The third movement is a scherzo that represents a feast. A regal gathering of boyars and bogatyrs makes merry in a festive reunion. The music, with its solemn air, describes the noble characters; the multicoloured flags, the royal regalia, all the splendour of the court. Ilya appears along with its theme leading to a brilliant climax. The trio begins with the menacing whistle of Nightingale, to fell the proudest of the princes, Ilya promptly slicing off the robber’s head for his pains. Vladimir accepts the hero and names him head of his army. The bogatyrs welcome him as a brother. The scherzo is then resumed, leading us to a vivacious coda. The fourth movement describes the advance of a pagan army:the tatars from the Golden Horde. Martial rhythms appear on percussion, along with menacing woodwind motives. The bogatyrs, leaded by Ilya, fight them in an intense battle dominated by brass and percussion. Themes from the previous movement reappear through the movement. Ilya meets the enemy leader, Batygha the Wicked, with whom he fights for twelve days in fire-spitting fugues, to wild oriental cries and massive brass calls. Ilya is victorious as his theme triumphally rises. The bogatyrs celebrate the victory, but their vanity oversteps the limit: “Where is the heavenly army that we, the bogatyrs, may annihilate?”. The chorale from the first movement reappears, announcing that the two "pilgrims" who launched Ilya on his journey truly belong to a celestial band. The bogatyrs fight the pilgrims, but each time they are slashed, they multiply in two. Violent, forceful motives are contrasted against the solemn chorale, which grows more powerful and victorious. The bogatyrs, damned by their vanity, are defeated and forced to retreat. Ilya Muromets is turned to stone during the work's most intense climax, and a doleful transformation of his noble melody ties in reminiscences from the earlier movements, running through echoes of Vladimir’s palace and Nightingale’s forest back to Svyagotor. The music briefly rises from the depths, leading us to a solemn coda.
I've loved this lush, lavish epic journey through Russian legend ever since Chandos released it in the 90s. A forgotten masterwork, I quoted it along with 'Swan of Tuonela' in a symphonic poem I wrote whilst studying at uni. My composition supervisor, who was obsessed with modernism, had the cheek to say 'these are not important pieces'. I'd like to see her facing the tatar hordes at the opening of the finale, or being picked up by Svyagotor the giant as he sweeps across the mountains in his nine-league boots, or left in the forest of the second movement at night... Honestly, some people really are born without souls...
I heard this work for the first time on public radio when that media played classical music regularly. I was so impressed I went out as a lowly student trying to scrape enough money for tuition and found an inexpensive recording of this work. I believe it was on the old Seraphim label. The work still has a powerful impact on me as a listener close to 50 years later.
Much respect to JoAnn Falletta and Buffalo! For the longest time, the only recording I knew of this was the excellent San Diego recording. But it's aging and this much more atmospheric recording serves this music extraordinarily well. Thank you!
Mi complimento con Sergio per l'inserimento di questo programmatico, grandioso,epico ed eroico lavoro orchestrale nel quale Gliere riflette tutta la sua maestria compositiva.
Thank you very much for this, Sergio. I love this symphony from the great Reinhold Glière, who taught harmony to an 11 year old boy called Sergei Prokofiev.
I had a recording of the Philly Orch playing a Stokowski arrangement of this. It was maybe 20 minutes shorter. He took out a lot of the fluff. I liked it much better that way.
Could this also be labeled as a symphonic poem? Even though there are movements, all seem to connect as one. Not to mention there is a story involved with the piece. Regardless, it's a grand symphony!
This symphony stands close to Glières 2nd. Many passages remind me of the Star Trek soundtrack, so we know where the composers have stolen their ideas. (I'm sure they will call it "inspiration".) 25:00 26:00 41:21 - the first ping 44:51 44:58 49:34 ... and many more.
It's difficult to not sound like someone else when you write music inside a determined musical language in which many composers have written many different works. The works of James Horner for Star Trek might sound like a pastiche of many romantic works in the same way as the music of Mozart sounds like a pastiche of many works of the classical period.
@@ClassicalMusicAndSoundtracks I recently listened to Wagner's "Valkyrie" and found a passage nearly 1:1 taken into ST "Wrath of Khan", even my wife recognizes it as the music from the movie. John Willians stole a lot from classic and romantic pieces, and also Dennis McCartney, who wrote the music for ST-TNG (he stole a lot from Gustav Holst). There are videos on the web who show how Williams stole from Stravinsky and others. Listen for yourself, and you will notice. I for one wanted to show that this symphony also was "recycled". Another example: Myaskovsky's 2nd Symphony (1910-11) was recycled by Dimitry Tiomkin in the soundtrack for "Two Rode Together" (1961).
That's because many film scores were inspired by this symphony. It was composed about 10 to 15 years before film came to a point where it would actually have scores.
