Victoria Borisova-Ollas: Symphony No. 1

Victoria Borisova-Ollas Symphony No. 1
Symphony No. 1

Victoria Borisova-Ollas: Symphony No. 1

Year of composition:
2001
Subtitle:
"The Triumph of Heaven"
Scored for:
for orchestra
Composer:
Victoria Borisova-Ollas
Instrumentation:
3 3 3 3 - 4 3 3 1 - timp, perc(3), hp, pno, str
Instrumentation details:
1st flute
2nd flute
3rd flute (+picc)
1st oboe
2nd oboe
3rd oboe (+c.a)
1st clarinet in Bb
2nd clarinet in Bb
bass clarinet in Bb (+cl(Bb)
cl(Eb))
1st bassoon
2nd bassoon
3rd bassoon (+cbsn)
1st horn in F
2nd horn in F
3rd horn in F
4th horn in F
1st trumpet in C
2nd trumpet in C
3rd trumpet in C
1st trombone
2nd trombone
3rd trombone
contrabass tuba
timpani
1st percussion
2nd percussion
3rd percussion
harp
piano (+cel)
violin I
violin II
violin III
viola
violoncello
contrabass
Duration:
30’
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Audiosamples

Symphony No. 1
00:00

The complete perusal score (PDF-preview)

Work introduction

If you think that, as a form, the three-movement symphony has had its day, then you haven’t yet heard the Symphony No. 1 of Victoria Borisova-Ollas. A ‘gorgeously orchestrated work of great power and poetry’, it bears the subtitle The Triumph of Heaven, referring to a 1907 painting by Russian artist Kazmir Malevich. The symphony – each movement of which is ten minutes long – was composed in 2001 for the Malmö SO. The opening conveys an impression of the threatening skies looming over St Petersburg in the early twentieth century – a century that brought so much suffering to humanity. This first movement is characterised by a blind pursuit of the Zeitgeist and the desperate struggle to survive. The second is dedicated to silent mourning, and the third takes the listener back to the erratic twentieth century. A symphonic experience.

World première

Location:
Malmö
Date:
24.04.2003
Orchestra:
Malmö Symfoniorchester
Conductor:
Dmitri Liss

Press reviews

"With her expressive and methaphysical attitude, Victoria Borisova-Ollas is absolutely unique in Sweden. In her Symphony, there is the same nervous touch, the same high tension and hot-temperedness, the same passion for an almost erotic game, with colliding harmonies and extended climaxes, as in Skriabin`s 'Le divine poème'. The excitement lasts through the whole piece. Borisova-Ollas is able to create a charged atmosphere and she knows perfectly well how to use her weapons."

(Thomas Anderberg/Dagens Nyheter, Stockholm)

"Her fantasy for the orchestral sound and it`s colossal dynamic power is impressing... She has a good command of the orchestra and shows both well controlled eruptive energy and glimmering harmonies. The last minutes of her Symphony might feel a little bit eclectic but I found them very gripping. Not only interesting or skilfully written but really gripping."

(Carlhåkan Larsen/Sydsvenska Dagbladet, Malmö)

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