When I mention “Havergal Brian”, most people ask me, “Who?” – he is one of the unrecognised masters of 20th century music, notable for composing 32 symphonies, 5 operas, and a variety of other works in a very long lifetime. His first symphony, also known as the »Gothic«, is (in)famous for being the largest symphony ever composed, and was slated for its Australian premiére at the Brisbane Festival in late 2004, and again in mid-2007, the project falling through in each case. Some links to various items:
Havergal Brian Society website
I am an active member of the HBS, and am one of a very small number of Australian members.
I have written several letters and articles for the bimonthly newsletter of the HBS, on various topics:
The case for a reduced »Gothic« (Newsletter 172, March/April 2004)
A short letter written shortly after the Brisbane Gothic fell through the first time, summarising some of the observations made in the longer article on logistics, below.
Creating the vocal score of the »Gothic«—2 (Newsletter 179, May/June 2005)
An article commenting on progress with the vocal score for the »Gothic«.
Brisbane Gothic stalls once more (Newsletter 186, July/August 2006)
A longer letter written shortly after the Brisbane Gothic once again fell through.
The logistics of the »Gothic« symphony (Newsletters 188 and 189, Nov/Dec 2006, Jan/Feb 2007)
This double-length article gives a comprehensive analysis of the logistical demands of Brian’s Symphony Nº 1 and proposes five different approaches to the work.
Brian’s symphonic œuvre
Comparing Brian’s Symphonies (Newsletter 174, July/August 2004)
In his own lifetime Havergal Brian was the most prolific composer of symphonies since Joseph Haydn (he has since been surpassed by Alan Hovhaness), but most of the works are unfairly overshadowed by the notoriety of the Gothic. In fact the majority are readily performable by a normal large symphony orchestra.
Other
35year thoughts (Newsletter 193, September/October 2007)
A letter marking the 35th anniversary of Havergal Brian’s death and focussing on the disposition of copyright.
More thoughts (Newsletter 200, November/December 2008)
A letter marking the 200th newsletter and following-up some issues from the previous letter.
Most of Brian’s works were neither typeset nor published during his lifetime. Most of the works that have been performed have involved performers working from less than ideal manuscripts, a situation that a sub-committee is addressing by undertaking the typesetting. Completed works to date include eight of the thirty-two symphonies (numbers 6, 7, 9, 10, 16, and 22–24), a vocal score of the »Gothic«, and several other orchestral works. The edition of Symphony 7 was undertaken by me, and is in the stage of proof-reading.
Symphony No 7 in C (1948)
1. Allegro moderato (183 bars, 9 minutes)
2. Allegro moderato ma maestoso (150 bars, 7 minutes)
3. Adagio – Allegro moderato – Adagio (302 bars, 15 minutes)
4. Epilogue: Moderato (180 bars, 9 minutes)
Instrumentation: 3(3=picc).2+cor ang.2+bass cl.3(3=cbn) – 4.4.3.1 – timp, perc, harp – 3.3.3.3.3
8 Percussion players: cymbals, triangle, tambourine, bass drum, 3 side drums, tam-tam, 2 low bells in C and E, xylophone, glockenspiel, celesta
Duration: 40′
The symphony is a gloriously vibrant piece of 20th century orchestral writing; unfortunately, EMI have recently withdrawn the recording by Sir Charles Mackerras with the Royal Liverpool Philharmonic (already a bargain, an extra disc of Symphonies 8 and 9 was generously included). More articles on this symphony are referenced at the linked page on the Havergal Brian Society website.