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21-7867: (Redirected from Third Symphony ) Symphony No. 3 may refer to: Symphony No. 3 (Alwyn) by William Alwyn , 1955–1956 Symphony No. 3 (Arnold) (op. 63) by Malcolm Arnold, 1957 Symphony No. 3 (Badings) by Henk Badings , 1934 Symphony No. 3 (Baird) by Tadeusz Baird , 1969 Symphony No. 3 (Bax) by Arnold Bax, 1929 Symphony No. 3 (Beethoven) in E-flat major (Op. 55, Eroica ) by Ludwig van Beethoven, 1802–04 Symphony No. 3 (Bentoiu) (Op. 22) by Pascal Bentoiu , 1976 Symphony No. 3 (Bernstein) ( Kaddish ) by Leonard Bernstein, 1963 Symphony No. 3 (Berwald) in C major ( Singulière ) by Franz Berwald, 1845 Symphony No. 3 (Brahms) in F major (Op. 90) by Johannes Brahms, 1883 Symphony No. 3 (Brian) in C-sharp minor by Havergal Brian , 1931–32 Symphony No. 3 (Bruch) in E major (Op. 51) by Max Bruch , 1887 Symphony No. 3 (Bruckner) in D minor ( WAB 103, Wagner ) by Anton Bruckner, 1872–1889 Symphony No. 3 (Chávez) by Carlos Chávez, 1951–54 Symphony No. 3 (Ching) ( Rituals ) by Jeffrey Ching, 1997–98 Symphony No. 3 (Clementi) in G major (WoO 34, The Great National ) by Muzio Clementi Symphony No. 3 (Copland) by Aaron Copland, 1944–46 Symphony No. 3 (Corigliano) ( Circus Maximus ) by John Corigliano, 2005 Symphony No. 3 (Cowell) ( Gaelic ) by Henry Cowell , 1942 Symphony No. 3 (Davies) by Peter Maxwell Davies, 1984 Symphony No. 3 (Diamond) by David Diamond , 1945 Symphony No. 3 (Draeseke) in C major (Op. 40, Symphonia Tragica ) by Felix Draeseke , 1885–86 Symphony No. 3 (Dvořák) in E major (Op. 10, B. 34) by Antonín Dvořák, c.1872 Symphony No. 3 (Elgar/Payne) , by Anthony Payne, 1997, from sketches by Edward Elgar, c. 1934 Symphony No. 3 (Enescu) in C major (Op. 21) by George Enescu, 1916–18 Symphony No. 3 (Ficher) (Op. 36) by Jacobo Ficher , 1938–40 Symphony No. 3 (Finney) by Ross Lee Finney , c. 1960 Symphony No. 3 (Furtwängler) in C-sharp minor by Wilhelm Furtwängler, 1951–54 Symphony No. 3 (Garayev) by Gara Garayev, 1964 Symphony No. 3 (Gerhard) ( Collages ) by Roberto Gerhard , 1960 Symphony No. 3 (Giannini) by Vittorio Giannini , 1958 Symphony No. 3 (Gillis) ( A Symphony for Free Men ) by Don Gillis , 1940–41 Symphony No. 3 (Glass) by Philip Glass, 1995 Symphony No. 3 (Glazunov) in D major (Op. 33) by Alexander Glazunov, 1890 Symphony No. 3 (Glière) in B minor (Op. 42, Ilya Muromets ) by Reinhold Glière, 1911 Symphony No. 3 (Goeb) by Roger Goeb , 1950 Symphony No. 3 (Górecki) (Op. 36, Symphony of Sorrowful Songs ) by Henryk Górecki, 1976 Symphony No. 3 (Guarnieri) by Camargo Guarnieri , 1952 Symphony No. 3 (Hanson) by Howard Hanson, 1936–38 Symphony No. 3 (Harbison) by John Harbison, 1991 Symphony No. 3 (Harris) by Roy Harris, 1939 Symphony No. 3 (Harrison) by Lou Harrison , 1982 Symphony No. 3 (Hartmann) by Karl Amadeus Hartmann , 1948–49 Symphony No. 3 (Haydn) in G major (Hoboken I/3) by Joseph Haydn, 1760–62 Symphony No. 3 (Michael Haydn) in G major (Sherman 3, MH 26, Divertimento ) by Michael Haydn, 1763 Symphony No. 3 (Henze) by Hans Werner Henze, 1949–50 Symphony No. 3 (Honegger) ( Liturgique ) by Arthur Honegger, 1945–46 Symphony No. 3 (Hovhaness) (Op. 148) by Alan Hovhaness , 1956 Symphony No. 3 (Ichiyanagi) ( Inner Communications ) by Toshi Ichiyanagi , 1995 Symphony No. 3 (Imbrie) by Andrew Imbrie , c.1973 Symphony No. 3 (Ince) ( Siege of Vienna ) by Kamran Ince , 1995 Symphony No. 3 (Ives) (S. 3, K. 1A3, The Camp Meeting ) by Charles Ives, 1908–10 Symphony No. 3 (Kabalevsky) (Op. 22, Requiem ) by Dmitry