Symphony No. 7 (Simpson)

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The Symphony No. 7 by Robert Simpson was composed during 1977 and dedicated to Hans and Milein Keller. The work was completed in anticipation of its release on an LP record to be coupled with Symphony No.2, but this disc did not eventuate. The premiere was given on 30th of October, 1984 by the Royal Liverpool Philharmonic Orchestra conducted by Brian Wright, and since then it has become one of the most frequently performed of Simpson’s symphonies.

The work employs a the same small ‘classical’ orchestra as he did with his Symphony No.2 , but here Simpson felt that a larger string section was required. As with his previous symphony, it is in one movement, but can be divided into three spans. This is one of Simpson’s darkest symphonies.

The opening part, marked Sostenuto, marcato, begins with an angry and angular bass theme whose intervals are a horizontalisation of a cluster chord which provides much of the dissonant harmonies that pervade the work. Implicit in this opening line is the interval of a third which is used for contrasting, lyrical sections throughout the work. The first part builds up to an intensivo fugue which eventually resides.

The second part is a contrasting section, again using the interval of a third and abstractive dissonances to create an unusual sound world. For some time the symphony has been gravitating towards C as a positive goal, but along the way has been threatened by the notes C# and D (which come out of the main cluster chord). The serenity of this section gives little sign of the terror to come.

In the final allegro section, the rivalry between these notes turns bitter and terrifying, with each pitch tempestuously battling each other for mastery. All this culminates to a bleak coda, where the note C# is sustained as the music breaks up into fragments. The message of this ending is very clear: there will always be negative forces in the world to deal with.