous interjections from the trumpets which create false relations with the rest of the orchestra. The music gathers pace and the full force of the orchestra is felt as the music approaches a colossal cadence into the key of C. There is now some respite from all this upheaval as two of the motifs from the solo cellists's melody are explored simultaneously by the woodwind whilst a slow, crotchet, harmonic pulse is provided by the strings. After one more climax the music wends its way back to the opening idea of the movement. The recapitulation is slightly modified to ensure that the music returns to the original key of the movement. The solo cello has the last word.
3rd Movement (Listen to the third movement here)
The third movement is a summation of all that has gone before, both thematically and programmatically. It is a reassertion of self-determination, an exorcism of the circular thoughts that have driven my illness and a reality check on the effectiveness of religion. Shakespeare's 'Fear no more the heat of the Sun' presents death as a practical release from everyday worries. Rather than a defeat, it is a triumph over death.
The structure of the first half of this movement is a Rondo: A,B,A,C,A. The rondo theme itself has the outline melodic shape of the opening theme of the first movement and it also contains an important melodic cell from the solo cellist's theme from the slow movement. When the choir enters for the first time it is with a motif that was introduced in the bars leading up to their a cappella opening statement. Whilst the poem (a song from Cymbeline) is to a large extent through composed, the words 'come to dust' are always set to the same four note falling motif. Much of the text is set to melodic shapes and ideas introduced earlier in the movement. e.g. 'Thou thy worldly task hast done' is set to the transition theme between A and B. 'Home art gone and ta'en thy wages' comes from C, as does 'Golden lads and girls all must, As chimney sweepers etc.' and 'Fear no more the lightning flash'. The last stanza 'No exorciser harm thee' is intoned over a fragmented version of the opening bars of the first movement, over a tonic pedal. The choir sings almost totally a cappella (bar one bassoon) the words 'Quiet consumation have; And renowned be thy grave' before the ritornello theme that introduced the choir winds the music up into a triumphant finale. The last words from the choir are: 'Fear no more, And renowned be thy grave'. During the pandemic I felt a particular urgency to complete this work. It was finished on the 16th April 2020.
Words by William Shakespeare
Fear no more the heat o’ the sun,
Nor the furious winter’s rages;
Thou thy worldly task hast done,
Home art gone, and ta’en thy wages:
Golden lads and girls all must,
As chimney-sweepers, come to dust.
Thou art past the tyrant’s stroke;
Care no more to clothe and eat;
To thee the reed is as the oak:
The scepter, learning, physic, must
All follow this, and come to dust.
Fear no more the lightning flash,
Nor the all-dreaded thunder stone;
Fear not slander, censure rash;
Thou hast finished joy and moan:
All lovers young, all lovers must
Consign to thee, and come to dust.
No exorciser harm thee!
Nor no witchcraft charm thee!
Ghost unlaid forbear thee!
Nothing ill come near thee!
Quiet consummation have;
And renownèd be thy grave!
Symphony no 7
The seventh symphony completes my cycle of symphonies. This one really is the last! In fact, when I composed the opening bars I believed that I was going to write a symphonic poem based on the King Arthur legends. Somehow, I got side-tracked and the seventh was born. After all the issues of the previous six symphonies, the seventh is a celebration of me finding my voice again. It was written between November 2020 and February 4th 2021.
1st Movement (Listen to the first movement here)
The music gets straight to the point. Over a dramatic timpani roll the brass announce a motif characterised by a scotch snap rhythm (1a). The introduction is in two parts - the wind dominating the livelier second section (1b), before the movement gets underway with a broad tutti notable for its three-note falling motif (the last three notes of the opening brass fanfare). This idea is developed somewhat during the transition passage, before the cantabile second group (2a) is arrived at in the tertiary key of Eb. A secondary idea announced by the woodwind (2b) introduces a more plaintive theme which leads to a reflective codetta. The scotch snap rhythm is heard gently beating in the background. The central section powers its way forward until a new, fanfare like passage in the brass is introduced. The music builds through another tutti before arriving at a thematic transformation (augmentation) of 1a. The scotch snap idea (now in the bassoon) leads to a dominant preparation and a tumultuous return of the opening. After the recapitulation, the coda returns the music to B minor and themes 1a and 2a are combined contrapuntally in a tranquil reflection of what has gone before.