It's not that this symphony sounds like a film score. The point is that many soundtracks are inspired to romantic music and, more in general, to classical music.
@@Quotenwagnerianer Many soundtracks are inspired to classical music in general, especially to romantic music. Although soundtracks are mostly inspired to romantic music, there are also examples of soundtracks which are inspired to the music of the classical, baroque and modern period. Do you have any source which proves that this symphony in particular has been more influential for soundtracks than many other works of classical music?
![ILLSLICK - THE KING'S LANDING [Freestyle]](http://i.ytimg.com/vi/feIJJnNkTfk/mqdefault.jpg)
The third movement is a scherzo that represents a feast. A regal gathering of boyars and bogatyrs makes merry in a festive reunion. The music, with its solemn air, describes the noble characters; the multicoloured flags, the royal regalia, all the splendour of the court. Ilya appears along with its theme leading to a brilliant climax. The trio begins with the menacing whistle of Nightingale, to fell the proudest of the princes, Ilya promptly slicing off the robber’s head for his pains. Vladimir accepts the hero and names him head of his army. The bogatyrs welcome him as a brother. The scherzo is then resumed, leading us to a vivacious coda.
The fourth movement describes the advance of a pagan army:the tatars from the Golden Horde. Martial rhythms appear on percussion, along with menacing woodwind motives. The bogatyrs, leaded by Ilya, fight them in an intense battle dominated by brass and percussion. Themes from the previous movement reappear through the movement. Ilya meets the enemy leader, Batygha the Wicked, with whom he fights for twelve days in fire-spitting fugues, to wild oriental cries and massive brass calls. Ilya is victorious as his theme triumphally rises. The bogatyrs celebrate the victory, but their vanity oversteps the limit: “Where is the heavenly army that we, the bogatyrs, may annihilate?”.
The chorale from the first movement reappears, announcing that the two "pilgrims" who launched Ilya on his journey truly belong to a celestial band. The bogatyrs fight the pilgrims, but each time they are slashed, they multiply in two. Violent, forceful motives are contrasted against the solemn chorale, which grows more powerful and victorious. The bogatyrs, damned by their vanity, are defeated and forced to retreat. Ilya Muromets is turned to stone during the work's most intense climax, and a doleful transformation of his noble melody ties in reminiscences from the earlier movements, running through echoes of Vladimir’s palace and Nightingale’s forest back to Svyagotor. The music briefly rises from the depths, leading us to a solemn coda.
I've loved this lush, lavish epic journey through Russian legend ever since Chandos released it in the 90s. A forgotten masterwork, I quoted it along with 'Swan of Tuonela' in a symphonic poem I wrote whilst studying at uni. My composition supervisor, who was obsessed with modernism, had the cheek to say 'these are not important pieces'. I'd like to see her facing the tatar hordes at the opening of the finale, or being picked up by Svyagotor the giant as he sweeps across the mountains in his nine-league boots, or left in the forest of the second movement at night... Honestly, some people really are born without souls...
I heard this work for the first time on public radio when that media played classical music regularly. I was so impressed I went out as a lowly student trying to scrape enough money for tuition and found an inexpensive recording of this work. I believe it was on the old Seraphim label. The work still has a powerful impact on me as a listener close to 50 years later.
I've been captivated by this symphony for more than 50 years. I never tire of hearing it.
Much respect to JoAnn Falletta and Buffalo! For the longest time, the only recording I knew of this was the excellent San Diego recording. But it's aging and this much more atmospheric recording serves this music extraordinarily well. Thank you!
Sorry but I can't resist) 16:32 is from finale of Scriabin symphony 2. Thanks for upload! Great piece
Gliere's terrific three symphonies are well overdue for a concert hall revival. Full of drama, tunes and emotion.
Thanks for putting them on line
Mi complimento con Sergio per l'inserimento di questo programmatico, grandioso,epico ed eroico lavoro orchestrale nel quale Gliere riflette tutta la sua maestria compositiva.
Thank you very much for this, Sergio. I love this symphony from the great Reinhold Glière, who taught harmony to an 11 year old boy called Sergei Prokofiev.
Although it is a long work, the brilliant construction and orchestration compels me to hear it over and over without tiring of it.
Настоящая русская музыка! Спасибо Рейнхольду Глиэру за этот шедевр.
BTW, the picture for this is perfect, good choice.