Kabalevsky , 1933 Symphony No. 3 (Khachaturian) ( Symphony–Poem ) by Aram Khachaturian, 1947 Symphony No. 3 (Kilar) ( September Symphony ) by Wojciech Kilar, 2003 Symphony No. 3 (Killmayer) ( Menschen-Los ) by Wilhelm Killmayer , 1972–88 Symphony No. 3 (Krenek) (Op. 16) by Ernst Krenek , 1922 Symphony No. 3 (Lilburn) by Douglas Lilburn, 1961 Symphony No. 3 (Lloyd) by George Lloyd , 1933 Symphony No. 3 (Lutosławski) by Witold Lutosławski, 1973–83 Symphony No. 3 (Lyatoshynsky) in B minor by Borys Lyatoshynsky, 1951 Symphony No. 3 (MacMillan) ( Silence ) by James MacMillan, 2003 Symphony No. 3 (Madetoja) in A major (Op. 55) by Leevi Madetoja, 1925–26 Symphony No. 3 (Magnard) in B-flat minor (Op. 11) by Albéric Magnard , 1895–96 Symphony No. 3 (Mahler) by Gustav Mahler, 1896 Symphony No. 3 (Malipiero) by Gian Francesco Malipiero, 1945 Symphony No. 3 (Marco) by Tomás Marco , 1985 Symphony No. 3 (Martinů) (H. 299) by Bohuslav Martinů, 1944 Symphony No. 3 (Melartin) in F major (Op. 40) by Erkki Melartin , 1906–07 Symphony No. 3 (Mendelssohn) in A minor (Op. 56, Scottish ) by Felix Mendelssohn, 1829–42 Symphony No. 3 (Mennin) by Peter Mennin , 1946 Symphony No. 3 (Milhaud) (Op. 271 Te Deum ) by Darius Milhaud, 1946 Symphony No. 3 (Mozart) in E-flat major (K. 18), now attributed to Carl Friedrich Abel, c. 1764 Symphony No. 3 (Myaskovsky) in A minor (Op. 15) by Nikolai Myaskovsky, 1914 Symphony No. 3 (Natra) by Sergiu Natra Symphony No. 3 (Nielsen) (Op. 27, FS 60, Espansiva ) by Carl Nielsen, 1910–11 Symphony No. 3 (Nørgård) by Per Nørgård, 1972–75 Symphony No. 3 (Panufnik) ( Sacra ) by Andrzej Panufnik, 1963 Symphony No. 3 (Pärt) by Arvo Pärt, 1971 Symphony No. 3 (Penderecki) by Krzysztof Penderecki, 1988–95 Symphony No. 3 (Piston) Walter Piston, 1946–47 Symphony No. 3 (Popov) ( Heroic or Spanish ) by Gavriil Popov, 1939–46 Symphony No. 3 (Price) in C minor by Florence Price, 1938–40 Symphony No. 3 (Prokofiev) in C minor (Op. 44) by Sergei Prokofiev, 1928 Symphony No. 3 (Rachmaninoff) in A minor (Op. 44) by Sergei Rachmaninoff, 1935–36 Symphony No. 3 (Raff) in F major ( Im Walde ) by Joachim Raff, 1869 Symphony No. 3 (Rautavaara) by Einojuhani Rautavaara, 1959–60 Symphony No. 3 (Riegger) (Op. 42) by Wallingford Riegger , 1946–47 Symphony No. 3 (Rochberg) by George Rochberg , 1966–69 Symphony No. 3 (Rorem) by Ned Rorem, 1959 Symphony No. 3 (Rouse) by Christopher Rouse, 2011 Symphony No. 3 (Roussel) in G minor (Op. 42) by Albert Roussel , 1929–30 Symphony No. 3 (Rubbra) (Op. 49) by Edmund Rubbra , 1938-39 Symphony No. 3 (Saint-Saëns) in C minor (Op. 78, Organ ) by Camille Saint-Saëns, 1866 Symphony No. 3 (Sallinen) (Op. 35) by Aulis Sallinen, 1974–75 Symphony No. 3 (Say) ( Universe ) by Fazıl Say, 2012 Symphony No. 3 (Scherber) in B minor by Martin Scherber , 1952–55 Symphony No. 3 (Schnittke) by Alfred Schnittke, 1981 Symphony No. 3 (Schubert) in D major (D. 200) by Franz Schubert, 1815 Symphony No. 3 (Schuman) by William Schuman, 1941 Symphony No. 3 (Schumann) in E-flat major (Op. 97, Rhenish ) by Robert Schumann, 1850 Symphony No. 3 (Scriabin) in C minor (Op. 43, The Divine Poem ) by Alexander Scriabin, 1902–04 Symphony No. 3 (Sessions) by Roger Sessions, 1957 Symphony No. 3 (Shostakovich) in E-flat major (Op. 20, The First of May ) by Dmitri Shostakovich, 1930 Symphony No. 3 (Sibelius) in C major (Op. 52) by Jean Sibelius, 1907 Symphony No. 3 (Simpson) by Robert Simpson, 1962 Symphony No. 3 (Spohr) in C minor (Op. 78) by Louis Spohr Symphony No. 3 (Szymanowski) (Op. 27, Song of

