George Rochberg composed his Symphony No. 1 in 1948 / 1949. Rochberg was recovering from his work during and injuries during the Second World, especially in the Ardennes Offensive. Rochberg has contributed to the liberation of Europe, but held a damaged limb over for the rest of his life. Recovery required many months. Composition
The first symphony is the composer's first work for a large scale (read symphony orchestra). He was influenced by his teachers, including George Szell, a Rosario Scalero, but still sought his own way. When the symphony was completed, Szell said, "This is the craziest music I've ever seen"; Scalero: "Why are you making this seconds?", Indicating the unusual sounds. Also the intended conductor of the practice premiere Alexander Hilsberg did not dare and left it to the composer, who had hardly any experience with conducting himself. The symphony was born under an unfortunate stern and ended up on the shelf. Only eight years later, Eugene Ormandy tried again with his Philadelphia Orchestra. Ormand advised to thoroughly review the composer, e.g. to leave the second and to change the final so that the symphony would not end so abruptly. Rochberg refused and the symphony ended again. It caused an imminent between both men. The second and third part of the work would be able to reach the stage as a loose work, the rest of the symphony has never been publicly audited. Only a lot later, Rochberg would start to work at work (1977), but it remained untouched as total. If you want to perform and record the symphony in 2003, Rochberg continues to review, but in the base the symphony remained unchanged. Parts
The symphony shows a balance between an excited and left-over composer. The Night Music section lets an intimate cello showcase, while in parts (1) and (5) the music is abruptly interrupted by percussion rhythms, formerly known as Igor Stravinski in his Le Sacre du printemps. Part (2) contains a passage that resembles the war parade from the seventh symphony of Shostakovich, not in melody or rhythm, but penetration; in the background, but the rest is dominant. The lock has remained so abrupt as the composer wanted; You suspect the work continues, but that's not the case. Source and discography
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