Symphony No. 2 阿侯 交响曲 总谱 芬尼卡·盖尔曼版

阿霍 21 岁在西贝柳斯学院学习时创作了他的第二部交响曲。虽然 1973 年的首演获得了成功，但阿霍对这部作品并不完全满意。22 年后，他重新创作了这部作品，并于 1995 年在坦佩雷进行了新的首演。作曲家自己也承认，这部作品代表了他在这一时期的 "反现代主义 "立场。具体来说，阿霍越来越关注 20 世纪 60 年代的前卫潮流。 他指出："调性已经瓦解，旋律成为禁忌话题，音乐形式变得支离破碎，现代作品的形式逻辑往往很难遵循"。 为了解决这一难题，阿霍选择使用赋格这一历史悠久的作曲手法，作为交响曲各部分的结构基础，从而为缺乏经验和受过教育的听众提供了一种可以追随交响曲论证进程的方法。单乐章的第二交响曲分为三个不同的部分，之后是一个尾声。每个乐章内部和各乐章之间都充满了主题性的联系，从而使作品在形式上形成了微妙的小范围和大范围的连贯性。 第一部分是一个快板。第二部分较为轻快，名为 Poco a poco più mosso，弥补了第一部分的沉重感。第三段是三段式设计的回旋曲，显然是作品的戏剧中心。在结束部分的四度强奏高潮之后，动态水平和节奏明显降低，最后形成了低沉、哀伤的尾声"

作曲家: Aho, Kalevi
乐器: orchestra
出版社: Fennica Gehrman
原文简介:
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.