Symphony No.4 - David Diamond

Seattle Symphony Orchestra conducted by Gerard Schwarz.

I - Allegretto: 0:00
II - Adagio - Andante: 5:08
III - Allegro: 10:35

Diamond's Symphony No.4 was finished in November 3 of 1945, being commissioned by the Koussevitzky Foundation for the Boston Symphony Orchestra. As a token of gratitude, Diamond dedicated the work to conductor's last wife Natalie Koussevitzky. It was premiered on January 23 of 1948, performed by said orchestra conducted by Leonard Bernstein, who replaced an indisposed Koussevitzky at the last minute.

The work, while not programatic in nature, it was inspired by Gustav Theodor Fechner's theories about life and death. It is divided in three movements; the first represents a state of uninterrupted sleep, the second the transition from sleep to wakefulness, and the third the eternal wakening to death. Birth is the passage between the first and the second states. Death is the transition between the second and the third.

The first movement is structured in sonata form. It begins with a broad and lyrical main theme shared between strings and woods. The second theme is presented by the oboe, being more rhythmic and jovial in character. Follows an elaborate and expansive development, transforming the materials through counterpoint, fragmentations and combinations. An intense climax is reached, leading to the recapitulation of the main theme. A gentle coda, with derived from the second theme, ends the movement.

The second movement is freely written. It opens with a five-note motive, over which the entire movement is built. A chorale-like theme of a religious and supplicating nature is presented, derived from said motive. Violas introduce a melodic second theme, fully presented by woodwinds. It is then developed through a series of fluid and continuous variations. In the middle part, the music culminates in a climax before calming down. A brief recapitulation of the opening theme leads us to a calm coda.

The third movement is structured as a rondo (A-B-A'-C-A''-B'-A'''). The brass introduces a forceful and virgorous main theme, soon taken by strings and developed with new motives. A more melodic second theme is presented, offering contrast before the main one reappears. A rhythmic third theme appears with a different pattern, but is quickly followed by a varied recapitulation of the main theme. The melodic second theme is also brought back, leading us to a powerful coda based on the main theme.

Picture: "Aurora Borealis" (1865) by the American painter Frederic Edwin Church.

Musical analysis partially written by myself. Sources: https://bit.ly/3VPepz4 and https://bit.ly/3jUSTeX

Unfortunately the score is not available.