Symphony No. 2 阿侯 交響曲 總譜 芬尼卡·蓋爾曼版

阿霍 21 歲在西貝柳斯學院學習時創作了他的第二部交響曲。雖然 1973 年的首演獲得了成功，但阿霍對這部作品並不完全滿意。22 年後，他重新創作了這部作品，並於 1995 年在坦佩雷進行了新的首演。作曲家自己也承認，這部作品代表了他在這一時期的 "反現代主義 "立場。具體來說，阿霍越來越關注 20 世紀 60 年代的前衛潮流。 他指出："調性已經瓦解，旋律成為禁忌話題，音樂形式變得支離破碎，現代作品的形式邏輯往往很難遵循"。 為了解決這一難題，阿霍選擇使用賦格這一歷史悠久的作曲手法，作為交響曲各部分的結構基礎，從而為缺乏經驗和受過教育的聽眾提供了一種可以追隨交響曲論證進程的方法。單樂章的第二交響曲分為三個不同的部分，之後是一個尾聲。每個樂章內部和各樂章之間都充滿了主題性的聯繫，從而使作品在形式上形成了微妙的小範圍和大範圍的連貫性。 第一部分是一個快板。第二部分較為輕快，名為 Poco a poco più mosso，彌補了第一部分的沉重感。第三段是三段式設計的迴旋曲，顯然是作品的戲劇中心。在結束部分的四度強奏高潮之後，動態水準和節奏明顯降低，最後形成了低沉、哀傷的尾聲"

作曲家: Aho, Kalevi
樂器: orchestra
出版社: Fennica Gehrman
原文簡介:
Aho composed his second symphony at the age of 21 when studying at the Sibelius Academy. Although the first performance in 1973 was a success, Aho was not fully satisfied with the work. He renewed it after 22 years and the new first performance took place in Tampere in 1995. By the composer’s own admission, the work should be seen as representing his “anti-modernist” stance from this time period. Specifically, Aho had grown increasingly concerned with the trends of the avant-garde during the 1960s. He noted that “Tonality had broken down, melody had become a taboo subject, and musical form had become so fragmented that the formal logic of modern compositions was often very difficult to follow.” As a solution to this dilemma, Aho chose to use the fugue, a compositional process with a rich historical legacy, as the structural basis of each portion of the symphony, thus offering a means by which both inexperienced and educated listeners could follow the progress of symphonic argument. The single-movement second symphony is in three distinct sections, followed by a coda. It is suffused with thematic associations, both within, as well as between each section, thus engendering a subtle sense of small- and large-scale formal coherence to the composition. The first section is an Adagio. Its ponderous nature is compensated by the rather lighter section two, marked Poco a poco più mosso. The third section, a ternary-design scherzo, is clearly the dramatic center of the work. Following the quadruple forte climax that ends the section, the dynamic level and tempo decrease significantly, leading to the subdued, funereal-styled coda.