Sinfonia antartica ("Antarctic Symphony") is the Italian title given by Ralph Vaughan Williams to his seventh symphony, first performed in 1953. It drew on incidental music the composer had written for the 1948 film Scott of the Antarctic .
By the mid-1940s, Vaughan Williams had written five symphonies of widely varying characters, from the choral Sea Symphony (1909) [1] to the turbulent and discordant Fourth (1934) [2] and the serene Fifth (1943), which some took to be the septuagenarian composer's symphonic swan song. [3] In the event there were four more symphonies to come; his Sixth was premiered in 1948. [4] After completing it, Vaughan Williams undertook a substantial film score to accompany Scott of the Antarctic produced by Michael Balcon and directed by Charles Frend. [5] The composer became deeply interested in and moved by the story of the disastrous polar expedition of Robert Falcon Scott and his companions, and music suggested by ice and wind, penguins and whales came into his head. [6] Before even seeing the film script he had composed most of the score. [7] His biographer Michael Kennedy writes that the autograph full score contains 996 bars of music, of which about half was used in the finished film. [n 1]
While writing the film music, Vaughan Williams had begun to feel that it might later form the basis of a symphony. [9] He worked on that intermittently during the next few years, between other major compositions including his opera The Pilgrim's Progress . By early 1952 the symphony was complete. His musical assistant Roy Douglas played a piano arrangement to a group of musicians including Arthur Bliss, Gerald Finzi and Edward Dent; also in the group was Ernest Irving, who had commissioned the film score and to whom Vaughan Williams dedicated the new symphony. An orchestral score was sent to Sir John Barbirolli, who had secured the composer's agreement that he should conduct the premiere. The work was first given in public on 14 January 1953 at the Free Trade Hall, Manchester, by Barbirolli and the Hallé Orchestra and Choir with Margaret Ritchie in the wordless soprano solo. [10] The performers repeated the performance at the same venue the following evening, and gave the London premiere at the Royal Festival Hall on 21 January. [11] The title of the symphony was changed at the last minute from Sinfonia Antarctica to Sinfonia Antartica, so as to use consistently Italian spelling in the two words. [11]
The first American performance was given on 2 April 1953 by the Chicago Symphony Orchestra conducted by Rafael Kubelík. [12] The Australian premiere was given by the Sydney Symphony Orchestra conducted by Eugene Goossens on 17 June 1953. [13]
The work is scored for a large orchestra including:
A typical performance lasts around 45 minutes. There are five movements. The composer specified that the third movement lead directly into the fourth. The score includes a brief literary quotation at the start of each movement. While Vaughan Williams did not say that these quotations were intended to form part of a performance of the work, they are sometimes declaimed in performance and in recordings. Among the recordings including the quotations are Sir Adrian Boult's first recording for Decca in 1954 (supervised by the composer) with Sir John Gielgud narrating, and André Previn's 1967 recording for RCA with Sir Ralph Richardson narrating. [14]
1. Prelude: Andante maestoso
To suffer woes which hope thinks infinite,
To forgive wrongs darker than death or night,
To defy power which seems omnipotent,
...
Neither to change, nor falter, nor repent:
This ... is to be
Good, great and joyous, beautiful and free,
This is alone Life, Joy, Empire and Victory.
2. Scherzo: Moderato
There go the ships, and there is that Leviathan whom thou hast made to take his pastime therein.
— quotation from Psalm 104, Verse 26
3. Landscape: Lento
Ye ice falls! Ye that from the mountain's brow
Adown enormous ravines slope amain —
Torrents, methinks, that heard a mighty voice,
And stopped at once amid their maddest plunge!
Motionless torrents! Silent cataracts!— quotation from Coleridge, Hymn before Sunrise, in the vale of Chamouni
4. Intermezzo: Andante sostenuto
Love, all alike, no season knows, nor clime,
Nor hours, days, months, which are the rags of time.— quotation from Donne, The Sun Rising
5. Epilogue: Alla marcia, moderato (non troppo allegro)
I do not regret this journey; we took risks, we knew we took them, things have come out against us, therefore we have no cause for complaint.