Themes 1a and 2a return with considerable impact in the coda of the last movement.
2nd Movement (Listen to the second movement here)
This movement begins in a sombre mood. After a seven bar introduction a plaintive melody is presented by the woodwind (1a), then by the strings. Following a tutti, a gentle and rather lonely melody (2a) is announced by the strings which contains a falling figuration in the violas. There is a dramatic outburst by the whole orchestra before the music calms down and begins an exploration of the second half of the introductory idea. The brass join in before the music moves through unexpected harmonies before settling in the key of D. Woodwind solos quickly lead to a massive climax based on the second half of the introductory theme (itself rather similar to the falling motive in the opening tutti of the first movement). Theme 2a now returns in a radiant transformation - triumphant and confident. This passage concludes with a three chord brass progression which later, is incorporated into the first tutti of the last movement. Following a recapitulation, the movement concludes with a thoughtful coda featuring elements of theme 1a, accompanied initially by a countermelody in the horns and then by static chords in the wind and strings. The wind solos that conclude the movement are memorable for their harmonisations and the false relation created between the oboe and the strings.
3rd Movement (Scherzo) (Listen to the Scherzo here)
The Schezo begins in the key of G with a three note falling motif. It quickly moves to E minor where a second idea is presented by the woodwind over an ostinato in the violas. The three note motif returns as a fugato between the first violins and the cellos. More instruments enter the fray including the timpani which provides a rhythmic ostinato on a pedal A. The music builds to an intoxicating and joyous climax in the key of G to end the first section. The Trio begins with the strings playing a thematically transformed version of the 'motto theme' first heard at the start of the first movement. Further references to the first movement follow in the woodwind before the strings play an uplifting version of the opening of the slow movement. In a radiant A major, this 'spring like' hope has a short flowering before returning to a more serious version of the first Trio theme. Following this, an augmented version of the three note motif is heard over the strings who play a tranquil version of part of theme 2a from the slow movement. The return to the Scherzo is understated, but any lingering doubts from the Trio are brushed aside by the upbeat tempo. The Scherzo runs its course and is rounded off by a handful of bravura bars.
4th Movement (Listen to the 4th movement here)
The last movement begins in a restless, agitated mood. From the outset the goal is the final destination.The textures are bustling and energetic and the first full tutti has a real sense of purpose. There are several facets to the tutti theme, all of which get developed in due course. The transition sections are turbulent, discordant and impatient. Eventually a contrasting theme appears in the key of E accompanied by an undulating arpeggio-like countermelody. Every idea in the exposition is dissected and refashioned in the development section. In addition, there is a fairly extensive fugal passage (based on two of the exposition themes) for the woodwind section. This runs seamlessly into an orchestral climax before dispersing into a romantic augmentation of the opening melody, accompanied by horns and bassoons. The half speed concept is applied to the first tutti theme before the music moves to an eerie passage over a dominant pedal note. The recapitulation takes place almost unnoticed and the music begins to unfold as before, except that the transition theme is slightly extended to effect the necessary key change. Towards the end of the movement, a coda of two halves firstly summarises the events that have taken place in this movement; followed by a glorious consummation of not only reaching the end of this symphony, but the end of the seven work cycle. For me, it is a triumph over adversity. The opening theme of the first movement is a tortured and tormented spirit. In the coda, the same theme is transformed into a life affirming winner.
Summary
Symphony no. 1 A response to the loss of a loved one
Symphony no. 2 Enjoyment and a sense of well being
Symphony no. 3. Being struck down by ill-health and a crisis in faith
Symphony no. 4. Finding a way forward
Symphony no. 5 Making progress
Symphony no. 6 Self determination
Symphony no. 7 Triumph over adversity