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原文

Hugh Wood. Symphony Op.21. Study Score. Sheet Music. Orchestra. ORCH. Hugh Wood. --.

译文

休·伍德. 交响曲Op.21. 研究分数. 乐谱. 乐队. ORCH. 休·伍德. --.

原文

Commissioned by the BBC. Premiere. 23 July 1982 Henry Wood Promenade Concert, Royal Albert Hall, London. The work is cast in four distinct movements, though as in Wood's violin concerto there is only one pause in the music, between the second and third. even here the break is minimised in effect by a resumption of motivic arguments. In terms both of harmonic structure and of expressive development, the four movements seem to have been conceived as a single, unified progression. While melodic and harmonic details are both derived from an intensive working of a handful of intervallic figures, in a way that owes much to his earlier serialism, Wood’s handling is here free enough to encompass a large-scale sense of tonal structure as well. Ths same tritone that inflicted so much of the melodic writing in Wood's 'cello concerto also affects the symphony. The music struggles to escape from an uncertain E. E flat area which dominates the first movement, towards an eventual unequivocal A major in the work’s final pages. Emotionally, however, this trajectory more closely resembles that of the Third Quartet - except that where the quartet opens in frozen despair, the symphony begins in tumultuous violence.

译文

由BBC委托。首映. 1982年7月23日亨利·伍德长廊音乐会，皇家阿尔伯特音乐厅. 工作浇铸在四个不同的动作，但由于在伍德的小提琴协奏曲有在音乐只有一个停顿，在第二和第三间. 即使在这里休息是恢复的动机的争论最小化的效果. 在术语和表达的发展的两个谐波结构中，四个动作似乎已被认为是一个单一的，统一的进展. 虽然旋律和和声的细节都来源于少数的音程数据的密集工作，在很大程度上要归功于他早期的一个序列音乐的方式，伍德的处理是在这里有足够的可用涵盖调结构的大规模感以及. 这造成了这么多的旋律写作伍德的“大提琴协奏曲部份效果同样全音也影响了交响乐. 音乐斗争从不确定的E脱离. 降E面积占主导地位的第一乐章，对在工作中的最后几页最终明确的主要. 在感情上，然而，这轨迹更像是第三次四方 - 但如冷冻绝望四方打开，交响乐开始在动荡的暴力.