42-453: A long letter to the composer Arnold Schoenberg , enclosing his compositions, on 21 October 1923, begging to be accepted as his pupil. After the latter's acceptance, Gerhard immediately left for Vienna. He was Schoenberg's only Spanish pupil. Gerhard studied with Schoenberg in Vienna and Berlin between 1923 and 1928, and the teacher-pupil relationship became a lifelong friendship, as is shown in

63-953: A member of the Savile Club in London. He helped found the Composers' Guild of Great Britain (now merged into the British Academy of Songwriters, Composers and Authors ), and was its chairman in 1949, 1950 and 1954. He was also sometime Director of the Mechanical-Copyright Protection Society , a Vice-President of the Society for the Promotion of New Music (SPNM) and Director of the Performing Right Society . For many years he

84-497: A modern tonal idiom with a pronounced Spanish-folkloric orientation that descended on the one hand from Pedrell and Falla, and on the other from such contemporary masters as Bartók and Stravinsky . This was the idiom whose major achievements included the ballets Soirées de Barcelone and Don Quixote , the Violin Concerto and the opera The Duenna . Gerhard often said that he stood by the sound of his music: 'in music

105-948: Is buried at the Parish of the Ascension Burial Ground in Cambridge, with his wife Leopoldina 'Poldi' Feichtegger Gerhard (1903–1994). His archive is kept at Cambridge University Library . Other personal papers of Gerhard are preserved in the Biblioteca de Catalunya . The vast majority of the correspondence between Gerhard and Arnold Schoenberg can be found at the Arnold Schoenberg Center . For twenty years – first in Barcelona and then in exile in England – Gerhard cultivated, and enormously enriched,

