Symphony in One Movement op. 29 哥尔．亚力山大 交响曲 乐章 总谱 朔特版

我的单乐章交响曲》于 1969 年 4 月在波士顿开始创作，1970 年 2 月在康涅狄格州纽黑文完成。它是新爱乐乐团为访问大阪世界博览会而委托创作的。这部作品的灵感或最初的构思是一个单一的形象：下降到较低的区域，可能还有相应的上升。我的意思很形象，就是下降；管弦乐队的每件乐器都从最高音调降到最低音调，并默默地....。我的交响曲有一个主题，即中提琴独奏的旋律，并由此衍生出不同的部分，分别为二部曲、三部曲和四部曲。精心制作的管弦乐，包括对各个声部的异音处理和乐器色彩的复调，改变了这些质地。接下来的部分是一种发展，其特点是各种乐器组合以对比鲜明的速度进行朗诵。在达到最高潮时，会出现呼啸的号角声和钟声。接下来是前面提到的下降部分，从高到低，步履稳健。速度保持不变，但每一步下降的时间都比前一步要短；因此，这是一种加速到静止的过程，只有前一步的冲击力和存在感依然存在时才能保持。它以原始旋律的变体为基础，从下行结束时的原点（同一和弦）开始，具有上行的特点。虽然作品中没有对称的上升，但三个部分的运动都是向上的，第三部分是第一部分的一种反转。通过节奏调式，音乐又回到了开头的节奏，形成了最后的发展和尾声。为什么要谈论下降和上升？除了我们对原型形象的感觉之外（对原型形象的有意识使用使其意义存疑），这种关注是对对立面概念的更普遍关注的一部分。每一项发明都意味着一个对立面，一位作曲家或一个时代的每一种风格都会导致下一种风格的明显矛盾。我的音乐理念是以正面和隐含反面的形式出现的--无论是从纯粹的技术角度来看：速度和持续时间、响度和柔和度--十二音列的构造；还是从乐曲或严格与自由的概念本身的更一般的理念来看。因为处理音乐思想的严格和自由方式是相辅相成的，两者都可能以某种方式出现在任何作品中。对物质和精神对立的认识为了解音乐形式的真正主题和意义提供了线索。它是有意识地或以其他方式设置许多这样的对立面，并填补它们之间的空白。对这些对立面的认识解释了标题的使用： 单乐章交响曲。亚历山大-戈尔"（Alexander Goehr）

作曲家: Goehr, Alexander
乐器: orchestra
出版社: Schott Music
原文简介:
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