自然時期：讚賞永恆的事物

全然的音樂成形

一切皆是新穎的、未知的

第二號

第三號

第四號

第六號

第七號

第八號《千人》

第九號

第十號
（僅完成第一樂章與五樂章架構）

0:00 – Introduction

EXPOSITION

0:12 – Theme 1, Statement 1

0:51 – Statement 2. The framework of the first statement is projected into a completely new rhythmic, harmonic, and melodic body

1:11 – Out of various motivic cells found in theme 1 a new motive forms in the trombones that will dominate the entire movement. I’ll refer to it as [A]

1:27 – Statement 3 further expands the first statement to the point of collapse. Various motives get liquidated into the texture, with [A] leading the way

1:55 – We are presented with the symphony’s Motto – a strict rhythmic idea in the timpani, and a major to minor chord progression.

2:03 – Transitional Theme: A Bach-like chorale with increasingly unstable harmonies. This is barely a transition theme at all, as it reaffirms the A-minor tonic, and retains [A] as a plucked countermelody.

2:38 – Secondary Theme, A-section. The second theme begins with full force. There seems to be a disconnect between its feminine material and its masculine approach; instead of tender and reassuring, it comes across as breathless and even agitated. This is achieved through the use of an overly thick texture with countless moving parts and countermelodies. There are also plenty of motivic similarities to theme 1.

3:17 – B section. Motive [A] from theme 1 appears in the foreground, not even trying to hide its presence. Absurd orchestration.

3:33 – A section.

4:25 – The second theme achieves a very strong expositional closure cadence, affirming the F major secondary key. The exposition then repeats.

DEVELOPMENT

9:53 – EPISODE 1: Theme 1 world. We’re presented with a nightmarish texture of theme 1 speaking only in short fragments over the Motto rhythm.

10:40 – Theme 1 finally forms into a full phrase – a variant of Exposition Statement 1.

10:56 – The march is unable to sustain the phrase and the development restarts.

11:08 – A new march theme forms over the Motto accompaniment, but soon starts to disintegrate into the texture.

11:51 – The motives of the second theme start to invade the texture. Corrupted, still within the sound-world of theme 1. The Motto rhythm pervades.

12:31 – EPISODE 2: Theme 2 world. We are pulled outside of the sonata form, as nature enters into the music. We hear distant fragments of theme 2 and the transition theme, along with cowbells（牛鈴，象徵自遠方傳來之大自然遙遠聲響）. A mysterious atmosphere is created by superimposing C Mixolydian over a held D in the bass.

12:57 – Motto progression in C, the transition Chorale sounds from a closer distance.

13:47 – The nature sounds gradually taper off, and we enter back into the sonata form. The second theme returns, free from all distortions present in the exposition. It finally speaks sincerely and in a feminine voice.

14:24 – Theme 2 reaches a utopian place of Eb major – a tritone away from the A tonic, while also prefiguring the E-flat major Andante movement.

15:13 – Sounds of the nature return, now in harmony with the second theme. Here, a loose retrograde begins, starting with the return of the transition chorale in major.

16:11 – Final cadential attempt in Utopian E-flat tonic…

16:18 – EPISODE 3: Gradual return to theme 1. We begin to descend back to the recapitulation. The music is hijacked by the march motives but remains in major.

16:44 – Transition chorale returns. Tonality, phrase groupings, and meter are all destabilized. [A] starts to get liquified, until it transforms into the first statement of the recapitulation.

RECAPITULATION

17:24 – Theme 1, statement 1, in parallel major. Insane amount of tension. It soon collapses into parallel minor: projection of the Motto progression onto Theme 1

18:01 – Statement 2.

18:37 – Statement 3.

19:03 – Motto. The rest of the transition is thoroughly recomposed, with the chorale appearing in rhythmic diminution.

19:37 – Theme 2 world begins to reopen. The transition is abandoned without closure. Secondary key recapitulates only its first statement. Rather than trying to achieve a structural closure as in the exposition, it focuses on regrouping and strategizing.

20:41 – Failed Recapitulation – no closure in the secondary key.

CODA

21:20 – The coda roughly mirrors the development in its episodic approach and in structure. Fragmented E-minor Theme 1 over dissonant F# bass.

22:01 – Theme 1 restarts, as in the development. Motto rhythm makes an appearance.

22:48 – Theme 2 motives start to unnoticeably creep into the texture. E-minor tonic slips to a dystopian E-flat minor.

23:16 – We start to move towards A major. Recomposition of [A], with returning motives from nature section in the development.

23:38 – Final fragments of theme 1 get destructed and firmly reimagined inside the world of theme 2. The music combines elements of both themes, with the transition chorale finally used in normative, functional harmony.

SCHERZO

0:00 – Statement 1. We get introduced to our first batch of motives: repeated notes, (dotted) oscillating figures, descending 16th notes, an arpeggiating figure, and a descending series of trills (a quote from the first movement). The movement starts with metric ambiguity, as the timpani plays accents on the third beat.