Tableaux I - Wandering Pilgrims ; Muromets and Svygator
Part 1
0:00 Mysterious yearning
1:28 Ilya motif (downward): Youth with no ability to walk
2:14 Climactic
2:49 Yearning motif diminution
3:13 Horn call announcing the arrival of the pilgrims (later: resurrection theme)
4:12 Religious psalm sung by the pilgrims (cor anglais)
5:04 Psalm theme (oboe, bassoon)
6:09 Resurrection of Ilya Murometz (resurrection theme)
7:28 Hero theme, including transformed resurrection theme: Ilya beginning his journey
8:01 Romantic version of resurrection theme
8:16 Romantic hero theme expanded with Ilya theme
8:34 Ilya theme (upward turn, no downward continuation)
8:52 Hero theme + Ilya theme
9:09 Hero theme legato, chromatic ascent: To the peaks of the Holy Mountains
9:28 Ilya motif (loud brass): Ilya reaches the summit
Part 2
9:42 Choral (Tranquillo misterioso): Ilya encounters Svyagotor
11:20 Martial air, hero and choral motives
11:52 Galloping of Ilya's magic horse Burushka (Cloudfall), juxtaposed with choral and hero theme (pizzicato)
12:47 Ilya theme
13:09 Ilya derivative motif towards climax
13:30 Frenzy galloping
13:48 Lyric hero theme
14:13 Lyric Ilya motif
14:38 Dramatic resurrection theme
15:07 Pilgrim psalm theme (with stretto resurrection motif)
15:30 Svyagotor motif dramatic (choral theme): The stone coffin scene
15:53 Gallop motif
16:12 Chorale theme
16:58 Molto Tranquillo: Svyagotor gives counsels and his strengths to Ilya
17:14 Chorale fragments
17:41 Sad and fragmented Ilya motif
17:51 Svyagotor motif and chromatic descent: Body expiring
18:24 Mournful timpani in rhythm of Svyagotor motif: Svyagotor is dead
18:50 Sad hero theme exp. Ilya thema (Più mosso): Mourning for Svyagotor
19:27 Romantic resurrection theme: Gaining confidence
19:39 Resurrection motif (stretto)
19:51 Gallop motif: Journey to Kiev
20:15 Hero/gallop theme: The magic horse flies like a hawk across rivers and lakes, while his tail sweeps cities
20:37 Ilya theme triumphant
Tableaux II - Ilya And Nightingale The Robber (or Solovey, the Brigand)
21:22 Magic forest
22:58 Schreck Akkord
25:25 Solovey
26:08 Big inhale
26:15 Whistle
26:49 Low pizzicato gallop: Ilya on Burushka the magic horse approaching from afar
27:05 Ilya theme
27:31 Engagement
27:59 Seduction
28:47 Nymph
30:39 Birdlike
31:10 Bell. Violin solo, ww flouirishments
31:23 Horn joins
32:58
33:43
34:27
34:50
35:11
35:31 Rising tension
35:53 Even more rising
36:22 Climatic Soaring, towards colapse
36:46 Squable
38:19 Solovey theme (tuba)
38:56 Big inhale
39:03 Whistling blows
39:08 Ilya motif (low brass): Ilya arching his bow, aiming at Solovey
39:19 Arrow shot in the eye
39:32 Ilya theme
39:45 Gallop motif
40:04 Ilya theme legato (horn) diminuendo: Ilya disappears in the distance
40:35 Forest murmurs
Tableaux III - At the Court of Vladimir the Mighty Sun
Scherzo
41:23 Rising sun, Anticipation to Kiev court festival
41:41 Festive thema: At the court of Prince Vladimir 'The Great Sun'
42:11 Kiev theme
42:20 Festive theme
42:37 Vladimir theme
43:14 Vladimir theme climaxing
43:47 Kiev motif
44:08 Ilya motif
44:11 Festive theme
44:20 Kiev motif
44:26 Ilya motif
44:35 Vladimir motif fugato
44:53 Ilya motif: Ilya shows the captured Solovey
44:57 Schreck Akkord: Appearance of Solovey
Trio
45:04 Solovey's theme (contrabassoon)
45:22 Big inhale
45:33 Whistling blows
45:36 Ilya motif
45:40 Ilya beheads Solovey who expires
45:53 Stringendo: Festivities are resuming
Scherzo
46:14 Kiev motif
46:24 Festive theme
46:36 Vladimir theme
46:56 Vladimir theme climaxing
47:29 Kiev theme
47:53 Festive theme
48:01 Hero motif + Kiev motif accomp.
