This symphony derived initially from a sketch I wrote in 1978 in the form of a flute duet which lacked both the slow introduction and the whole final movement of the symphonic work that we have now. A non-standard item in the work's scoring is the use of a tubular bell sounding the B-flat just below the normal range -- though if this is not available the tubular bell an octave higher should be sounded, doubled with piano at the required pitch.
But for the fact that Beethoven had already named a rather distinguished symphony Eroica, that in fact would have been my chosen title for this symphony. Instead I have turned to an image that has haunted me since I wrote my novel Three Blind Executioners (Betrayal and Crucifixion of Climber on Mount Everest Just 174 Metres Short of the Summit, Without Oxygen). Sagarmatha is the Nepalese name for Mount Everest.
The 4 Movements (played without a break)
1. Search
A slow atmospheric introduction is constructed from the two motifs that form the backbone of the symphony's structure. Here they are in their condensed form. Appearing in ghostly fashion as though out of a Dartmoor mist, a waltz-like theme in 6/8 starts the 'action', presented in an unsettling bitonality. Almost at once a disturbing 4-note motif (lifted from Holmboe's epic 8th Symphony) further disrupts any sense of underlying tonality and brings the 6/8 tune down to a lower key which in this context bears a feeling of defeat. The tune won't lie down and die, however, and a search starts, the tune completely changing its identity as it passes into a wandering line of quavers in 3/4 and then 4/4, a change of key warming up the atmosphere and giving at least a hint that all is not lost.
After a brief heroic section the search enters a more mysterious, tonally ambiguous passage which comes to a full stop against a granitic cliff of descending overlapping fourths and fifths, which steadfastly resists attempts at further progress.
2. Dance
3. Melancholia
4. Awakening
This is the longest movement of the work. The searching and heroic motifs from the first movement return, ushering in an extended development which brings in other ideas from earlier in the work, now appearing transformed. At one point the orchestra gets carried away - perhaps a little drunk - and the instruments all play the heroic motifs upside down, getting increasingly rowdy and out-of-key with each other. Second thoughts, no, it's not drink; it must be a bit of the naughty weed, for the chaos is cut with a moonlit interlude of too rapturous beauty to have been experienced by drunken minds. The rowdyism resumes, but soon the trombones and then trumpets silence this bedlam, hammering out the key motif the right way up (Margaret Thatcher fashion), but it's left to a Still Small Voice in the woodwind to show how beautiful it really is.
A final recapitulation is multitudinous in character, pitting the overlapping fourths of the 'mist' that opened the symphony against the ostinato from the 3rd movement, which is now transformed from deeply melancholic to a positive surge rising from the depths, accompanied by bell-like declamations of a low B in the brass and syncopated repeating motifs from the second movement. Excitement builds up to the final 'cliff' of descending fourths and fifths, its reappearance this time being transformed into a celebratory eruption, giving a sense of fulfilment rather than obstruction.
