Here, triumph refers to a way of looking at things. It is a way of continuing your celebration, and you can do it alone.
Real
True Narratives
Technical and Analytical Readings
Photographs
Documentary and Educational Films
Imaginary
Fictional Narratives
Poetry
Music: Composers, artists, and major works
Beethoven's Symphony No. 6 in F Major, Op. 68, “Pastorale” (1808), evokes a sense of gratefulness, but this performance by the Pittsburgh Symphony Orchestra under Manfred Honeck, in 2022, adds contours and layers of sound and meaning, transforming the symphony into a joyous celebration of life. The playing is up-tempo, bold and unreservedly enthusiastic. The gratefulness of the work remains palpable but in this performance, it takes on other dimensions. Honeck and his burghers create an impression that they are making music in the open air, perhaps in the countryside, where the symphony is set.
The story in George Frideric Händel’s Messiah, HWV 56 (1741) (approx. 120-158’), is a metaphor for the triumph of parenting. When our child is born, every valley is exalted, we are purified, and the trumpet sounds, awakening and calling us to action. Top recorded performances are conducted by Sargent in 1946 (Part 1; Part 2), Beecham in 1947, Susskind in 1958, Beecham in 1959, Boult in 1961, Colin Davis in 1966, Marriner in 1976, Hogwood in 1979, Pinnock in 1987, Christie in 1994, Suzuki in 1998, Jacobs in 2006, Higginbottom in 2006, Butt in 2006, Christophers in 2007, and Haïm in 2014.
Ludwig van Beethoven’s Piano Sonata No. 32 in C minor, Op. 111 (1822) (approx. 25-27’) is “a work of unmatched drama and transcendence . . . the triumph of order over chaos, of optimism over anguish” [pianist Robert Taub]. Top recorded performances include those by Schnabel, Gulda, Goode, Richter, Michelangeli, Pollini, and Kovacevich.
Max Bruch, Violin Concerto No. 1 in G minor, Op. 26 (1866) (approx. 22-27’): the work concludes in glorious triumph, all around. Top recorded performances are by Heifetz (Sargent) in 1962; Suk (Ančerl) in 1968; Perlman (Haitink) in 1984; Chung (Tennstedt) in 1991; Benedetti (Hruša) in 2009; Gluzman (Litton) in 2011; Julia Fischer (Zinman) in 2012; Leong (Hahn) in 2023; and Baar (Poppen) in 2024.
Sergei Rachmaninoff, Symphony No. 3 in A minor, Op. 44 (1936) (approx. 37-42’): “Composing the Third in exile in the mid-1930s (it was written in Lucerne where Rachmaninov had a villa built for him and his family), Rachmaninov conceived a subtly radical structure in which a long first movement precedes a central part that cleverly combines slow movement and scherzo - a compositional coup of architectural imagination and colouristic brilliance - and a final movement whose outward energy and confidence may not be all that it seems.” In the final movement, “Rachmaninoff continues on his triumphantly thunderous celebratory conclusion, all dark thoughts banished.” Top recorded performances are conducted by Rachmaninoff in 1939, Golovanov in 1948, Ormandy in 1963, Svetlanov in 1966, Jansons in 1993, Ashkenazy in 1998, Vänskä in 2007, Wilson in 2022, and Nézet-Séguin in 2023.
Alexander Borodin, Symphony No. 2 in B Minor (1876) (approx. 30’): “The first movement is like an everyday picture of some solemn ritual; the last movement is a vivid, motley, varied celebration of sparkling gaiety.” [César Cui] “The critic Vladimir Stasov . . . said that Borodin had a program in mind for this symphony. The first movement would be a gathering of Russian warriors; the third, a bayan, or mythic bard; and the fourth, a 'scene of heroes feasting to the sound of the gusli [a folk instrument of the zither family] amid the exultation of a great host of people.'” “The underlying idea of the musical content of the symphony follows the prevalent interest among Russian public in the national and folk epics.” Top recorded performances are conducted by Golovanov in 1947, Malko in 1955, Martinon in 1958, Carlos Kleiber in 1972 ***, Tjeknavorian in 1977, Kondrashin in 1980, and Schwarz in 2011.
Other works from Western classicism:
- Heitor Villa-Lobos, Symphony No. 4, “A Vitória” (Victory) (1919) (approx. 31-34’), “takes Victory as its theme and Villa-Lobos uses big and powerful orchestration to make his point.”
- Marc-Antoine Charpentier, Messe de minuit pour Noël, H. 9 (1694) (approx. 29-31’)
- Howard Hanson, Symphony No. 5, "Sinfonia Sacra," Op. 43 (1955) (approx. 14-15’): in this single-movement symphony, the composer sought “to invoke some of the tragedy and triumph, mysticism and affirmation” of the Christian resurrection narrative.
- Franz Liszt, Tasso, Lamento e Trionfo (Tasso, Lament and Triumph), (Poème symphonique No. 2), S. 96 (1854) (approx. 20-23’)
- Kalevi Aho, Symphony No. 10 (1996) (approx. 47’)
- Daniel Asia, Symphony No. 2, "Celebration Symphony" (1990) (approx. 27’)
- James MacMillan, Larghetto for Orchestra (2009, orch. 2017) (approx. 13-15’)
Albums:
- Tonus Peregrinus, “Gibbons - Hymnes & Songs of the Church” (2006) (72’)
- Various artists, “The Antiphonal Music of Gabrieli”, for brass instruments (2022) (50’)
From the dark side:
- Susan Botti, Lament - The Fallen City (approx. 18’)
Music: songs and other short pieces
- Alison Balsom, “Sound the Trumpet”