Symphony in One Movement op. 29 哥爾．亞力山大 交響曲 樂章 總譜 朔特版

我的單樂章交響曲》於 1969 年 4 月在波士頓開始創作，1970 年 2 月在康涅狄格州紐黑文完成。它是新愛樂樂團為訪問大阪世界博覽會而委託創作的。這部作品的靈感或最初的構思是一個單一的形象：下降到較低的區域，可能還有相應的上升。我的意思很形象，就是下降；管弦樂隊的每件樂器都從最高音調降到最低音調，並默默地....。我的交響曲有一個主題，即中提琴獨奏的旋律，並由此衍生出不同的部分，分別為二部曲、三部曲和四部曲。精心製作的管弦樂，包括對各個聲部的異音處理和樂器色彩的複調，改變了這些質地。接下來的部分是一種發展，其特點是各種樂器組合以對比鮮明的速度進行朗誦。在達到最高潮時，會出現呼嘯的號角聲和鐘聲。接下來是前面提到的下降部分，從高到低，步履穩健。速度保持不變，但每一步下降的時間都比前一步要短；因此，這是一種加速到靜止的過程，只有前一步的衝擊力和存在感依然存在時才能保持。它以原始旋律的變體為基礎，從下行結束時的原點（同一和絃）開始，具有上行的特點。雖然作品中沒有對稱的上升，但三個部分的運動都是向上的，第三部分是第一部分的一種反轉。通過節奏調式，音樂又回到了開頭的節奏，形成了最後的發展和尾聲。為什麼要談論下降和上升？除了我們對原型形象的感覺之外（對原型形象的有意識使用使其意義存疑），這種關注是對對立面概念的更普遍關注的一部分。每一項發明都意味著一個對立面，一位作曲家或一個時代的每一種風格都會導致下一種風格的明顯矛盾。我的音樂理念是以正面和隱含反面的形式出現的--無論是從純粹的技術角度來看：速度和持續時間、響度和柔和度--十二音列的構造；還是從樂曲或嚴格與自由的概念本身的更一般的理念來看。因為處理音樂思想的嚴格和自由方式是相輔相成的，兩者都可能以某種方式出現在任何作品中。對物質和精神對立的認識為瞭解音樂形式的真正主題和意義提供了線索。它是有意識地或以其他方式設置許多這樣的對立面，並填補它們之間的空白。對這些對立面的認識解釋了標題的使用： 單樂章交響曲。亞歷山大-戈爾"（Alexander Goehr）

作曲家: Goehr, Alexander
樂器: orchestra
出版社: Schott Music
原文簡介:
My Symphony in One Movement was begun in Boston, in April 1969, and completed in New Haven, Connecticut, in February 1970. It was commissioned by the New Philharmonia Orchestra for its visit to the World Fair at Osaka. It is scored for normal large symphony orchestra.The insiration or first idea of this work was a single image: a descent into lower regions and, possibly a corresponding ascent. By this, I mean quite graphically, a going down; each instrument of he orchestra moving from the highest to the lowest pitch level available to it and to silence…. My Symphony has a subject, a melody for solo viola.From it are derived various sections, respectively in two, three, and four parts. The elaborate orchestration, involving heterophonic treatment of individual parts and a polyphony of instrumental colour, transforms these textures. Together they make an exposition culminating in a melodic but not rhythmic transformation of the original melody, the beginning of which is used cyclically throughout the work and especially n the final pages of it.The next section is a kind of development, characterised by recitatives for various instrumental groupings in contrasting tempi. The high point is reached and marked by whooping horns and the sound of bells. Now comes the previously mentioned descent, from high to low in a measured tread. The tempo remains constant, but each step of the descent is shorter in time than the previous; so an acceleration to a silence, to be maintained only so long as the impact and presence of the previous remains.The middle part of the work is faster and has some characteristics of a scherzo. It is based on a variant of the original melody.It starts at the exact point (the same chord) reached at the end of the descent and is characterised by upward movement. Although there is in the work no symmetrical ascent, the movement of each of the three sections is upward, the third being a kind of inversion of the first. The whole leads to a second high point of the composition: a chorale in the high strings counterpointed by a kind of distorted march.By means of rhythmic modulation the music is brought back to the tempo of the beginning for a final development and coda. It is based on various harmonisations and resolutions of the original material.Why all this talk of descents and ascents? Apart from whatever feeling we have for archetypal images (and the rather conscious use of them makes this of dubious significance) this preoccupation is part of a more general concern with an idea of opposites. Each invention implies an opposite and each style achieved by a composer or an epoch leads to the apparent contradiction of the next. My musical ideas come to me in the form of positives and implied negatives - whether in purely technical terms: aspects of tempi and duration, loudness and softness - the very construction of the twelve-tone row; or in the more general ideas of a piece or in the very concept of strict and free. For the strict and the free ways of dealing with musical ideas complement each other and both might in some way be present in any composition. The recognition of both the physical and the spiritual oppositions offers a clue to the real subject matter and meaning of musical form. It is a setting up, consciously and otherwise, of many such pairs of opposites and the filling in of the areas between them. A recognition of these dualities explains the use of the title: Symphony in One Movement.Alexander Goehr