Symphony No. 4 阿侯 交響曲 總譜 芬尼卡·蓋爾曼版

阿霍的第四交響曲是作曲家早期風格時期最具生命力的作品之一。這部作品主要於 1972 年在柏林完成，當時他剛從西貝柳斯學院作曲系畢業一年。雖然作品分為三個不同的樂章--第一樂章和第三樂章是阿達吉奧，中間樂章則是一個惡魔般的迴旋曲，採用了前奏曲的節奏--但從許多方面來看，這部交響曲都是阿霍交響曲中最完整、構思最有機的作品之一。寬廣的第一樂章奠定了貫穿整部交響曲的黑暗、悲劇氣氛。第二樂章顯然更具破壞性：開頭的強力素材在管弦樂漸強的過程中被巧妙地分解，最終形成一個災難性的暴力高潮，回蕩在整個管弦樂團中。樂章以緩慢而扭曲的圓舞曲形式結束了開頭的主題。第三樂章開始時很安靜，木管樂器的顫音奏出了和聲織體，木管樂器和絃樂器都在反復演奏。在樂章的中心部分，木管樂器的精湛演奏和巨大的高潮短暫地反襯出荒涼的氣氛。作品以交響曲主旋律的最後一段延長陳述結束，這段陳述現在由低音弦樂演奏，最後由弦樂演奏出顫音織體。彌漫在交響曲中的悲劇基調已煙消雲散；隨之而來的是，天堂的孤獨回蕩在作品最後的音色之外"

作曲家: Aho, Kalevi
樂器: orchestra
出版社: Fennica Gehrman

曲目:
Adagio - Allegro - Presto - Tempo di valse - Lento - Vivace - Tempo di fanfare - Lento

原文簡介:
Aho’s fourth symphony is among the composer’s most vital compositions from his early stylistic period. It was largely written in Berlin during 1972, one year following his graduation from the Sibelius Academy in composition. Although the work is in three distinct movements – the first and third are adagios while the middle movement is a demonic scherzo cast in a presto tempo – in many ways the symphony is one of the most integrated and organically conceived of Aho’s symphonies. The expansive first movement establishes the dark, tragic mood that permeates the symphony. The second movement takes on a decidedly more destructive bent: the vigorous material from the opening becomes subtly broken down during the orchestra’s gradual crescendo, leading to a cataclysmic, violent climax that reverberates throughout the orchestra. The movement hobbles to its conclusion using a slow and distorted waltz-like version of the opening theme. The third movement begins quietly; the tremolo figures by the woodwinds establish a harmonic texture which recurs by both the woodwinds and strings. The desolate mood is briefly countered by the virtuosic woodwind lines and massive climax in the movement’s central section. The work ends with a final, extended statement of the symphony’s primary theme, now played by the low strings, followed by the concluding tremolo texture played by the strings. The tragic tone that has permeated the symphony has now dissipated away; with it, the solitude of heaven reverberates beyond the final sonority of the work.