Uploaded February 2026 | Updated September 2026, 2 weeks ago
Romanian Radio and Television Symphony Orchestra conducted by Iosif Conta.
I - Allegro deciso - Pochissimo meno mosso - Tempo I (Allegro deciso) - Pochissimo meno mosso - Tempo I ma tranquillo - Tranquillo: 0:00
II - Andante cantabile - Maestoso - Tempo I: 8:18
III - Scherzo. Presto - Andantino - Presto: 12:06
IV - Allegro ma non troppo - Meno mosso - Tempo I - Tempo I e maestoso - Più allegro: 20:11
Jora's Symphony in C major was composed in 1937, while the composer was working as a professor at the Bucharest Conservatoire, as well as a conductor of the Romanian Radio National Orchestra. It was premiered on that year, performed by the Bucharest Philharmonic Orchestra conducted by George Enescu. Divided in four movements that employ largely traditional forms, the work can be described as romantic in language and nationalistic in nature. It features melodies inspired by Romanian folksongs.
The first movement is structured in sonata form. It begins with clarinets and bassoon introducing a folkish melody, which serves as the basis of a rhythmic and animated main theme in C major. A more lyrical and contemplative second theme is then introduced by bassoon, oboe and English horn. The development begins with the return of the main material before the themes are contrapuntally transformed, soon adopting a more dramatic and vigorous tone. A strong climax directly leads to the recapitulation of the material. Another vigorous climax leads us to a serene coda that ends the allegro.
The second movement is a very compact andante, almost like an intermezzo written in ternary form. It opens with a melancholic main theme in G minor, presented by English horn soon accompanied by strings. It has little chance to unfold, as an expressive second theme is introduced by strings in the central part. The music reaches a solemn climax, before the main material is recapitulated. A slow, enigmatic coda ends the andante.
The third movement is a scherzo in ternary form. It begins with a rhythmic and lively main theme in A minor, presented by muted strings. The trio section offers contrast with a widely lyrical and cantabile second theme on woods and strings, full of a folkloric flavour. A solemn and romantic climax is then reached on full orchestra. The main material is then recapitulated, before the scherzo ends with an ascending gesture and a timpani blow.
The fourth movement is structured as a sonata-rondo. It opens with a broad and expressive main theme in C major, folkloric in nature and presented by strings before woods join in. After a short-lived climax, woodwinds introduce a more lyrical and nocturnal second theme. The ensuing development transforms the material, before a wilful and determined third theme appears, leading to a climax on the main theme. A solemn coda ends the symphony with a determined C major chord.
Picture: "Composition with Romanian Motifs" (1924) by Romanian painter Ion Theodorescu-Sion.
Musical analysis written by myself. Source: tinyurl.com/23hjpqfq
To check the score: tinyurl.com/22rpb5vu
Romanian Radio and Television Symphony Orchestra conducted by Iosif Conta.
I - Allegro deciso - Pochissimo meno mosso - Tempo I (Allegro deciso) - Pochissimo meno mosso - Tempo I ma tranquillo - Tranquillo: 0:00
II - Andante cantabile - Maestoso - Tempo I: 8:18
III - Scherzo. Presto - Andantino - Presto: 12:06
IV - Allegro ma non troppo - Meno mosso - Tempo I - Tempo I e maestoso - Più allegro: 20:11
Jora's Symphony in C major was composed in 1937, while the composer was working as a professor at the Bucharest Conservatoire, as well as a conductor of the Romanian Radio National Orchestra. It was premiered on that year, performed by the Bucharest Philharmonic Orchestra conducted by George Enescu. Divided in four movements that employ largely traditional forms, the work can be described as romantic in language and nationalistic in nature. It features melodies inspired by Romanian folksongs.
The first movement is structured in sonata form. It begins with clarinets and bassoon introducing a folkish melody, which serves as the basis of a rhythmic and animated main theme in C major. A more lyrical and contemplative second theme is then introduced by bassoon, oboe and English horn. The development begins with the return of the main material before the themes are contrapuntally transformed, soon adopting a more dramatic and vigorous tone. A strong climax directly leads to the recapitulation of the material. Another vigorous climax leads us to a serene coda that ends the allegro.
