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The Tonal Structure of Brian's ‘Gothic’ Symphony
Published online by Cambridge University Press: 04 February 2010
Extract
The performance of Havergal Brian's huge and rarely-heard First Symphony, The Gothic (?1919–27), on 25 May 1980 gave us a further opportunity to assess its value. In the past, adulation of the Symphony has been blended with strong criticism. Among the detractors have been those who were unable to follow the logic of a symphony that starts in D minor and ends in E major without (if one believes all that one reads) any good reason; and there have been those who found the opening movement too slight and episodic, too unsymphonic, for the weight cast upon it. It is time to re-examine these criticisms.
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- Copyright © Cambridge University Press 1981
References
page 33 note 1 At the Royal Albert Hall: the London Symphony Orchestra, with many choirs, and soloists Jane Manning, Shirley Minty, John Mitchinson, and David Thomas, was conducted by Ole Schmidt—the work's fourth complete performance, and only the second fully professional one.
page 34 note 1 This refers to the initial appearance of the second subject: later in the Exposition the axis B minor-D is used quite widely.
page 35 note 1 All references to rehearsal and page numbers are to the Full Score published by Cranz and Co. Ltd. (London, 1932) in two volumes. A single-volume study score reprint is available.