126-531: Is different from Wikidata All article disambiguation pages All disambiguation pages William Alwyn William Alwyn CBE (born William Alwyn Smith ; 7 November 1905 – 11 September 1985), was an English composer , conductor , and music teacher. William Alwyn was born William Alwyn Smith in Northampton , England, the son of Ada Tyler (Tompkins) and William James Smith. He showed an early interest in music and began to learn to play

147-664: The 1998 Winter Olympics . Alwyn spent the last 25 years of his life at Lark Rise, Dunwich Road, Blythburgh , Suffolk , where he composed his Concerto Grosso no. 3 (1964), two operas, Juan, or the Libertine and Miss Julie , and his last major orchestral work, Symphony No. 5 Hydriotaphia (1972–73). Alwyn recorded his five symphonies as conductor for the Lyrita label in the 1970s, recordings that have since been reissued on CD. Most of Alwyn's orchestral and chamber music has more recently been recorded on CD for Chandos Records :

168-546: The BBC and in the theatre, Gerhard's compositions of the 1940s were explicitly related to aspects of Spanish and Catalan culture, beginning in 1940 with a Homenaje a Pedrell , a symphony in memory of Pedrell, and the first version of the ballet Don Quixote . The period culminated with The Duenna , a Spanish opera on an English play by Richard Brinsley Sheridan , which is set in Spain. The Covent Garden production of Don Quixote and

189-868: The Renaissance to the eighteenth century. Gerhard supported the Republican cause in the Spanish Civil War (as musical adviser to the Minister of Fine Arts in the Catalan Government and a member of the Republican government's Social Music Council). He was forced to flee to France in 1939 and later that year settled in Cambridge , England. Until the death of Francisco Franco , his music was virtually proscribed in Spain, to which he never returned except for holidays. Apart from scores for

210-685: The piccolo . At the age of 15, he entered the Royal Academy of Music in London , where he studied flute , piano and composition . He was a virtuoso flautist and for a time was a flautist with the London Symphony Orchestra . Alwyn served as professor of composition at the Royal Academy of Music from 1926 to 1955. Alwyn was a distinguished polyglot , poet , and artist , as well as musician. In 1948, he became

231-572: The BBC broadcasts of The Duenna popularized Gerhard's reputation in the UK, but not in Spain. During the 1950s, the legacy of Schoenbergian serialism , a background presence in these overtly national works, engendered an increasingly radical approach to composition which, by the 1960s, placed Gerhard firmly in the ranks of the avant-garde. From the early 1950s Gerhard suffered from a heart condition which eventually ended his life. He died in Cambridge in 1970 and

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252-572: The Concerto for Orchestra, concertos for violin, piano and harpsichord, the cantata The Plague (after Albert Camus ), the ballets Pandora and Ariel , and pieces for a wide variety of chamber ensembles, including Sardanas for the indigenous Catalan street band, the cobla . He was perhaps the first important composer of electronic music in Britain; his incidental music for the 1955 Stratford-on-Avon King Lear – one of many such commissions for

273-1073: The Night ) by Karol Szymanowski, 1914–16 Symphony No. 3 (Tchaikovsky) in D major (Op. 29, Polish ) by Pyotr Ilyich Tchaikovsky, 1875 Symphony No. 3 (Tippett) by Michael Tippett, 1970–72 Symphony No. 3 (Toch) (Op. 75) by Ernst Toch, 1955 Symphony No. 3 (Tubin) in D minor ( Heroic ) by Eduard Tubin , 1940–42 Symphony No. 3 (Ustvolskaya) ( Jesus Messiah, Save Us ) by Galina Ustvolskaya, 1983 Symphony No. 3 (Valen) (Op. 41) by Fartein Valen , 1944–46 Symphony No. 3 (Vaughan Williams) ( Pastoral ) by Ralph Vaughan Williams, 1922 Symphony No. 3 (Vieru) ( Earthquake ) by Anatol Vieru , 1978 Symphony No. 3 (Villa-Lobos) ( War ) by Heitor Villa-Lobos, 1913 Symphony No. 3 (Wagenaar) by Bernard Wagenaar , 1936 Symphony No. 3 (Williams) in F major (Op.58. The Sacred Forest ) by Alberto Williams , 1911 Symphony No. 3 (Williamson) ( The Icy Mirror ) by Malcolm Williamson , 1972 Topics referred to by

