Albert Roussel's Symphony No. 3 in G-minor, Opus 42

Albert Roussel
1869 - 1937

Roussel didn't turn to music until adult-hood, becoming a successful French composer, following the footsteps of Debussy with impressionism and later a neo-classicism style. He is arguably the greatest French symphonist and the greatest French ballet composer. Learn more

He has never reached the social pinnacle that he deserved in his day as one of many great French composers of the early 1900's, but Albert Roussel's popularity is growing among classical music enthusiasts. The main reason I'm highlighting him this month, is because of my admiration for his 3rd Symphony in G-minor. First of all, the key is not exactly easy to write in, but when done well, it can hold powerful color qualities and very rich chords.

In Roussel's 3rd Symphony (especially in the 1st movement), he uses wicked contrapuntal techniques with his melodies and themes, countering each other over and over again from all sections of the orchestra. It starts of with some mad, ripping french horns (of course I like it) and builds with a nice hop and dark tone to it, resolving into less chaotic melodies that are still in themselves somewhat disturbing.

Each main theme is shared among the various groups in the orchestra with a sense of progression at all times, with interludes of dance-like themes in between. Not to mention the almost primitive rhythms that appear throughout. Very diverse, indeed.

In my opinion, this is one of the more exciting styles of composition to listen to – with the constant flow and nagging in the back of the mind that something is about to pound out. Besides, he just does such a great job in the G-minor key with all the parallels between parts in the melodies.

Written during the years of 1929-1930, Roussel's 3rd is regarded by some music historians as one of the best symphonies composed by any composer between the two World Wars. It has four movements that last roughly 24 minutes. Debuting in Boston on October 24, 1930, the piece was commissioned by Serge Koussevitzky for the 50th anniversary of the Boston Symphony Orchestra.

Recording Information:
Roussel / Symphony No. 3 / Movement 1
Chicago Symphony (long time ago)

Comments: Nice pure recording, made in the 40's or 50's with mono technology I believe. It's powerful and driving.

Appeal for the Advancement of Classical Listening

I'm not a musicologist, so I often "mess up" my vocabulary when talking about classical music. Although I begin college as a music major, I ended with a minor for various reasons that I could not control. At least I did take some history and plenty of theory to understand to myself what I love. Moreover, it's the performance of music where you gain the most insight and capability for understanding musical nature.

I do fully believe in classical music as the most complex form and satisfying music when one has had some training, understanding and experience performing it. The ability for a single piece of classical music to change from ensemble to ensemble, conductor to conductor, decade to decade, and so on gives it an amazing flexibility and ability to take on many forms – most importantly, though is how it is NEVER the same.

Classical music as a genre dominates all other genres of music in it's complexity and ability to emulate emotion. "Classical works often display great musical complexity through the composer's use of development, modulation (changing of keys), variation rather than exact repetition, musical phrases that are not of even length, counterpoint, polyphony and sophisticated harmony. Also, many long classical works (from 30 minutes to three hours) are built up from a hierarchy of smaller units: namely phrases, periods, sections, and movements. As with many forms of fine art, classical music often aspires to communicate a transcendent quality of emotion, which expresses something universal about the human condition."