Symphony 1

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dedicated to the NIR symphony orchestra[1]

Opus 10

History

  • Legley began work on this symphony in 1941 and completed it in Brussels on 26 June 1942.
  • In 1943 the symphony was awarded the Agniez prize by the Royal Academy in Brussels.[2] The motto of the work was Après la pluie vient le beau temps [After rain comes sunshine].
  • First performance on 29 December 1943 by the NIR symphony orchestra conducted by André Souris in Studio 4 of Flagey in Brussels. This concert was broadcasted live on Radio-Bruxelles.[3]

Music

  • instrumentation: symphony orchestra[4]
  • duration: 20' - 23'[5]

Parts

  • I.
    • Andante
      • time signature: C
    • Allegro moderato
      • time signature: 2/2
  • II. Andante cantabile
    • time signature: predominantly 4/4
  • III. Allegro vivace, ma molto tranquillo - Meno mosso - Tempo primo - Meno mosso - Tempo primo
    • time signatures: 3/4 - 5/8 - 3/4 - 5/8 - 3/4
  • IV. Allegro vivace
    • time signature: 2/4

Sources

Notes

  1. A mes amis de l'orchestre symphonique de l'I.N.R.
  2. Tessely, p.16. In the biography of the former CeBeDeM we read 1942.
  3. CeBeDeM - lijst werken: Œuvres de Victor Legley (p.1) only mentions that the work was performed for the first time in 1943 under the direction of André Souris in Flagey, Brussels. Prof. Eric Derom, who is doing research into musical life during WW II at the Study and Documentation Centre War and Contemporary Society, informed us about the concert of 29 December 1943, at which the symphony was most likely created. He also points out that at this concert, intriguingly, the first cello concerto by Bohuslav Martinů, a composer banned by the Nazis, was also played. We thank Prof. Derom warmly for the information. The broadcast with the symphony was also announced in the article A Radio-Bruxelles in L'Avenir of December 28, 1943, p.2.
  4. 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, percussion, harp, strings (16-14-12-10-8). In the autograph parts (see sources), Legley gives the double basses the old-fashioned Flemish name of bass violin.
  5. 20' according to CeBeDeM, 23' according to the autograph percussion part (see sources).
  6. De Roeck (p.259) mentions a reduction for 2 pianos. This is likely to be a mistake, he probably refers to this reduction, for 1 piano.