Symphony in A Minor On the Ruins of an Ancient Fort | |
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by Airat Ichmouratov | |
Key | A minor |
Opus | 55 |
Composed | 2016 |
Dedication | Marc David |
Recorded | Chandos Records - CHAN 20172 (June 2020) |
Duration | 47 minutes |
Movements | 4 |
Premiere | |
Date | 28 September 2018 |
Location | Pratt and Whitney Canada Hall, Longueuil City |
Conductor | Mark David |
Performers | Longueuil Symphony Orchestra |
The Symphony in A minor , "On the Ruins of an Ancient Fort", Op. 55, was composed by Airat Ichmouratov in 2017 with support by Longueuil Arts Council. [1] It was premiered in Longueuil City on 28 September 2018 by Longueuil Symphony Orchestra under the baton of French-Canadian conductor Marc David. [2] [3] Ichmouratov's Symphony seeks to recreate the vitality of Longueuil, a city on the south shore of the St. Lawrence River, from its beginnings as an outpost of New France (only the foundations of Fort Longueuil remain) to the present day. [4]
The work has four movements. A typical performance of the symphony lasts somewhat less than 47 minutes
The symphony starts with subtle strokes on the timpani and bass drum, evoking the resonance of Iroquois war drums, harkening back to a time when the collision of cultures was an impending reality; an ominous figure for solo tuba features a rising minor sixth.
This theme, embodied with unwavering strength, is subsequently echoed in full grandeur by the unison horns, simultaneously portraying the indomitable spirit of Charles (II) le Moyne de Longueuil, a baron bestowed with this honor by Louis XIV. The key of A minor serves as both the canvas and backdrop for this musical narrative. Amidst turbulent musical passages, a second theme emerges, introduced by a solo violin. This theme paints a human portrait of the Baron, a man known for his peacemaking abilities as much as his military prowess. The Baron was a person of European heritage who found inspiration and energy in the unique dynamism of the New World.
While the symphony does not adhere to a conventional recapitulation, key motifs reappear throughout, including a poignant return to the foreboding drumming of the opening, ultimately leading to a resolute and decisive cadence that encapsulates the essence of Longueuil's enduring spirit.
The second movement, despite maintaining a 4/4 time signature, exhibits a distinctly scherzando character. This movement serves as an auditory portrayal of the vibrant ambiance of contemporary Longueuil, a city located on the southern banks of the St. Lawrence River in Quebec, Canada.
Within this musical composition, listeners are immersed in a vivid soundscape that vividly captures the bustling and dynamic atmosphere of modern-day Longueuil. The movement paints aural images of various facets of daily life, including the cheerful sounds of children playing in local parks, the animated discourse of adults engaged in spirited debates on the city's bustling streets, the cacophonous symphony of urban traffic noises, and the resonant melodies emanating from a nightclub, often featuring the bright and spirited tones of a trumpet.
The Largo movement, set in the resplendent key of E Major, unfolds with a sense of nostalgia rather than melancholy, setting the tone with its swelling strings. However, it doesn't take long before the composition reveals its lyrical depth through solos performed by the trumpet, flute, and clarinet.
The composer's initial inspiration for this movement was to portray the remarkable figure of Eulalie Durocher, recognized as Mother Marie-Rose Durocher, particularly in her role as the founding superior of a religious community in Longueuil, Quebec. However, the emotional depth of this composition was profoundly intensified by a tragic event — the sudden and shocking death of the composer's own mother. Like Eulalie Durocher, the composer's mother embodied qualities of compassion and fortitude, making her passing a deeply personal and emotionally charged experience. While the prevailing message is of affirmation in the face of adversity, there is room for a humorous march, playfully orchestrated and always in common time.