Tableaux IV - The Heroic Deeds and Petrification of Ilya Muromets
Part 1
48:30 Advancing Tatar army of the Golden Horde
48:43 Tatar them (contra bass pianissimo)
49:22 Tatar theme augmented in brass
49:49 Danger theme: Army has approached
50:01 Tatar Fuga
50:59 Tatar theme in low voices
51:12 Hero motif
51:24
51:42 Tatar theme on upbeat
51:50
52:02
52:14 Hero motif
52:22 Hero motif crescendos
52:39 Hero motives (low brass)
52:54 Tatar theme fugato
53:06 Tatar motif (violins)
53:19
53:34
53:42 Storming victory
53:54 Storming augmented
54:06
54:15 Ilya motif morendo
54:47 Hymn of the Bogatyrs
55:10 Bogatyr hymn climacting
55:35 Contrapunct: bogatyr hymn (high strings) + hero theme exp. (low strings)
56:02 Growing arrogance
56:24 Brooding bogatyr motives
56:58 Contrapunct: hero theme exp. (high strings) + bogatyr hymn (low brass)
57:24 Kiev theme
Part 2
57:44 Ilya theme solo horn: Ilya challenges the Heavens
58:21 Resurrection theme stretto
58:54 Psalm theme unisono brass: Response of the celestial army
59:40 Psalm theme augmented (cantus firmus) + Ilya motives
59:52 Modulation 1
1:00:15 Modulation 2
1:00:28 Modulation 3
1:00:40 Modulatory build up
1:00:56 Psalm theme harmonized
1:01:12 Psalm theme harmonized
1:01:25 Battle with celestial army
1:01:59 Psalm theme + Ilya motives
1:02:32 Unisono
1:03:09 Hero motives
1:03:50 Resurrection theme: Final attempt of Ilya and Bogatyrs
1:04:25 Extremely majestic psalm theme: Annihalation by celestial army
1:05:35 Gigantic climax: Petrification of Ilya Muromets and Bogatyrs
Reverse retrospective of events
1:05:56 Bogatyr hymn
1:06:16 Tatar theme
1:06:31 Vladimir
1:06:44 Kiev
1:06:54 Seduction
1:07:23 Svyagotor/Choral motif
1:07:46 Resurrection theme subdued
1:08:19 Solo violin chromatic descent: Ilya's demise
1:09:30 Mysterious yearning from beginning
Thanks so much for this!
Simply wonderful!! I think I have a new favorite composer...
magnifique !
I had a recording of the Philly Orch playing a Stokowski arrangement of this. It was maybe 20 minutes shorter. He took out a lot of the fluff. I liked it much better that way.
That was my introduction to it as well, more than 50 years ago. I've heard many versions of this symphony, and they never cease to captivate me.
Wonderful symphony ! I join your channel !
49:49 shout out to Tchaikovsky (Francesca di Rimini)
Could this also be labeled as a symphonic poem? Even though there are movements, all seem to connect as one. Not to mention there is a story involved with the piece. Regardless, it's a grand symphony!
To be precise, the work is a descriptive or a programatic symphony, like the ones of Berlioz.
Es una hermosa sinfonía. Yo tenía la de Naxos que no sé si es completa. Gracias.
Esta es la grabación de naxos más nueva y por supuesto está completa. Hay otra de la filarmónica de eslovakia pero que es peor.
Yo tenía la antigua. Gracias de nuevo.
He sounds a lot like Anatol Liadov.....
Just listen to the start of movement two and try to convince me that John Williams didn't steal that outright for Harry Potter.
This symphony stands close to Glières 2nd. Many passages remind me of the Star Trek soundtrack, so we know where the composers have stolen their ideas. (I'm sure they will call it "inspiration".)
25:00
26:00
41:21 - the first ping
44:51
44:58
49:34
... and many more.
It's difficult to not sound like someone else when you write music inside a determined musical language in which many composers have written many different works.
The works of James Horner for Star Trek might sound like a pastiche of many romantic works in the same way as the music of Mozart sounds like a pastiche of many works of the classical period.
@@ClassicalMusicAndSoundtracks I recently listened to Wagner's "Valkyrie" and found a passage nearly 1:1 taken into ST "Wrath of Khan", even my wife recognizes it as the music from the movie. John Willians stole a lot from classic and romantic pieces, and also Dennis McCartney, who wrote the music for ST-TNG (he stole a lot from Gustav Holst). There are videos on the web who show how Williams stole from Stravinsky and others. Listen for yourself, and you will notice. I for one wanted to show that this symphony also was "recycled". Another example: Myaskovsky's 2nd Symphony (1910-11) was recycled by Dimitry Tiomkin in the soundtrack for "Two Rode Together" (1961).
Sounds a bit like a FILM score ....
stimmt, aber das macht nichts!
That's because many film scores were inspired by this symphony. It was composed about 10 to 15 years before film came to a point where it would actually have scores.
It's not that this symphony sounds like a film score. The point is that many soundtracks are inspired to romantic music and, more in general, to classical music.
@@Quotenwagnerianer Many soundtracks are inspired to classical music in general, especially to romantic music. Although soundtracks are mostly inspired to romantic music, there are also examples of soundtracks which are inspired to the music of the classical, baroque and modern period.
Do you have any source which proves that this symphony in particular has been more influential for soundtracks than many other works of classical music?