There are a couple of works within Panufnik's symphonic output where the word 'symphony' can be rather loosely applied. The Sinfonia Concertante (no.4) is one such instance, while the Metasinfonia is another. The composer himself acknowledges this, writing that it 'could be considered as a kind of organ concerto, but I feel the title Metasinfonia more accurately depicts the form and character of the composition'. The idea of the 'organ symphony' is not a new one of course, with the famous Saint-Saëns work dating from 1886, and a lesser-known Twentieth Century equivalent completed by Copland in 1924.
Once again there is a carefully thought out structure to this work, as Panufnik explains. 'Both parts of the title, meta and sinfonia, each have equal significance. The prefix meta here relates to other words and ideas prefixed by meta - particularly metamorphosis, meaning change of shape, gradual transformation; the word sinfonia I used because the work has an extremely disciplined organic structure, even if its design goes rather far from the classical model'.
The symphonic arguments take place in one continuous movement, completed by Panufnik in 1978 for the Manchester International Organ Festival.
Verdict
Compositions for organ and orchestra often end up as a dramatic duel between the two forces, and Panufnik's Seventh Symphony is no exception, with plenty of thrills and spills. It begins with some very stern statements from the strings, which the organ responds to with big, dissonant chords – a lot of angst being worked out in the process. The string writing becomes increasingly divided, so that there are some very strong, twisted chords that make a powerful expression.
There is a dramatic intervention by high pitched timpani half way through, which leads to a quieter and much colder section, with macabre string sounds working around some ghoulish organ lines, rather like the soundtrack to a horror film.
Gradually the tension builds again until a powerful cadenza is unleashed around the 21 minute mark, the organ taking over – before an impressively wrought finish with the two forces uniting, and a rush of percussion to finish.
As the commentary implies, this is a more listener friendly work than the previous two symphonies.
Recordings and Spotify Link
Just the one recording of the Metasinfonia commonly available - and it is a vividly played version from organist Michael Oberaigner and timpanist Jorg Strodthoff, with the Konzerthausorchester Berlin conducted by Lukasz Borowicz on CPO. Coupled with the Eighth Symphony - the Sinfonia Votiva - it can be heard here
Next up: Sinfonia Votiva
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