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I. Lent - Moins lent - Lent - Moins lent - Modérément animé
reh. 10 - 4 mm. after reh. 13 |
Skills & Techniques: Accuracy, Finger Fluency, High Register, Loud Playing, Rhythms
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Horn 1-2 (F)
Horn 3-4 (F)
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Orchestre National De France (1990)
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Orchestre National De France (1970)
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I. Lent - Moins lent - Lent - Moins lent - Modérément animé
reh. 16 - 5 mm. before reh. 18 |
Skills & Techniques: Accuracy, Endurance, Low Register, Soft Playing, Tonguing Flexibility
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Horn 2 (F)
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Orchestre National De France (1990)
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Orchestre National De France (1970)
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I. Lent - Moins lent - Lent - Moins lent - Modérément animé
1 mm. before reh. 24 - 8 mm. before reh. 25 |
Skills & Techniques: Loud Playing, Rhythms
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Horn 1-2 (F)
Horn 3-4 (F)
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Orchestre National De France (1990)
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Orchestre National De France (1970)
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Composer & Composition Information
Albert Roussel (1869-1937)
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Born on April 5th 1869 in Tourcoing, Albert Roussel was a French composer whose music was first influenced by the rise of impressionism, then later by that of neo-classicism. His youth was marred by almost constant bereavements – by the age of ten, he had lost both his parents and all his grandparents, having to be taken into the care of his maternal aunt. Before her death, he had learnt some of the rudimentary aspects of music from his mother and began organ lessons in 1880 with the parish organist who recognised his natural talent. He enrolled as a student at the Institution Libre du Sacré-Coeur, where he proved himself an outstanding student, particularly in French composition and Mathematics.
At the age of 15, his guardians decided to send him to Paris, so that he might be able to better pursue music in a more culturally saturated climate. In 1887, Roussel joined the Navy having passed his entrance exams and finished his training two years later as a midshipman. He went out to sea on multiple occasions and it was on one of these trips that he composed his first work – Fantaisie for violin and piano – undoubtedly for a fellow sailor that happened to play the violin. In 1894, he took three months’ leave, which he spent in Roubaix, studying harmony with Julien Koszul. It was Koszul who convinced him to leave the Navy and pursue a life in music. In October of that year he settled in Paris and, after the recommendation of Koszul, studied the organ with Eugène Gigout. In 1898 he began studies at the Schola Cantorum where he received tuition from d’Indy, who, in 1902, entrusted Roussel with the counterpoint class, which Roussel took for the next 12 years, teaching pupils such as Varèse, Satie and Roland-Manuel. The text is reprinted from the Wise Music Classical where more information about the composer can be found. The image is reprinted from Interlude. |
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Symphony No. 2, Op. 23
This work is a grand and brooding symphony whose tone is mostly one of striving. It is in three movements, each of which includes fast and slow music.
The first movement starts out slowly, gets faster, then slows down again. The densely-colored introduction introduces a tonal conflict between D major and the title key, B-flat. Eventually violins come in with the first theme of the fast part, which is later taken up by flute and oboe. Both the theme and its accompaniment are nervous and insistent. Horns and violas announce the more sunny and optimistic second theme, after which both themes are worked over in an atmosphere of striving and conflict. Material from the introduction intercedes, as if to halt progress, and things slow down on the way to the conclusion, which, like the introduction, is in B-flat and D.
The second movement starts out fast, with woodwinds prominent. Shortly after the beginning the violins give out a gamboling theme over piquant harmonies and colors. Sometimes the gamboling becomes heavy-footed, informed by Roussel's characteristic gruffness. The coloristic felicities are too numerous to mention, although a high clarinet line over lusty horn parts seems noteworthy. The middle section is slower, and more reflective. A tad disturbed at first, it eventually works up to the striving mood of the first movement. The first part abrubtly dismisses the concerns of the middle section when it returns in a varied recapitulation.
The text is written by & reprinted from Aaron Rabushka (AllMusic) where more information about the composition can be found.
The first movement starts out slowly, gets faster, then slows down again. The densely-colored introduction introduces a tonal conflict between D major and the title key, B-flat. Eventually violins come in with the first theme of the fast part, which is later taken up by flute and oboe. Both the theme and its accompaniment are nervous and insistent. Horns and violas announce the more sunny and optimistic second theme, after which both themes are worked over in an atmosphere of striving and conflict. Material from the introduction intercedes, as if to halt progress, and things slow down on the way to the conclusion, which, like the introduction, is in B-flat and D.
The second movement starts out fast, with woodwinds prominent. Shortly after the beginning the violins give out a gamboling theme over piquant harmonies and colors. Sometimes the gamboling becomes heavy-footed, informed by Roussel's characteristic gruffness. The coloristic felicities are too numerous to mention, although a high clarinet line over lusty horn parts seems noteworthy. The middle section is slower, and more reflective. A tad disturbed at first, it eventually works up to the striving mood of the first movement. The first part abrubtly dismisses the concerns of the middle section when it returns in a varied recapitulation.
The text is written by & reprinted from Aaron Rabushka (AllMusic) where more information about the composition can be found.
Notable Performances/Recordings:
Royal Scottish National Orchestra (2008)
Orchestre de Paris (2006)
Orchestre Philharmonique de Radio France (1995)
Royal Scottish National Orchestra (2008)
Orchestre de Paris (2006)
Orchestre Philharmonique de Radio France (1995)