Symphony No.1 in D – Joly Braga Santos

Portuguese Symphony Orchestra conducted by Álvaro Cassuto.

I – Molto Sostenuto – Allegro enérgico: 0:00
II – Andante, molto tranquillo: 13:39
III – Allegro assai: 24:28

Braga Santos’ Symphony No.1 was composed in 1946, being dedicated “to the memory of the Heroes and Martyrs of the last World War”. It was premiered shortly after, performed in Lisbon by the Portuguese Radio Symphony Orchestra conducted by Pedro de Freitas Branco. The work is written in a largely modal idiom with some kinship to Sibelius and, more particularly, Vaughan Williams. It also reveals a gift for structure, highly effective orchestration and for the writing of long, flowing melodic lines.

The first movement is written in sonata form. It begins with a slow introduction with a thematic cell introduced by the cellos at the beginning, from which the whole work is built on. Then the viola presents a new theme, which is repeated by woodwinds, then strings and finally by the full orchestra in fortissimo, after which it dies away. A solo clarinet with lower string accompaniment establishes the bridge to the main allegro. A rhythmic and masculine main theme is introduced by low strings, based on the opening motive, being fully exposed by violins and first horn.

A lyrical second theme, of certain marine flavour, is then presented by violins over woodwinds and basses. The development is vigorous and dramatic, the horns present the initial thematic cell in slow motion, in dialogue with the woodwind accompanied by rhythmic figures on strings. A contemplative passage for the wood over a tense snare drum, leads us to the recapitulation of the main themes. A short coda formed by forceful chords ends the movement.

The second movement is written in form of an arch. It opens with a long introduction introduced by bass clarinet, low strings then recreate in a variation of the slow introduction of first movement. A bassoon solo leads us to the lyrical main theme of contemplative nature, presented by solo flute. It passes to several other instruments, before the music culminates in an expressive climax. After a violent passage, low strings remind us of the thematic cell of the beginning. Violins and violas recapitulate the main theme in a nostalgic tone. A peaceful coda ends the movement.

The third movement is structured as a scherzo-rondo. It begins with a lively main theme on violins (a variation of the main theme of the first movement) while the basses support with the opening thematic cell. The second theme is an energetic theme of repetitive rhythm, hardly contrasting as it grows in a continuous crescendo, until a slow chorale appears in a dialogue between strings and brass. The main theme is vigorously recapitulated, rising in a powerful climax. The second theme reappears, leading to a slow coda, which grows to a glorious ending and concludes with a pattern of abrupt chords similar to that of the end of the first movement.

Picture: Photograph of the Belém Tower (1514-9) by the Portuguese architect Francisco de Arruda.

Musical analysis partially written by myself. Source: https://rb.gy/5k9p1

Unfortunately the score is not available.

source