Ever since Beethoven's Choral Symphony, a composer's ninth symphony is a huge event – and it has become a daunting prospect, scaling such a symphonic Everest.
Panufnik was no different, but his response to the challenge was to produce a massive, unbroken work of 40 minutes in length – by some distance his biggest work in the form so far. It was not only a homage to Beethoven's Ninth, 'but because the ninth decade of this century seemed to call for a new expression, a more positive response to the turmoil of our time. Living in the shadow of violence and terrorism, my thoughts of the future had too often been pervaded by pessimism: now I found myself endeavouring to write music of uplifting character, attempting to revive the springs of hope'.
He described it as 'my musical interpretation of the ideal of hope: within its notes I have tried to incorporate a spiritual message, an expression of my faith in mankind as well as my longing for racial and religious tolerance among all people'.
Once again Panufnik set out to reach his aim with the help of geometry, for as his symphonic output grew he appeared to want to challenge himself to reach greater structural achievements. The Sinfonia di Speranza, then, is in twelve 'arcs', as he details on his publisher's page.
Verdict
Despite the daunting prospect of a single, unbroken 40 minute span, I found this symphony to be the most satisfying in Panufnik's symphonic output. The long phrases are part of the reason for its success, because they draw out the music so that it becomes taut and intense. And yet Panufnik is also able to write what is essentially chamber music, including the harpsichord at the end of one section to add some ghostly counterpoint to the nervy activity.
The symphony begins with very broad strokes from the strings, moving at odds with the outbursts from the brass that provides more turmoil. However the sheer power of the strings' line carries all before it, rather like a long intonation and devotion – although you might not know exactly where it's going next the brass never shut it down.
Each of the sections proves equally dramatic. There are similarities to the Sinfonia Sacra in the conviction of the harmonic writing and surety of the long melody, but the voice of experience is now shining through more, and it feels that this is the work that captures Panufnik's overwhelmingly positive and resolute approach to his life.
Recordings and Spotify Links
The composer's recording with the BBC Symphony Orchestra can be heard here, while Lukas Borowicz conducts the Konzerthausorchester Berlin here, a recording helpfully broken down into sections.
Next up: Symphony no.10
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