Symphony No.3 in C (1956 – 1957)

Rota’s first two symphonies, both of which originated in the late 1930s (and are recorded on CHAN 10546), are direct descendants of the romantic tradition. Written between 1956 and 1957, the Third Symphony in C is shorter, generally less serious in content and in a lighter, essentially neo-classical style. With its brisk main theme tossed between strings and woodwind, its transitional material on oboe and bassoons, its lyrical second subject on clarinet, its exposition repeat, its brief development, its formal recapitulation and coda, the first movement is a model of its kind.

The Adagio con moto, on the other hand, is an intimately personal inspiration. Much emotion is invested in the opening theme which, quietly introduced by first violins over shifting F minor harmonies on violas and cellos, invites the passionate participation of the whole orchestra. Fragments of that theme persist until horns and trombones initiate a middle section with a new melody entrusted to a solo trumpet. Even when the trumpet tune provokes a fortissimo response from horns and woodwind there are reminders of the main theme which eventually reappears in G minor before falling climactically into place in F minor. The trumpet tune is quietly recalled in the closing bars.

Reverting to neo-classical type, the third movement is a lively, deftly scored Scherzo in C minor with a melodious C-major “trio” section in the middle. The percussive repeated notes prominent in the last section of the Scherzo are incorporated into the opening theme of the Vivace con spirito effectively offsetting the more shapely woodwind melody that follows. That pattern of events, the repeated-note material recurring as a rondo theme between more lyrical or more picturesque episodes – like the comedy scene featuring the two bassoons or the aerial flight of strings thinned down at one point to three solo voices – continues to the briefly but emphatically percussive end of the movement.