Symphony No. 9

Symphony No. 9 (2008) by Stephen Dankner. Performed by the Louisiana Philharmonic Orchestra; Klauspeter Seibel, conductor.
I. Adagio (0:00)
II. Scherzo I (4:10)
III. Adagio mesto (7:33)
IV. Scherzo II (13:28)
V. Adagio misterioso (17:49)
Ninth Symphony program note
The first draft of my Ninth Symphony was completed in February 2008, while I was a resident composer at the Virginia Center for Creative Arts - an artist colony I have visited often - located in the scenic Blue Ridge Mountains. The orchestration was completed in June 2009.
The genesis of the work came about in discussions with maestro Klauspeter Seibel, during the period in 2006-’07 when he was conducting three of my recent works with the Louisiana Philharmonic, Nashville and Kansas City Symphonies. As a contrast to my earlier works, he suggested an evolving five-movement form as a possible conception for my next symphony. And so, this is what I have composed.
The first movement is rather brief - an introductory Adagio that starts off in a rather Brahmsian way, and leads to a concise waltz-like Andantino. The music builds to a climax, culminating with a harp glissando before coalescing to a return of the waltz theme, featuring the solo violin.
Movement two is a light-hearted Scherzo I - Allegretto (jaunty) in a humorous vein, featuring solos for the various winds, celesta, piano, xylophone and harp.
The third and fifth movements - Adagio mesto (slowly and deeply moving) and Adagio misterioso respectively - utilize the flügelhorn, an alto trumpet that’s actually the highest-pitched member of the tuba family. The instrument possesses a lyrical and very mellow pure brass tone. I was transfixed when Klauspeter and I heard it in an after-hours jazz club in Kansas City. I then and there decided to use it in my new work.
The fourth movement is the Scherzo II - Allegro ma non troppo, (not too fast) and is in stark contrast to the charm and lightness of its more refined sibling in movement two. This one is boisterous and powerful, though there is a brief calm middle section featuring cascading bi-tonal harmonies in the solo piano. The ending is almost violent with its accumulating energy and accelerating tempo.
In keeping with the evolving form conception, the first four movements are played attacca, meaning without pause. After the spent energy of Scherzo II, there is a break before the final Adagio misterioso, which, in cyclical fashion, brings back themes from the previous movements, transformed and encapsulated in a nostalgic reminiscence of all that came before, ending as softly as possible.
My Ninth Symphony is dedicated in memoriam to maestro Klauspeter Seibel.
Score/parts available from www.stephendankner.com.

[@scottmichaelawaken]

Nice symphony! Only two minutes in, and I already like it.
Ill have to listen to some of your kther compositions

[@etc.-1912]

This is a compelling composition, and I'm so glad that TH-cam recommended it to me! As an amateur composer, it gives me hope that beautiful, tonal, complex symphonies like this are still being performed! It's definitely a piece that I'll come back and listen to. I love the third movement, especially the harp solo in the Third movement because it reminds me of guzheng music. I also love your trumpet and other brass scoring throughout the piece. The five-movement form is very interesting because of the two scherzo movements that encompass the Adagio section. Some of the orchestration reminds me of a Petterson or Piston symphony. (The fourth movement Scherzo II especially reminds me of Walton Symphony Number 1 in places, which is my favorite symphony to listen to.) What composers were your inspirations for this symphony?

[@StephenDankner-sj7mb]

Thank you for your positive comments! I avoid any conscious references to earlier composers - not that they may not be there, or that unconsciously I may not be influenced by them. My practice is to let the composition, while I'm composing, lead me in the direction IT wants to go: I'm there to "hold the pencil." The trumpet solos are actually written for and are played by the FLÜGELHORN - an alto instrument that has the highest range within the tuba family. I am unfamiliar with the Walton Symphony and your other musical reference. If you liked my "Ninth", I recommend that you also may enjoy listening to my Third, Fourth, and Eighth - also on this TH-cam channel. Later on, I'll also be posting my Fifth, Sixth and Seventh Symphonies. Best wishes to you. S.D.

[@etc.-1912]

@@StephenDankner-sj7mb Fluglehorns are an interesting addition to an orchestral piece, yet they blend sound so naturally! Walton Symphony Number 1 is one of my favorite symphonies and definitely my favorite English Symphony. Sadly, it's the only work by Walton that I'm fond of. I've listened to some of his concertos and Belshazzar's Feast, but I didn't like them as much. But there's a nice recording of his Symphony No. 1 conducted by Andre Previn on TH-cam from the 70s, so the audio quality isn't the greatest in the tutti sections. I still like the character and momentum of this recording though. I think the work was written from 1932 to 1935, but it has some resemblance to a Sibelius Symphony. Nonetheless, I find it a very likable and unique symphony. Here's a link to the Previn recording since I feel like the work doesn't get enough attention, compared to like Nielsen. I thought I'd share it in case you're interested! th-cam.com/video/Xr3WVje-C3o/w-d-xo.html

[@ezekielthiessen7080]

This is lovely!

[@jdoggtn7]

Thank goodness....some honest tonal music with emotions and expression.

[@scottmichaelawaken]

This is great!

[@JRazEd]

crazy video

[@uriahlegutki2257]

Watch your back… the curse of the ninth may be true

[@StephenDankner-sj7mb]

I'm not worried. It's not a "NINTH."