— quotation from Captain Scott's Last Journal
Conductor | Orchestra | Chorus | Soloist | Narrator | Recorded | Cat no |
---|---|---|---|---|---|---|
Sir John Barbirolli | Hallé Orchestra | Hallé Choir | Margaret Ritchie | — | Free Trade Hall, 15–16 June 1953 | HMV ALP 1102 |
Sir Adrian Boult | London Philharmonic | London Philharmonic Choir | Margaret Ritchie | John Gielgud | Kingsway Hall, 10–11 Dec 1953 | Decca LXT 2912 |
André Previn | London Symphony Orchestra | Ambrosian Singers | Heather Harper | Ralph Richardson | Kingsway Hall, 14–16 Sept 1967 | RCA Victor SB 6736 |
Sir Adrian Boult | London Philharmonic | London Philharmonic Choir | Norma Burrowes | — | Kingsway Hall, 18–21 Nov 1969 | HMV ASD 2631 |
Ainslee Cox | American Symphony Orchestra | ASO Women's Chorus | Jacqueline Pierce | Franklin Williams | Carnegie Hall, 13 April 1970 | CRQ Editions CD 251 |
Bernard Haitink | London Philharmonic | London Philharmonic Choir | Sheila Armstrong | — | Royal Festival Hall, 27 Nov 1984 | LPO-0072 |
Bernard Haitink | London Philharmonic | London Philharmonic Choir | Sheila Armstrong | — | Abbey Road, 28–29 Nov 1984 | EMI CDC 7 47516 2 |
Gennadi Rozhdestvensky | USSR State Symphony Orchestra | Chamber Choir of Moscow Conservatory | Elena Dof-donskaya | — | Philharmonia Building, Leningrad, 28 April 1989 | Melodiya CD 10-02170-5 |
Bryden Thomson | London Symphony Orchestra | LSO Chorus | Catherine Bott | — | St Jude-on-the-Hill, Hampstead, 19–22 June 1989 | Chandos CHAN 8796 |
Vernon Handley | Royal Liverpool Philharmonic | Liverpool Philharmonic Choir | Alison Hargan | — | Philharmonic Hall, Liverpool, April 1990 | EMI Eminence CD EMX 2173 |
Leonard Slatkin | Philharmonia Orchestra | Philharmonia Chorus | Linda Hohenfeld | — | Abbey Road, 28–29 Nov 1991 | RCA Victor Red Seal 09026-61195-2 |
Raymond Leppard | Indianapolis Symphony Orchestra | Indianapolis Symphonic Choir | Dominique Labelle | — | 27–29 April 1992 | Koss Classics KC 2214 |
Andrew Davis | BBC Symphony Orchestra | BBC Symphony Chorus | Patricia Rozario | — | St Augustine's Church, London, March 1996 | Teldec 0630-13139-2 |
Kees Bakels | Bournemouth Symphony Orchestra | Waynflete Singers | Lynda Russell | David Timson | Poole Arts Centre, 6–7 Sept 1996 | Naxos 8.550737 |
Sir Andrew Davis | Bergen Philharmonic | Bergen Philharmonic Choir, Grieg Kor | Mari Eriksmoen | — | Grieghallen, Bergen, 30 Jan to 2 Feb 2017 | Chandos CHSA 5186 |
Andrew Manze | Royal Liverpool Philharmonic | Liverpool Philharmonic Choir | Rowan Pierce | Timothy West | Philharmonic Hall, Liverpool, 28 Sept 2018 | ONYX, ONYX4190 |
Sir Mark Elder | Hallé Orchestra | Hallé Choir | Sophie Bevan | — | Bridgewater Hall, Manchester, 24 January 2019, live and in rehearsal | Hallé CD HLD 7558 |
Ralph Vaughan Williams was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over sixty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.
Sir John Barbirolli was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings.
Ralph Vaughan Williams wrote his Symphony No. 5 in D major between 1938 and 1943. In style it represents a shift away from the violent dissonance of his Fourth Symphony, and a return to the gentler style of the earlier Pastoral Symphony.
Serenade to Music is an orchestral concert work completed in 1938 by English composer Ralph Vaughan Williams, written as a tribute to conductor Sir Henry Wood. It features an orchestra and 16 vocal soloists, with lyrics adapted from the discussion about music and the music of the spheres from Act V, Scene I from the play The Merchant of Venice by William Shakespeare. Vaughan Williams later arranged the piece into versions for chorus and orchestra and solo violin and orchestra.
Ralph Vaughan Williams dedicated his Symphony No. 4 in F minor to Arnold Bax.
