Symphony No.3 in B minor "Ilya Muromets" - Reinhold Glière

[@SergioCánovasCM]

The third movement is a scherzo that represents a feast. A regal gathering of boyars and bogatyrs makes merry in a festive reunion. The music, with its solemn air, describes the noble characters; the multicoloured flags, the royal regalia, all the splendour of the court. Ilya appears along with its theme leading to a brilliant climax. The trio begins with the menacing whistle of Nightingale, to fell the proudest of the princes, Ilya promptly slicing off the robber’s head for his pains. Vladimir accepts the hero and names him head of his army. The bogatyrs welcome him as a brother. The scherzo is then resumed, leading us to a vivacious coda. The fourth movement describes the advance of a pagan army:the tatars from the Golden Horde. Martial rhythms appear on percussion, along with menacing woodwind motives. The bogatyrs, leaded by Ilya, fight them in an intense battle dominated by brass and percussion. Themes from the previous movement reappear through the movement. Ilya meets the enemy leader, Batygha the Wicked, with whom he fights for twelve days in fire-spitting fugues, to wild oriental cries and massive brass calls. Ilya is victorious as his theme triumphally rises. The bogatyrs celebrate the victory, but their vanity oversteps the limit: “Where is the heavenly army that we, the bogatyrs, may annihilate?”. The chorale from the first movement reappears, announcing that the two "pilgrims" who launched Ilya on his journey truly belong to a celestial band. The bogatyrs fight the pilgrims, but each time they are slashed, they multiply in two. Violent, forceful motives are contrasted against the solemn chorale, which grows more powerful and victorious. The bogatyrs, damned by their vanity, are defeated and forced to retreat. Ilya Muromets is turned to stone during the work's most intense climax, and a doleful transformation of his noble melody ties in reminiscences from the earlier movements, running through echoes of Vladimir’s palace and Nightingale’s forest back to Svyagotor. The music briefly rises from the depths, leading us to a solemn coda.

[@edwardprice1056]

I've loved this lush, lavish epic journey through Russian legend ever since Chandos released it in the 90s. A forgotten masterwork, I quoted it along with 'Swan of Tuonela' in a symphonic poem I wrote whilst studying at uni. My composition supervisor, who was obsessed with modernism, had the cheek to say 'these are not important pieces'. I'd like to see her facing the tatar hordes at the opening of the finale, or being picked up by Svyagotor the giant as he sweeps across the mountains in his nine-league boots, or left in the forest of the second movement at night... Honestly, some people really are born without souls...

[@bowerdw]

I heard this work for the first time on public radio when that media played classical music regularly. I was so impressed I went out as a lowly student trying to scrape enough money for tuition and found an inexpensive recording of this work. I believe it was on the old Seraphim label. The work still has a powerful impact on me as a listener close to 50 years later.

[@genebodzin3480]

I've been captivated by this symphony for more than 50 years. I never tire of hearing it.

[@igorfanta6850]

Thank you very much for this, Sergio. I love this symphony from the great Reinhold Glière, who taught harmony to an 11 year old boy called Sergei Prokofiev.

[@abqcleve]

Much respect to JoAnn Falletta and Buffalo! For the longest time, the only recording I knew of this was the excellent San Diego recording. But it's aging and this much more atmospheric recording serves this music extraordinarily well. Thank you!

[@johnclayden1675]

Gliere's terrific three symphonies are well overdue for a concert hall revival. Full of drama, tunes and emotion. Thanks for putting them on line

[@AKoribut]

Sorry but I can't resist) 16:32 is from finale of Scriabin symphony 2. Thanks for upload! Great piece

[@fulviopolce9785]

Mi complimento con Sergio per l'inserimento di questo programmatico, grandioso,epico ed eroico lavoro orchestrale nel quale Gliere riflette tutta la sua maestria compositiva.

[@edwardprice1056]

BTW, the picture for this is perfect, good choice.

[@DressedForDrowning]

Simply wonderful!! I think I have a new favorite composer...

[@inugaminagayasu8847]

Настоящая русская музыка! Спасибо Рейнхольду Глиэру за этот шедевр.

[@LucasHagemans]

