From the first, haunting strands of its spine-chilling opening, Christopher Rouse’s Symphony No. 1 inhabits a world of darkness and terror. Its titanic forces rise out of, and then sink back into, an atmosphere of seemingly perpetual gloom. It shows us the strange beauty embodied in brooding darkness, hopelessness and despair, and concludes without delivering the kind of reassurance we would like.
Completed in the summer of 1986, the work was written for the Baltimore Symphony and conductor David Zinman. Like Samuel Barber’s First Symphony and Sibelius’ Seventh, Rouse’s symphony unfolds in one movement, although it’s divided into sections which resemble traditional symphonic movements. If you’re not offended by the limitations of labels, you can put Christopher Rouse, who has served on the faculties of both the Eastman and Juilliard schools, into the neo-Romantic camp. His music alternates between tonality and atonality, occasionally hinting at the rebellious sounds of rock mixed with Mahler. A year before the First Symphony, Rouse wrote Bump, a piece inspired by a dream in which the Boston Pops was playing a tour concert in Hell and demons formed a Konga line.
Symphony No. 1 is filled with ghosts from the past. As Rouse explains:
In my Symphony No. 1 I have attempted to pay conscious homage to many of those I especially admire as composers of adagios — Shostakovich, Sibelius, Hartmann, Pettersson, and Schuman, for example — but only one is recognizably quoted (the famous opening theme from the second movement of Bruckner’s Symphony No. 7, played both in the original and here by a quartet of Wagner Tubas). The work is scored for two flutes (2nd doubling piccolo), two oboes (2nd doubling both oboe d’amore and English horn), two clarinets (2nd doubling bass clarinet), two bassoons (2nd doubling contrabassoon), four horns (all doubling Wagner Tubas), three trumpets, three trombones, tuba, timpani, percussion (3 players), and strings. It is dedicated to my friend, John Harbison.
A few months ago, we listened to Anton Bruckner’s Seventh Symphony. You can hear the majestic theme of the Adagio, which Rouse quotes, here. The short quote occurs towards the end.
Here is the Royal Stockholm Philharmonic Orchestra conducted by Alan Gilbert:
While Symphony No. 1 directly quotes Bruckner at 22:19 (indirect references also sneak in at moments like 2:04), the spirit of Shostakovich is never far away. Notice that the fugue beginning at 5:48 is built on the famous motive which outlines Shostakovich’s initials. There’s also the mournful flute solo at 2:54, which inverts and develops the half-step motive from the opening. Like Shostakovich, Rouse’s music seems to continually strive for an elusive goal; and, like most symphonies, it’s always looking for a way forward…a new door to open.
Notice the simple, repeated four note motive (E-G-G-E) which begins around 7:30. As this motive progresses, it morphs into three obsessively repeated notes. It feels dangerous and ominous, like a time bomb waiting to go off. The motive, which starts quietly, grows until it seems unmanageable, exploding into cacophony.
Then, in the middle of the piece, we suddenly enter a completely different world (12:22). The searching half steps of the opening are replaced with reassuring whole steps (14:27 in the bass). This music, built on triads and open fifths, seems to float, providing a dreamlike respite from earlier darkness. But it’s only temporary. Soon, the spirit of the opening angrily re-asserts itself (17:46) and we’re plunged back into darkness and confusion. At 22:31, listen to the trance-like repetition of those three notes we heard earlier, this time in the percussion. A solemn minor chord provides a backdrop throughout the symphony, and it’s present at the end, momentarily obscured by layers of passing dissonance (24:49). The hopeful E-G-G-E motive is heard as the symphony fades away into eternal gloom.
1 thought on “Christopher Rouse’s First Symphony”
Timothy, Thanks so much for sharing Rouse’s Symphony No. 1. I’ve never heard it before and I was completely taken with the way he can recall Bruckner, Mahler, Shostakovich and give it new ethos. As a composer, I’m particularly impressed with his control of texture, the way he can instantly shift from the simplest, most direct musical statement to moments that sound incalculably complex and dense.–Russell