The finale opens, Allegro con fuoco and fortissimo, with a rising three-note motto defining a major seventh – a figure the composer regards as his personal fate motif. This musical signature, derived from a theme found in the finale of Shostakovich's Fourth Symphony, has appeared in almost every work Ichmouratov has written since 2009. Here the interval is intended also to form a heroic and ultimately celebratory bridge between the era of the Baron de Longueuil, with its warfare and hardship, and the present day. An exuberant second theme in winds evokes a jig; a more pensive section marked andante misterioso brings back the ominous theme of the opening of the symphony. Later, a solo cello with woodwind commentary restores the nostalgic mood of the slow movement. The conclusion, however, is entirely positive in character, with an exuberant use of timpani that brings to mind the close of Mahler's Seventh.
This symphony is scored for the following orchestra (percussion, performed by 3 players): [5]
The recording of the Symphony in A minor gained negative-to-positive reviews. David Nice from BBC Music Magazine wrote: "I had to force myself to listen to the end of the A minor Symphony, more a symphonic tone-poem in four very conventional movements". [7] Guy Rickards from Gramophone wrote: "the symphony is colourful and descriptive...Attractive if not great music" [8]
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Airat Rafailovich Ichmouratov born 28 June 1973) is a Volga Tatar born Russian / Canadian composer, conductor and klezmer clarinetist. He was conductor and composer in residence of Longueuil Symphony Orchestra (2018-2021), clarinetist of Montreal-based Klezmer group Kleztory and invited professor at Laval University in Quebec, Canada. On 21 October 2020 Airat Ichmouratov received Charles Biddle Award. This honour, given by Ministry of Immigration, Francisation and Integration, and Culture pour tous highlights the contributions of immigrants to Quebec whose personal and professional commitment contributes to the province's cultural and artistic development.
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Airat Ichmouratov's String Quartet N4 "Time and fate", Op. 35, was composed in spring 2012. It was commissioned and premiered by New Orford String Quartet on 26 July 2013 at Orford Arts Centre, Quebec, Canada. Chamber Orchestra version of the quartet was premiered by La Primavera Chamber Orchestra in Kazan, Russia on 3rd September 2015 under the composer's baton
The Overture Maslenitsa, Op. 36, was composed by Airat Ichmouratov during 2012 - 2013 years. It was commissioned and premiered in Chicoutimi, Canada on 24 February 2013 by L'Orchestre Symphonique du Saguenay–Lac-Saint-Jean under the baton of French-Canadian conductor Jacques Clément.
The Viola Concerto N1, Op. 7, was composed by Airat Ichmouratov in 2004. It was commissioned and premiered by Elvira Misbakhova, a Canadian violist, today the principal viola of Orchestre Métropolitain, who was in 2004 a student at University of Montreal and was looking for new romantic viola concerto for her Doctoral program recital. Concerto was premiered at Claude Champagne Concert Hall in Montreal, Canada on 24 February 2005 by students of University of Montreal under the baton of composer Airat Ichmouratov.
Airat Ichmouratov's Concerto Grosso N1, Op. 28, was composed in 2011. It was commissioned and premiered on 15 July 2011 by French - Canadian conductor Jean-François Rivest and Orford Camerata at Orford Art's Centre, Orford, Canada. Ichmouratov himself was performing solo clarinet part as well on the recording of Concerto Grosso N1, that was released on Chandos in 2019.
Airat Ichmouratov's Three Romances for Viola, Strings, and Harp Op. 22, was composed during the summer of 2009. Ateş Orga stated that Three Romances are an affectionate character portrayal of Eleonora Turovsky (1939-2012) to whom the composition is dedicated and was written as a birthday gift. It was first performed at a surprise birthday concert at University of Montreal on 23rd September 2009 by her pupils.
The Overture "The Myth of Falcon", Op. 65, was composed by Airat Ichmouratov during 2019 - 2020 years. It was commissioned and premiered at Grand Hall, Ferenc Liszt Academy of Music, in Budapest, Hungary on 9th October 2020 by MAV Budapest Symphony Orchestra under the baton of Israel-born conductor Daniel Boico.