24-25 Program Book - Flipbook - Page 54
Symphony in E minor, Op. 32 ("Gaelic”) (1894)
CONTINUED
In the second movement, pastoral horn and oboe solos combine a lilting siciliano
rhythm with a melody that borrows from another folksong, “Goirtin Ornadh.” A
contrasting faster section turns the sentimental song into a lively dance. A series of
variations follow, taking the tune through a variety of moods. The music abruptly
stops and the pastoral melody returns, this time featuring the English horn. After
one more lush orchestral outpouring, the movement makes a final rush to the end.
The slow third movement opens with an expressive, melancholy melody in the
strings. This movement borrows from two more Gaelic folksongs in a thoughtful
and fully developed piece involving the whole orchestra. The unhurried character
provides an interesting contrast to the previous two movements.
The fourth movement begins dramatically with a forthright opening theme.
There are no new folksongs used in this movement, but Beach does bring back
materials from the first three movements as a sort of musical summary. A calmer
contrasting section tries to settle things down, but it doesn’t last long. Finally, the
low strings play a long melody that offers optimism. Next the brass take a turn with
a boisterous section tinged with seriousness. The development of this movement
involves a surprising variety of instrument combinations and abrupt contrasts
in style. In true late 19th century fashion, the extended ending provides several
moments where it appears the movement will end, only to have new music take
over and prolong the symphony. The final gesture uses the orchestra in full voice.
Scholars have found additional layers of meaning in the symphony, including
connotations of pride, sadness, excitement, and sympathy for suffering and
overcoming obstacles at home and when emigrating to a new land. Some critics
heralded this symphony as a great work, while others found problems that were
subsequently blamed on her gender—such was the plight of female composers
at the time. Fortunately, the positive reception overshadowed the criticism and
Beach went on to a successful career in the first half of the 20th century. Despite
her fame and recognition during her lifetime, Beach’s music was largely neglected
after her death in 1944. As her music has been revived, it has been received with
deep appreciation for her skill and range of expression.
54 CLASSICAL SERIES GAELIC CELEBRATION
