DESCRIPTION:
Leicestershire School Symphony Orchestra conducted by Eric Pinkett.

I - Adagio - Allegro e con anima - Adagio: 0:00
II - Adagio cantabile e sostenuto: 6:44
III - Vivace - Allegro con anima - Vivace: 14:45
IV - Andante - Allegro con fuoco - Lento: 18:40

Brian's Symphony No.21 was written between July and November of 1962. The work was premiered in a BBC broadcast on 10 May 1970, with the London Symphony Orchestra conducted by Sir Edward Downes, which Brian attended. The 1973 Unicorn LP was the first ever commercial recording of Havergal Brian’s music (which contained the first recording of this work), by the Leicestershire Schools Symphony Orchestra, and was made just a few months before the composer's death aged 96.

The work follows the pattern of a more light, neoclassical style established in the symphonies No.18-20. It is certainly more expansive in scale and it has been suggested that in the work Brian was nostalgically engaging with the "English pastoral" tradition. It is certainly true that his correspondence with Robert Simpson around the time of its composition often refers to the past, notably: "the landscapes of my youth remain concealed in me unconsciously, my music must be full of it". But behind the apparent geniality lies a world of considerable emotional complexity.

The first movement is written in a modified sonata form. It begins with an innocuous pizzicato chord and a short, slow introduction in the woodwind. The allegro begins with an energic theme, full of vigorous invention. The second theme, presented by the clarinet over the soft tremolo of strings, is full of a pastoral flavour. The development, based on the main theme, is more complex and dissonant, with marcial marches coming and going. There's no formal recapitulation, having instead a continuous stream of inventive development. The movement ends with a short adagio coda, concluding majestically.

The second movement, written in a free form, probes altogether deeper emotions. It opens with soft timpani blows, over which a lyrical theme is presented on the strings. Gradually, the music moves into a darker tone. As a contrast, beautiful solos from the bassoon and violin follow. The music grows more dissonant before culminating in a passionate climax. With contrasting scoring, but scarcely any reduction in intensity, the music presses on, reaching a new, dissonant climax with the entrance of the brass. The music concludes with an uneasy, elegiac coda.

The third movement is a kind of a short intermezzo in ternary form. A robust theme is presented by the horns over a varied percussion. The strings take it and develop along with the rest of the orchestra. The music takes the form of a march. The trio, while not much really contrasting, is more playful and light in nature. A lyrical twist is presented in a short duo between the harp and the wood. The opening theme is briefly recapitulated. It ends with a passionate coda, quickly fading away.

The fourth movement is written in an unortodox variation form. The andante introduction begins with distant fanfare of the horn, answered by the strings and a delicate solo from the oboe. The main theme is lively and cheerful. The variations are hard to distinguish one of another, since they blend together. Energic, even marcial motifs, contrast with more light and lyrical ones. An episode comes at the middle of the movement, with the initial horn call reappering, being answered by a distant trumpet. As the music is lead to the conclusion, a solemn mood comes to prevail, with the prominence of the strings. The dissonance grows more and more, concluding with strong orchestral chords in E flat major, until the music suddenly vanishes.

Analysis written mostly by myself, taking this source as a reference: https://bit.ly/2Ek5OT5