Oh and to add. I wonder how many of you have heard of Ferdinand Lavainne (1814-1893) ??
His harmonies even flumoxed Berlioz apparently. His Symphony (1840 ish) is quite extraordinary from what I have discovered.
Another project in the never ending pipeline.
heard of him, entered a few things into IMSLP's wishlist Lavainne-wards, but not otherwise very familiar with his music. Thanks :)
Thought I'd start a new thread.
I'm intrigued, but, as this is in the Recordings & Broadcasts board, can I ascertain as to whether a recording or broadcast link can be provided here?
Thanks!
4c
... none that I'm aware of. Maybe move it to the other boardlet.
Duly moved.
Reverie I'm curious as to where you found the Symphony? I have searched the obvious library catalogues, but the only search result close to "symphonie" that appears is a Fantasca: Ballade Symphonique.
It's in the KBR (Royal Library of Belgium) entitled Simphonie Dramatique et Religieuse
https://uurl.kbr.be/1760736
Date unknown (at least to me) A second symphony "Les Bords de la Meuse" is dated at 1847 so whether the one in question is earlier or later who knows. One for the researchers on this forum there.
I've been working on and off it for some time. First movement and half of second done but there is some serious note checking to be undertaken. Not only is the score hard to read but there are some quite strange modulations.
Sounds intriguing, looking forward to completion of the serious note checking.
'Simphonie' or 'Symphonie'?
"Simphonie" according to the manuscript (link in Reverie's post).
Fétis' 1877 catalog of acquisitions of the Belgian library lists the symphony, so "in or (more likely?) before 1877" , anyway...
I found this from a Berlioz website:
Berlioz then goes on to single out for special mention the composer Ferdinand Lavainne (1810-1893), whose musical career was almost entirely associated with the city of Lille, and some of whose scores Berlioz had clearly studied closely, though the performances of these works had taken place in Lille and not in Paris. Berlioz was critical of aspects of Lavainne's style, but he nevertheless took him seriously as a musician and composer (pp. 145-6):
M. Ferdinand Lavainne had already successfully brought himself to public notice by an oratorio, The Flight to Egypt, which is remarkable for the firmness of its style and ideas that are often elevated and always free from vulgarity. The harmonic writing is careful, but in my view too studied [...] yet it is because of the eminent qualities which an examination of his works has revealed that we believe we must urge him strenuously to steer clear of a misguided path into which the ambition to display facility in the art of linking the most unusual modulations may have led him at the outset.
Link to page: http://www.hberlioz.com/France/Lille.htm
Quote"Simphonie" according to the manuscript (link in Reverie's post).
Oh, quite.
But not according to this entry:
3094. Symphonie dramatique et religieuse à grand orches-
tre, par Ferdinand Lavainne. MS original, 1 vol. in-fol. obi.
https://archive.org/stream/bibliothqueroya01ftgoog/bibliothqueroya01ftgoog_djvu.txt (seach for 'Lavainne')
Symphonie Dramatique et Religieuse
Very little to be found on this composer. He seems to have spent most of his life in Lille.
Berlioz makes particular special mention of him. Berlioz had clearly studied some of the scores closely, though the performances of these works had taken place in Lille and not in Paris. Berlioz was critical of aspects of Lavainne's style, but he nevertheless took him seriously as a musician and composer:
"M. Ferdinand Lavainne had already successfully brought himself to public notice by an oratorio, The Flight to Egypt, which is remarkable for the firmness of its style and ideas that are often elevated and always free from vulgarity.
The harmonic writing is careful, but in my view too studied yet it is because of the eminent qualities which an examination of his works has revealed that we believe we must urge him strenuously to steer clear of a misguided path into which the ambition to display facility in the art of linking the most unusual modulations may have led him at the outset."
Berlioz then comments on an instrumental work by Lavainne (maybe this symphony possibly?), and a recently performed opera.
The existence of an operatic score such as this one, composed by a musician from the provinces and performed on a provincial stage, is of unmistakable significance, and it attests to the immense progress made by music in the city in which the author lives.
In 1843, the Royal Society for Agricultural Sciences and the Arts in Lille awarded him a gold medal for all of his musical compositions. In 1852, the King of the Netherlands awarded him the Oak Crown Cross after hearing his symphony.
The date of this symphony might be between 1840/50.
Here is the link to the first movement of the Symphonie Dramatique et Religieuse. At times you do wonder is this music that belongs to the early 20th century - after a slow introduction for the most part it is wild and passionate with an extraordinary modulation back to the tonic in the penultimate bar.
See what you make of it. I think it's worth looking into the other movements if not just to see what more surprises are in store!
LINK: https://www.youtube.com/watch?v=i-pLYIj55kU
I can't hear anything that would lead me to date this to anything other than the middle of the 19th century. What I find intriguing is the constant alternating between quasi-operatic lyricism and (as you describe it) wildness, but after a while I found it (the alternation) rather predictable. Nevertheless, it'd be fascinating to hear the rest of the work - if you can read the score (I couldn't!)
Thanks once again for a most unusual symphonic disinterrment!
An afterthought: might a comparable composer be Alkan?
If Alkan's missing symphony ever turned up, now that would be the day!
It's not bad, not at all. I found the development section the most fascinating part of this movement. Best of luck with the rest Martin!
The mention of Berlioz has made it very difficult to get him out out my head while listening to Lavainne's music, but I do think that much of the the main Allegro agitato here shares the same feverish intensity and almost bipolar mood switching of the former's Symphonie Fantastique. Fascinating. Do please carry on with it, Martin.