Tableaux I - Wandering Pilgrims ; Muromets and Svygator Part 1 0:00 Mysterious yearning 1:28 Ilya motif (downward): Youth with no ability to walk 2:14 Climactic 2:49 Yearning motif diminution 3:13 Horn call announcing the arrival of the pilgrims (later: resurrection theme) 4:12 Religious psalm sung by the pilgrims (cor anglais) 5:04 Psalm theme (oboe, bassoon) 6:09 Resurrection of Ilya Murometz (resurrection theme) 7:28 Hero theme, including transformed resurrection theme: Ilya beginning his journey 8:01 Romantic version of resurrection theme 8:16 Romantic hero theme expanded with Ilya theme 8:34 Ilya theme (upward turn, no downward continuation) 8:52 Hero theme + Ilya theme 9:09 Hero theme legato, chromatic ascent: To the peaks of the Holy Mountains 9:28 Ilya motif (loud brass): Ilya reaches the summit Part 2 9:42 Choral (Tranquillo misterioso): Ilya encounters Svyagotor 11:20 Martial air, hero and choral motives 11:52 Galloping of Ilya's magic horse Burushka (Cloudfall), juxtaposed with choral and hero theme (pizzicato) 12:47 Ilya theme 13:09 Ilya derivative motif towards climax 13:30 Frenzy galloping 13:48 Lyric hero theme 14:13 Lyric Ilya motif 14:38 Dramatic resurrection theme 15:07 Pilgrim psalm theme (with stretto resurrection motif) 15:30 Svyagotor motif dramatic (choral theme): The stone coffin scene 15:53 Gallop motif 16:12 Chorale theme 16:58 Molto Tranquillo: Svyagotor gives counsels and his strengths to Ilya 17:14 Chorale fragments 17:41 Sad and fragmented Ilya motif 17:51 Svyagotor motif and chromatic descent: Body expiring 18:24 Mournful timpani in rhythm of Svyagotor motif: Svyagotor is dead 18:50 Sad hero theme exp. Ilya thema (Più mosso): Mourning for Svyagotor 19:27 Romantic resurrection theme: Gaining confidence 19:39 Resurrection motif (stretto) 19:51 Gallop motif: Journey to Kiev 20:15 Hero/gallop theme: The magic horse flies like a hawk across rivers and lakes, while his tail sweeps cities 20:37 Ilya theme triumphant Tableaux II - Ilya And Nightingale The Robber (or Solovey, the Brigand) 21:22 Magic forest 22:58 Schreck Akkord 25:25 Solovey 26:08 Big inhale 26:15 Whistle 26:49 Low pizzicato gallop: Ilya on Burushka the magic horse approaching from afar 27:05 Ilya theme 27:31 Engagement 27:59 Seduction 28:47 Nymph 30:39 Birdlike 31:10 Bell. Violin solo, ww flouirishments 31:23 Horn joins 32:58 33:43 34:27 34:50 35:11 35:31 Rising tension 35:53 Even more rising 36:22 Climatic Soaring, towards colapse 36:46 Squable 38:19 Solovey theme (tuba) 38:56 Big inhale 39:03 Whistling blows 39:08 Ilya motif (low brass): Ilya arching his bow, aiming at Solovey 39:19 Arrow shot in the eye 39:32 Ilya theme 39:45 Gallop motif 40:04 Ilya theme legato (horn) diminuendo: Ilya disappears in the distance 40:35 Forest murmurs Tableaux III - At the Court of Vladimir the Mighty Sun Scherzo 41:23 Rising sun, Anticipation to Kiev court festival 41:41 Festive thema: At the court of Prince Vladimir 'The Great Sun' 42:11 Kiev theme 42:20 Festive theme 42:37 Vladimir theme 43:14 Vladimir theme climaxing 43:47 Kiev motif 44:08 Ilya motif 44:11 Festive theme 44:20 Kiev motif 44:26 Ilya motif 44:35 Vladimir motif fugato 44:53 Ilya motif: Ilya shows the captured Solovey 44:57 Schreck Akkord: Appearance of Solovey Trio 45:04 Solovey's theme (contrabassoon) 45:22 Big inhale 45:33 Whistling blows 45:36 Ilya motif 45:40 Ilya beheads Solovey who expires 45:53 Stringendo: Festivities are resuming Scherzo 46:14 Kiev motif 46:24 Festive theme 46:36 Vladimir theme 46:56 Vladimir theme climaxing 47:29 Kiev theme 47:53 Festive theme 48:01 Hero motif + Kiev motif accomp. Tableaux IV - The Heroic Deeds and Petrification of Ilya Muromets Part 1 48:30 Advancing Tatar army of the Golden Horde 48:43 Tatar them (contra bass pianissimo) 49:22 Tatar theme augmented in brass 49:49 Danger theme: Army has approached 50:01 Tatar Fuga 50:59 Tatar theme in low voices 51:12 Hero motif 51:24 51:42 Tatar theme on upbeat 51:50 52:02 52:14 Hero motif 52:22 Hero motif crescendos 52:39 Hero motives (low brass) 52:54 Tatar theme fugato 53:06 Tatar motif (violins) 53:19 53:34 53:42 Storming victory 53:54 Storming augmented 54:06 54:15 Ilya motif morendo 54:47 Hymn of the Bogatyrs 55:10 Bogatyr hymn climacting 55:35 Contrapunct: bogatyr hymn (high strings) + hero theme exp. (low strings) 56:02 Growing arrogance 56:24 Brooding bogatyr motives 56:58 Contrapunct: hero theme exp. (high strings) + bogatyr hymn (low brass) 57:24 Kiev theme Part 2 57:44 Ilya theme solo horn: Ilya challenges the Heavens 58:21 Resurrection theme stretto 58:54 Psalm theme unisono brass: Response of the celestial army 59:40 Psalm theme augmented (cantus firmus) + Ilya motives 59:52 Modulation 1 1:00:15 Modulation 2 1:00:28 Modulation 3 1:00:40 Modulatory build up 1:00:56 Psalm theme harmonized 1:01:12 Psalm theme harmonized 1:01:25 Battle with celestial army 1:01:59 Psalm theme + Ilya motives 1:02:32 Unisono 1:03:09 Hero motives 1:03:50 Resurrection theme: Final attempt of Ilya and Bogatyrs 1:04:25 Extremely majestic psalm theme: Annihalation by celestial army 1:05:35 Gigantic climax: Petrification of Ilya Muromets and Bogatyrs Reverse retrospective of events 1:05:56 Bogatyr hymn 1:06:16 Tatar theme 1:06:31 Vladimir 1:06:44 Kiev 1:06:54 Seduction 1:07:23 Svyagotor/Choral motif 1:07:46 Resurrection theme subdued 1:08:19 Solo violin chromatic descent: Ilya's demise 1:09:30 Mysterious yearning from beginning