294-494: The complete correspondence published between the two composers. In 1928, Gerhard returned to Barcelona. He devoted his energies to new music through concerts and journalism, in conjunction with the flourishing literary and artistic avant-garde of Catalonia. He befriended Joan Miró and Pablo Casals , brought Schoenberg and Anton Webern to Barcelona, and was the principal organizer of the 1936 ISCM Festival . He also collected, edited, and performed folksongs and Spanish music from

315-512: The five symphonies were played by the London Symphony Orchestra , conducted by Richard Hickox . Alwyn's opera Miss Julie has been recorded twice: for Lyrita, and in 2019 for Chandos, conducted by Sakari Oramo . Alwyn was married first to Olive Mary Audrey (Pull). He died in Southwold , Suffolk, in 1985. Alwyn's second wife was the composer Doreen Carwithen . His great-grandson is the actor Joe Alwyn . Roberto Gerhard Gerhard

336-552: The possible 12 are used in the first movement, with the remaining four (D, E, F, and A ♭ ) constituting the middle movement, and all 12 being combined for the finale. The work was premièred on 10 October 1956 at the Royal Festival Hall by Sir Thomas Beecham . Alwyn's concerto for harp and string orchestra, Lyra Angelica , was popularized when the American figure skater Michelle Kwan performed to it at

357-443: The same term [REDACTED] This disambiguation page lists articles associated with the title Symphony No. 3 . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Symphony_No._3&oldid=1092220113 " Categories : Disambiguation pages Symphonies Hidden categories: Short description

378-554: The scores have been lost, although many scores and sketches are now in the William Alwyn Archive at Cambridge University Library. In recent years CD recordings have been made. Some works, for which only fragmentary sketches remained, were reconstructed by Philip Lane or Christopher Palmer from the film soundtracks themselves. Alwyn relished dissonance, and devised his own alternative to 12-tone serialism . For instance, in his Third Symphony (1955–56), eight notes of

399-583: The sense is in the sound'. Yet dazzling as their scoring is, his last works are in no sense a mere succession of sonic events. Their forms are meticulously organized and several make use of his special development of serialism where a twelve-tone pitch series, governing intervallic relations, interacts with a twelvefold time series governing the music's duration and proportions. Gerhard's most significant works, apart from those already mentioned, include four symphonies (the Third, Collages , for orchestra and tape),

420-680: Was born in Valls , near Tarragona , Spain. His father was of German and Swiss ancestry; his mother was from Alsace-Lorraine . He studied piano with Enrique Granados and composition with scholar-composer Felip Pedrell , teacher of Isaac Albéniz , Granados and Manuel de Falla . Gerhard visited Falla in Granada, but dismissed him as a possible teacher and decided to shut himself away in a Catalan farmhouse to reflect on his professional future and concentrate on his work. Seeking systematicity, he turned his gaze to German avant-garde music and decided to send

441-734: Was one of the panel engaged by the BBC to read new scores to help assess whether the works should be performed and broadcast. He was appointed a CBE in 1978 in recognition of his services to music. His compositional output was varied and large and included five symphonies, four operas, several concertos, film scores and string quartets. Alwyn wrote more than 70 film scores from 1941 to 1962. His classic film scores included Green for Danger (1944), Odd Man Out (1947), Desert Victory (1943), Fires Were Started (1943), The History of Mr. Polly (1949), The Fallen Idol (1948), The Black Tent (1956), The Way Ahead (1944), The True Glory (1945) and The Crimson Pirate (1952). Some of

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