Symphony No. 4 阿侯 交响曲 总谱 芬尼卡·盖尔曼版

阿霍的第四交响曲是作曲家早期风格时期最具生命力的作品之一。这部作品主要于 1972 年在柏林完成，当时他刚从西贝柳斯学院作曲系毕业一年。虽然作品分为三个不同的乐章--第一乐章和第三乐章是阿达吉奥，中间乐章则是一个恶魔般的回旋曲，采用了前奏曲的节奏--但从许多方面来看，这部交响曲都是阿霍交响曲中最完整、构思最有机的作品之一。宽广的第一乐章奠定了贯穿整部交响曲的黑暗、悲剧气氛。第二乐章显然更具破坏性：开头的强力素材在管弦乐渐强的过程中被巧妙地分解，最终形成一个灾难性的暴力高潮，回荡在整个管弦乐团中。乐章以缓慢而扭曲的圆舞曲形式结束了开头的主题。第三乐章开始时很安静，木管乐器的颤音奏出了和声织体，木管乐器和弦乐器都在反复演奏。在乐章的中心部分，木管乐器的精湛演奏和巨大的高潮短暂地反衬出荒凉的气氛。作品以交响曲主旋律的最后一段延长陈述结束，这段陈述现在由低音弦乐演奏，最后由弦乐演奏出颤音织体。弥漫在交响曲中的悲剧基调已烟消云散；随之而来的是，天堂的孤独回荡在作品最后的音色之外"

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

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

原文简介:
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.