A London Symphony is the second symphony that Ralph Vaughan Williams composed. The work is sometimes referred to as Symphony No. 2, though the composer did not designate that name for the work. First performed in 1914, the original score of this four-movement symphony was lost and subsequently reconstructed. Vaughan Williams continued revisions of the work into its final definitive form, which was published in 1936.
Ralph Vaughan Williams composed his Symphony in E minor, published as Symphony No. 6, in 1944–47, during and immediately after World War II and revised in 1950. Dedicated to Michael Mullinar, it was first performed, in its original version, by Sir Adrian Boult and the BBC Symphony Orchestra on 21 April 1948. Within a year it had received some 100 performances, including the U.S. premiere by the Boston Symphony Orchestra under Serge Koussevitzky on 7 August 1948. Leopold Stokowski gave the first New York performances the following January with the New York Philharmonic and immediately recorded it, declaring that "this is music that will take its place with the greatest creations of the masters." However, Vaughan Williams, very nervous about this symphony, threatened several times to tear up the draft. At the same time, his programme note for the first performance took a defiantly flippant tone.
Ralph Vaughan Williams's Symphony No. 8 in D minor was composed between 1953 and 1955. Sir John Barbirolli, its dedicatee, conducted the Hallé Orchestra in the premiere at the Kings Hall in Manchester, on 2 May 1956. It is the shortest of the composer's nine symphonies, and is mostly buoyant and optimistic in tone.
The Symphony No. 9 in E minor was the last symphony written by the English composer Ralph Vaughan Williams. He composed it during 1956 and 1957, and it was given its premiere performance in London by the Royal Philharmonic Orchestra conducted by Sir Malcolm Sargent on 2 April 1958, in the composer's eighty-sixth year. The work was received respectfully but, at first, without great enthusiasm. Its reputation has subsequently grown, and the symphony has entered the repertoire, in the concert hall and on record, with the majority of recordings from the 1990s and the 21st century.
The Concerto in F Minor for Bass Tuba and Orchestra by British composer Ralph Vaughan Williams was written in 1954 for Philip Catelinet, principal tubist of the London Symphony Orchestra (LSO), who together gave the premiere on 13 June 1954 with Sir John Barbirolli conducting. The same musicians made the work’s first recording that same year. This concerto was the first concerto written for solo tuba.
James Muir Mathieson, OBE was a British musician whose career was spent mainly as the musical director for British film studios.
The Violin Concerto in A minor, Op. 82, by Alexander Glazunov is one of his most popular compositions. Written in 1904, the concerto was dedicated to violinist Leopold Auer, who gave the first performance at a Russian Musical Society concert in St. Petersburg on 15 February 1905. The British premiere of the concerto followed just over a year later, under the direction of Sir Henry Wood and with Mischa Elman as soloist. The American premiere of the work was not until 27 October 1911. It was performed by Efrem Zimbalist at his American debut with the Boston Symphony Orchestra.
Flos Campi: Suite for Solo Viola, Small Chorus, and Small Orchestra is a composition by the English composer Ralph Vaughan Williams, completed in 1925. Its title is Latin for "flower of the field." It is neither a concerto nor a choral piece, although it prominently features the viola and a wordless choir. The piece is divided into six movements, played without pause, each headed by a verse from the Song of Solomon:
Sancta Civitas is an oratorio by Ralph Vaughan Williams. Written between 1923 and 1925, it was his first major work since the Mass in G minor two years previously. Vaughan Williams began working on the piece from a rented furnished house in the village of Danbury, Essex, found for him by his former pupil, Cecil Armstrong Gibbs.
The Symphony No. 3 by Arnold Bax was completed in 1929. It was dedicated to Sir Henry Wood and is perhaps the most performed and most immediately approachable of Bax's symphonies.
The Hallé is an English symphony orchestra based in Manchester, England. Since 1996, the orchestra has been resident at the Bridgewater Hall in Manchester.
The Symphony No. 8 is an orchestral composition by Peter Maxwell Davies, completed on 15 December 2001.
John Davie ("Dock") Mathieson was a Scottish musician. In between his early and late careers as a teacher, he was a musical director for British films in the 1940s and 1950s. He was instrumental in securing Ralph Vaughan Williams's score for the 1948 film Scott of the Antarctic, which the composer later reworked as the Sinfonia antartica. Other films on which Mathieson worked included The Lavender Hill Mob (1951), The Titfield Thunderbolt (1953) and The Ladykillers (1955).