BBC Scottish Symphony Orchestra conducted by Lionel Friend.

I - Allegro moderato: 0:00
II - Adagio poco: 4:03
III - Allegro e marcato sempre - Lento marcia e sostenuto molto e pesante - Allegro: 9:51

Brian's Symphony No.18 was composed between February and May 1961, immediately after the completion of No.17. Preparations were in hand at the time for the world premiere of Brian’s enormous Gothic Symphony, to be conducted by Bryan Fairfax on 24th June of that year. No.18 was premiered on February 26 of 1962, performed by the London Polyphonia Orchestra conducted by Bryan Fairfax.

In 1961, Fairfax had asked Brian if any of his symphonies was scored for forces small enough for him to programme with his largely amateur Polyphonia Orchestra. None was, but Brian set to work to compose a symphony of the required orchestral size. No.18 is thus one of the few symphonies of Brian scored for a relatively standard orchestra. After the series of experimental one-movement Symphonies, No.13-17 of the preceding months, No.18 signalled a new departure with its three separate movements, suggesting classical dimensions and forms, but as always with Brian, subverting our expectations.

The first movement is written in a simplification of the sonata form, reduced to a single theme. Opens with an acid, almost Mahlerian march marked by strong outbursts of percussion. After a short and straight-forward development, this sardonic march is reduced to its basic skeleton. The movement ends with a dissonant crescendo that is left unresolved.

The second movement is free in structure. Opens with timpani blows, followed by the presentation of a melancholic, almost funeral march. The mood is oppressive, tinged with tragedy. The music rises in a dissonant climax. The viola performs a bitter solo, followed by the flute. Follows an anguished crescendo, participating all the orchestra dominated by the cries of brass and percussion. The movement concludes with a sombre coda.

The last movement is very contrasting to the previous one, being written in ternary form. Begins with an exuberant and quick march, exposed in a way that combines both grotesque and optimistic aspects. The middle section consists of a tense and chromatic variation of the theme's march. However, it quickly gives way to a recapitulation of the cheerful opening march. A dissonant fanfare concludes the symphony with great energy.

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Unfortunately, the score is not freely available.

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