The second movement is a very compact andante, almost like an intermezzo written in ternary form. It opens with a melancholic main theme in G minor, presented by English horn soon accompanied by strings. It has little chance to unfold, as an expressive second theme is introduced by strings in the central part. The music reaches a solemn climax, before the main material is recapitulated. A slow, enigmatic coda ends the andante.
The third movement is a scherzo in ternary form. It begins with a rhythmic and lively main theme in A minor, presented by muted strings. The trio section offers contrast with a widely lyrical and cantabile second theme on woods and strings, full of a folkloric flavour. A solemn and romantic climax is then reached on full orchestra. The main material is then recapitulated, before the scherzo ends with an ascending gesture and a timpani blow.
The fourth movement is structured as a sonata-rondo. It opens with a broad and expressive main theme in C major, folkloric in nature and presented by strings before woods join in. After a short-lived climax, woodwinds introduce a more lyrical and nocturnal second theme. The ensuing development transforms the material, before a wilful and determined third theme appears, leading to a climax on the main theme. A solemn coda ends the symphony with a determined C major chord.
Picture: "Composition with Romanian Motifs" (1924) by Romanian painter Ion Theodorescu-Sion.
Musical analysis written by myself. Source: tinyurl.com/23hjpqfq
To check the score: tinyurl.com/22rpb5vu







![Roaring Rotterdam for Orchestra - Joep Franssens
Netherlands Radio Philharmonic Orchestra conducted by Gerd Albrecht.
I - Tempo I: Sostenuto, ma ritmico (♪ = 168) - Tempo II (♪ = 138) - (♪ = 168) - (♪ = 138) - Sempre come un corale (𝅘𝅥 = 84) - Appasionato maestoso (𝅘𝅥 = 69) - Tempo II (♪ = 138) 0:00
Franssenss Roaring Rotterdam was composed on 1997, being commissioned by the [Netherlands] Radio Philharmonic Orchestra (Radio Filharmonisch Orkest), with financial support from the Fonds voor de Scheppende Toonkunst, a Dutch foundation funded by the Ministry of Education, Culture and Science in order promote the creation of new compositions in the field of classical music and jazz. It was premiered on November 17 of 1997, as the opener of a concert series titled Roaring Rotterdam, from which the title is derived. A version for 4 pianos was realized on 1997, being later revised on 2016.
After completing his musical studies with Louis Andriessen and Klaas de Vries, Franssens became inspired by Ligeti’s micropolyphony and the phase-shifting technique of Steve Reich. The relationship with Ligeti’s music becomes clear in works written in the eighties such as Echo’s and Phasing. The influence of Reich can already be heard in Between the Beats, an early piece for two pianos. During the nineties, Franssens’ sound became more open and more optimistic in tone. Because of the melodious, generous and emotional character of his music, he encountered growing resistance within the Dutch music scene. Contrarily he received growing acclaim by a wider audience. His first CD with Echo’s, Phasing and Sanctus was a hit.
The work with a series of ostinato figures introduced by the string basses of the orchestra, clearly inspired by the opening chorus of Bachs St. John Passion. The music gradually grows in a long crescendo, reaching two powerful and expressive climaxes. Other influences of the piece are Smetana’s The Moldau and the opening of Wagner’s Das Rheingold, the pop group Yes and more generally American minimalism. The meandering river of sound leads to a fortissimo chorale, coming to a halt on a lengthy bed of sound filled with octaves and fifths. The language seems at first glance clearly to belong to postmodernism, though in one way or another, the deeply serious tone of this piece is at odds with the anything goes attitude. What is more, it seems anything but fragmentary, given that all the discrete elements of the piece combine towards the end of the piece and culminate in an ineluctable granite-like chorale, a triumph of harmonic and rhythmic simplicity and unambiguousness.
Picture: Photograph of a lanscape in Rotterdam (2016) by David Broetz.
Musical analysis mostly written by myself. Sources: https://tinyurl.com/2brun3zn and https://tinyurl.com/26o828xn
To check the score: https://tinyurl.com/29w5wtcg Roaring Rotterdam for Orchestra - Joep Franssens](https://i.ytimg.com/vi/ssO3Ss-Kj7w/mqdefault.jpg)


