Product Description
The large-scale, neoclassical Ninth Symphony in B flat is heroic and majestic in character, and entirely tonal (also with strong modal incursions), as an esthetic statement in favor of clarity and light during troubled times.
It is based entirely on three themes adapted from two Romanian Orthodox hymns, as follows: theme 1 from Cu noi este Dumnezeu = God is with us and themes 2 and 3 from the formidable Nativity Kontakion Fecioara astăzi pe Cel mai presus de fiinţă naşte = Today the Virgin gives birth to the One who is above being. The hymns appear clearly and entirely only in the Finale, while in the preceding two movements they are represented only by their essential notes (more in the second movement). Each theme is in turn the principal one in the respective movements, and the orchestral complement is to be doubled in the Finale.
The expansive first movement, Allegro con brio in common time, is a peculiar, large-scale, powerful sonata form with three themes, two expositions and strong modal influences. The first exposition is mono-tonal like in classical concertos, yet multi-modal, and in the second exposition theme 2 appears in the major mediant (D major and D Aeolian), while only theme 3 appears then in the dominant F (Mixolydian). The development changes no key signature, but the corresponding modes (G Aeolian, C Dorian, D Phrygian and E flat Lydian). The recapitulation is in two similar sections like the exposition, yet more compact, it starts in D major and only then establishes B flat (first Aeolian, then Mixolydian and major) until the extended coda.
The lyrical second movement, Andante cantabile in 12/8 and in the subdominant E flat, is an extended rondo (on themes 2 and 1) with variations. It features two harps in unison, solo strings, a dramatic, powerful central episode with theme 3 in B flat Dorian, and an extended, introspective coda that modulates briefly through 12 minor and major keys.
The monumental Finale (Moderato Allegretto maestoso Allegro ma non troppo, first in 3/4 and then in 6/8) is a rondo-sonata form that starts like a nostalgic minuet on theme 3 (with the Trio in D, like the first modulation in movement 1), and then turns to 6/8 for its recapitulation (which is actually the second refrain of the rondo form). The dramatic central episode, beginning in F like theme 3 in the exposition of the first movement, features the re-appearance of theme 1 with doubled orchestral complement, and then a fugue in the strings interspersed with variations on themes 3 and 2 in the wind and brass instruments. The following sections of the rondo are a powerful third refrain (on theme 3) in B flat followed by a double fugue on themes 3 and 1 in the strings and wind instruments, simultaneously with thematic development of theme 2 in the brass (similarly to the following sections). The last episode brings back theme 2, first in B flat, and then a similar double fugue, modulating to G Aeolian, D Phrygian and Aeolian, and G Mixolydian. The final refrain is a powerful triple fugue, and then the majestic and huge coda brings back the three themes in full, ending with a cruciform gesture and a strong, symbolic unison on B flat.
Intended for large, professional orchestras. Total duration 62 mins. Performing Rights Organization: SOCAN. The mp3 clip is a recording of the first movement.
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