Joonas Kokkonen: Symphonies Nos. 1-4; Requiem
Joonas Kokkonen: Symphonies Nos. 1-4; Requiem
又名: 科科宁《安魂曲》《四首交响曲》《室内交响曲》
表演者: Lahti Symphony Orchestra/Soile Isokoski/Walton Gr?nroos/Savonlinna Opera Festival Choir/Ulf S?derblom/Osmo V?nsk?/Ilkka Sivonen
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 1996-12-17
唱片数: 2
出版者: BIS Records
条形码: 0789368472222
专辑简介
The first symphony is the earliest orchestral of Kokkonen’s dodecaphonic period beginning with the first string quartet (1959). Although it is in four movements, its formal construction is unconventional. The moderato first movement grows out of the exposition of the material in two climatic waves. The allegretto, mostly clear and translucent, serves as a scherzo. The third movement is a weighty allegro that dissolves straight into the slow closing movement. From then onwards, ending a symphony or indeed any work in several movements with a slow movement was to be a typical Kokkonen trait.
Kokkonen wrote his second symphony soon after the first, and it is again dodecaphonic. In it he goes furthest in his application of row technique. Of all the Kokkonen symphonies, it is the one bleakest in expression, the most introvert and modern-sounding, which possibly explains why it is the one least performed. It consists of two pairs of quick—slow movements that are, however, different in tone in order to avoid too much symmetry. The first pair is more expansive, but the biggest climax comes at the end of the third movement.
The Sinfonia da camera, completed at the height of Kokkonen’s dodecaphonic period, is, together with the second symphony, his most modernistic work. Scored for 12 solo strings, it falls on the border between a chamber and an orchestral work. The instruments are treated both as soloists and as groups. The germ motif is B–A–C–H, a sort of homage to the fine Bach performances of the Festival Strings Lucerne which commissioned the work. The Festival Strings also premiered the Sinfonia, affording Kokkonen his first taste of international success. Like the previous symphonic works, it is in four movements, two slow ones framing two fast. The Sinfonia has a fragmentary element akin to Webern and the motor-like drive of Bartók.
The Opus Sonorum was composed partly as a countermove to the works ruled by percussion instruments that tended to dominate the modernism of the time. It therefore has no percussion at all, though the piano to some extent makes up for this. The piano runs and string tremolo webs introduce a new coloristic element into Kokkonen’s idiom, but otherwise the work is founded on dense motif technique and especially the motif E-–A–-Es–H(si)–B, i.e. the musical letters of the name Jean Sibelius. The work is in three movements ending with a fast one — the last time this would occur in the orchestral music of Kokkonen.
The third symphony marked the beginning of Kokkonen’s free tonal period. It differs most from the works that precede it in its colourful orchestration, which is richest in the timbral webs of the first movement. In the middle are two movements both quick but different in character, the former in the nature of a normal symphonic allegro and the latter an intermezzo. In the closing adagio Kokkonen tried, in his own words, “to achieve a synthesis of elements of a finale and a slow movement”.
The fourth is the most frequently performed of all the Kokkonen symphonies and it clothes his free-tonal idiom in a guise of fullness and warmth. Unlike his other symphonies, it has only three movements. The moderato first movement begins its motivic-melodic growth from a static sound horizon, swells to a climax dominated by the brass and then recedes to the opening mood. In the centre is a quick, incisive allegro originally designed to round off the symphony. The work nevertheless ends with a slow movement of buoyant melodic arches that constitutes the centre of gravity.
曲目
CD 1:
Symphony No.1 (1958)
1. I. Moderato 8'01
2. II. Allegretto 4'05
3. III. Allegro - 4'26
4. IV. Adagio 6'10
Symphony No.2 (1960-61)
5. I. Adagio non troppo 7'05
6. II. Allegro 4'16
7. III. Andante 7'22
8. IV. Allegro vivace 2'54
Symphony No.3 (1967)
9. I. Andante sostenuto 5'09
10. II. Allegro 2'46
11. III. Allegretto moderato 3'39
12. IV. Adagio 8'38
Opus sonorum (1965)
13. I. Moderato 3'28
14. II. Adagio non troppo 4'56
15. III. Allegro non troppo 3'19
CD 2:
Symphony No.4 (1971)
1. I. Moderato 7'44
2. II. Allegro 5'20
3. III. Adagio 8'27
Sinfonia da camera (1961-62)
4. I. Moderato 5'07
5. II. Allegro non troppo 4'40
6. III. Molto vivace 2'13
7. III. Andante 4'44
Requiem (1981)
8. I. Requiem aeternum 7'27
9. II. Kyrie eleison 2'45
10. III. Tractus 5'13
11. IV. Domine Jesu Christe 3'36
12. V. Hostias et preces 2'10
13. VI. Sanctus & Benedictus 3'33
14. VII. Agnus Dei 4'29
15. VIII. In Paradisum 3'00
16. IX. Lux aeterna 5'02