0:26 – Statement 2. The march loses some of its seriousness and reworks the motives from the first statement into slightly absurd figurations, even modulating into major for a brief second. Towards the end of the statement, the serious character returns. The oscillating figure appears in diminution and builds to a climax, with its original dotted counterpart playing above in the winds. The climax is reached through a very important motivic cell that will be thoroughly present in the rest of the symphony – an octave.

0:46 – Statement 2. The scherzo starts to move in retrograde, starting with an almost exact repeat of the second statement’s trajectory, only with greatly elaborated motives. In the first part, a lot of emphasis is put on the oscillating figures, while the second part focuses on the absurd aspect of the second statement – the modulation into major is prolonged and the metric modulations further distort the motives. The buildup to the climax with the oscillating figures is skipped.

1:27 – The music collapses into Statement 1. This is once again almost an exact copy of the first statement from the beginning, only with a more violent orchestration. At the end of the statement the oscillating figures return and end the Scherzo section with the octave motive, but crucially, this time the climax is infused with the symphony’s Motto quoted from the first movement – A major to A minor chord progression.

TRIO

2:16 – The trio reimagines the motives of the scherzo, with special similarities to the start of the second statement. These include repeated notes, metric modulations, descending 16th notes, and even melodies.

2:47 – Oscillating notes interrupt, but are quickly silenced. As the trio is allowed to continue, the oscillating notes are incorporated into the texture along with the other motives.

3:08 – This time repeated notes interrupt as if becoming possessed by its scherzo counterpart. The scherzo section almost manages to return, but the trio succeeds in prolonging its statement. However, the motives keep getting distorted, threatening the return of the scherzo section. The trio tries to prevent this with all of its might.

4:44 – The scherzo returns with extreme violence and rage, causing the music to lose stability.

5:04 – Episode 1. The scherzo is interrupted by a strange episode, which develops the arpeggiation figure and the oscillating notes into sarcastic Klezmer-like music. Gradually the episode takes in more and more motives from the scherzo until it returns in its entirety.

SCHERZO

5:34 – Statement 1. It is only here that the scherzo properly starts. The motives explore different combinations with each other and the whole section is reharmonized.

6:01 – Statement 2. Absurdity is quickly replaced with distortion and even violence. Because of its instability, the statement is shortened.

6:13 – The oscillating figures prove unable to reach a climax, causing the music to quickly search for a solution. First, the oscillating figures are developed into a theme of their own, followed by a section that puts ideas from both statements and even the trio in a close confrontation. The climax then comes completely unprepared, finally ending the scherzo section with another sounding of the Motto progression.

TRIO

7:41 – Trio. Changed orchestration and newly added countermelodies. The structure of this section remains the same with the scherzo intruding and distorting the motives at various points.

10:10 – Once again, the Scherzo is proven to be completely unstable and is unable to form. This causes the episode to take over. Once again, the episode is gradually invaded by more and more motives from the scherzo, until those motives completely take over the music.

SCHERZO

11:12 – Statement 1. The orchestration is further changed, and the different motives constantly overlap. The unending development has completely destabilized and distorted the march.

11:33 – Statement 2. The music stays firmly in minor, and the oscillating figure succeeds at reaching the climax with little effort. At the top of the climax, the main theme of the trio returns in a demonic and fully distorted form, as if the scherzo and the trio were the same characters all along.

12:11 – Coda. The trio melody appears in an extremely melancholic statement. Here, the trio is fully defeated, as it gets completely incorporated into the scherzo world and its associated motives. The whole coda is infused with the Motto’s A major to A minor chord progression.

1-20

20-27

28-42

42-55

56-83

84-99

ROTATION 1

0:00 – Theme A, strand 1. We’re presented with a beautiful melody characterized by its use of modal mixture and lush orchestration.

1:00 – Theme A, strand 2. The goal of the second strand is to reach a strong cadence that concludes the movement. Its two core motives are descending scales and an oscillation between two notes. Both motives have a drive towards closure. Just as the final cadence is about to be reached, the music starts to modulate into minor.

2:14 – Theme B. An English horn and later a flute start to play an extremely melancholic theme. Lush orchestration of theme A is replaced by thin white textures, giving the music a feeling of overwhelming loneliness. This theme is quickly dismissed by the main section.

ROTATION 2

2:51 – Theme A, strand 1, changed orchestration. At 4:06 a new leaping motive is born from the main theme.

4:27 – Theme A, strand 2. The second strand again tries to reach a closing cadence. This time it actually succeeds, but as the movement is about to end, the octave motive from the Scherzo interrupts our closure and transitions us into theme B.

5:59 – The texture thins and the motives of the second strand appear in minor, accompanied by biting dissonances. Theme B arrives shortly after and is passed between the horns and winds.

6:43 – Motives from the second strand and the new leaping motive reenter the music, trying to prevent a disaster. They exchange material with theme B, but ultimately achieve triumph by modulating into major. The leaping motive is transformed into an ostinato, over which the motives from the second strand sing. There’s also a return of the cowbells from the first movement, representing nature.

ROTATION 3

9:32 – Theme A, strand 1 struggles to form at first but then succeeds as the horn takes over. Descending countermelody in violins.