[@ob4161]

Thanks so much for this!

[@drexelringbloom7731]

Although it is a long work, the brilliant construction and orchestration compels me to hear it over and over without tiring of it.

[@carlose.johansson739]

Wonderful symphony ! I join your channel !

[@jerryw3max53]

I had a recording of the Philly Orch playing a Stokowski arrangement of this. It was maybe 20 minutes shorter. He took out a lot of the fluff. I liked it much better that way.

[@genebodzin3480]

That was my introduction to it as well, more than 50 years ago. I've heard many versions of this symphony, and they never cease to captivate me.

[@OursPlacide-fi6fg]

magnifique !

[@LucasHagemans]

49:49 shout out to Tchaikovsky (Francesca di Rimini)

[@juliogonzalezcampayo3201]

Es una hermosa sinfonía. Yo tenía la de Naxos que no sé si es completa. Gracias.

[@SergioCánovasCM]

Esta es la grabación de naxos más nueva y por supuesto está completa. Hay otra de la filarmónica de eslovakia pero que es peor.

[@juliogonzalezcampayo3201]

Yo tenía la antigua. Gracias de nuevo.

[@utsteinproductions]

Could this also be labeled as a symphonic poem? Even though there are movements, all seem to connect as one. Not to mention there is a story involved with the piece. Regardless, it's a grand symphony!

[@SergioCánovasCM]

To be precise, the work is a descriptive or a programatic symphony, like the ones of Berlioz.

[@ThinkHEAVEN-YouTube]

He sounds a lot like Anatol Liadov.....

[@DressedForDrowning]

This symphony stands close to Glières 2nd. Many passages remind me of the Star Trek soundtrack, so we know where the composers have stolen their ideas. (I'm sure they will call it "inspiration".) 25:00 26:00 41:21 - the first ping 44:51 44:58 49:34 ... and many more.

[@ClassicalMusicAndSoundtracks]

It's difficult to not sound like someone else when you write music inside a determined musical language in which many composers have written many different works. The works of James Horner for Star Trek might sound like a pastiche of many romantic works in the same way as the music of Mozart sounds like a pastiche of many works of the classical period.

[@DressedForDrowning]

@@ClassicalMusicAndSoundtracks I recently listened to Wagner's "Valkyrie" and found a passage nearly 1:1 taken into ST "Wrath of Khan", even my wife recognizes it as the music from the movie. John Willians stole a lot from classic and romantic pieces, and also Dennis McCartney, who wrote the music for ST-TNG (he stole a lot from Gustav Holst). There are videos on the web who show how Williams stole from Stravinsky and others. Listen for yourself, and you will notice. I for one wanted to show that this symphony also was "recycled". Another example: Myaskovsky's 2nd Symphony (1910-11) was recycled by Dimitry Tiomkin in the soundtrack for "Two Rode Together" (1961).

[@LyleFrancisDelp]

Just listen to the start of movement two and try to convince me that John Williams didn't steal that outright for Harry Potter.

[@maxlinder5262]

Sounds a bit like a FILM score ....

[@wab4100]

stimmt, aber das macht nichts!

[@Quotenwagnerianer]

That's because many film scores were inspired by this symphony. It was composed about 10 to 15 years before film came to a point where it would actually have scores.

[@ClassicalMusicAndSoundtracks]

It's not that this symphony sounds like a film score. The point is that many soundtracks are inspired to romantic music and, more in general, to classical music.

[@ClassicalMusicAndSoundtracks]

@@Quotenwagnerianer Many soundtracks are inspired to classical music in general, especially to romantic music. Although soundtracks are mostly inspired to romantic music, there are also examples of soundtracks which are inspired to the music of the classical, baroque and modern period. Do you have any source which proves that this symphony in particular has been more influential for soundtracks than many other works of classical music?