10:31 – Theme A, strand 2. Music soon starts to violently, but also insanely beautifully change keys by descending thirds (Eb major, C major, A major). There are also some aching dissonances present that further disrupt the closure of the section. The octave motive again transitions us into theme B.

13:47 – Theme B. Climax is reached earlier than before and with much greater strength. Motives from strand 2 and the leaping motive are completely overpowered.

15:22 – The moment of triumph from the previous rotation is completely deformed. The cowbells are heard in the distance but are unable to save the music. A distorted version of the leaping motive is heard in the brass, desperately trying to overpower theme B.

ROTATION 4 / CODA

15:40 – The leaping motive succeeded in making way for Theme A, strand 1, now merged with the oscillating notes and the descending scales of the second strand. However, it is still inside the world of Theme B, making it agitated and nervous. Gradually it starts to transform back into its original, loving form and modulate back towards Eb major.

16:47 – We reach the coda through a beautiful modulation into Eb major. The oscillations, descending scales, and the leaping motive all work on bringing the movement to a close.

INTRODUCTORY COMPLEX

0:00 – Generative phase, in C minor.

0:24 – Motto. A minor forcibly displaces C minor, foreshadowing their later conflict.

0:48 – Fragmanted motives from the main theme, followed by much more stable motives from the second subject.

2:14 – Disintegration/Chaos

2:46 – Chorale – origin of transition and hammer themes, C minor regains tonal authority.

3:43 – Motto, leads to a reinstalment of the main motives.

4:28 – The chorale is restated, leading to the Motto in C, enabling the exposition launch.

EXPOSITION

5:05 – First theme’s motives assemble into durable thematic formations, under the authority of C minor.

5:36 – Theme 1. A minor forcibly displaces C minor for a third time. An aggressive march forms, with relentless four-bar groupings.

6:26 – Transition. Drive towards chorale’s C-tonic is reinstated, but A minor keeps derailing progress.

7:32 – Motto’s generic motives intrude, leading to collapse. They eliminate the transition theme through a surgence of Motto rhythms and reinstate A minor. 8:11 – Theme 2. Motivically derived from T1.

8:45 – T2 escapes T1 world and reignites drive to D-major cadence.

9:15 – M (Motto) motives return and destabilize the music. Exposition fails, as T2 doesn’t secure a cadence in D major.

INTRODUCTORY COMPLEX

9:37 – The introduction returns, now infused with tonal and thematic elements of T2.

10:04 – Motives from T1 continuously suppress every attempt of T2 at stabilizing.

12:12 – T2 returns with all of its might, with a drive to achieve closure in D major. It is as if the expositional space is reopened, as the second theme isn’t willing to accept its failure. Gradually more and more M motives intrude into the texture and destabilize the music.

14:03 – Hammer blow theme, accompanied by M motives. Its goal is to derail cadential drive to D tonic. M motives soon take over and start a liquidation process.

14:52 – First utopian, but unattainable vision of T2. We’re in tonic major, the best of all possible outcomes, and there are no M motives in sight. But we reached this place prematurely, in the development. Soon the texture gets corrupted by M motives and leads to a collapse.

DEVELOPMENT

16:13 – C minor successfully takes over control and restabilizes music through a series of Mottos in C. The first theme begins development, but because it’s liberated from the Motto’s influence, it finally forms into a proper theme. It soon starts to shift towards C major, a large-scale modal inversion of the Motto.

16:55 – As soon as M motives creep into the texture, the music becomes destabilized. The music enters a battle with M motives.

17:35 – C tonic is lost, and the M motives take control.

18:04 – Second utopian vision of T2, injected with motives from the introduction. As the theme attempts to reach a cadence in A major, M motives enter and shift the tonal drive to D major.

19:02 – D major cadential attempt derailed by the hammer theme for a second time. This time it doesn’t hide its C minor roots and uses the opportunity to guarantee the start of the exposition in C. To do that, it shifts to dominant of D minor for a final destruction of T2’s drive to cadence in D.

INTRODUCTORY COMPLEX

20:08 – Perfect authentic cadence in D minor poisoned by the return of augmented sixth in Cm. Motto now in C minor. Introduction block of the exposition is mirrored, but now firmly in C.

22:00 – Theme 2 takes advantage of C minor’s inefficiency, and starts searching for a tonality.

23:27 – Theme 2 is suddenly revived.

24:56 – Tonal and thematic stability is lost. Motives from all theme groups co-mingled. As the Motto rhythm enters in the timpani, theme 1 motives gradually start to dominate.

RECAPITULATION

25:44 – Theme 1, A minor. Tracks exposition bar-by-bar; after T2’s motivic spillage evaporates, the recapitulation is exact, even in orchestration.

26:34 – Simultaneous recapitulation of Transition and T2, in A minor. M motives are everywhere. A minor is kept firmly as the tonic throughout the whole section.

27:10 – Transition takes over and tracks recapitulation with minor adjustments. As before, M motives intrude and cause a collapse.

28:08 – A liquidation process starts to reduce the music to the symphony’s basic motivic cells.

28:33 – Final utopian vision. Elaboration of the introduction motive from utopian Vision 2. A major is soon firmly reinstated, and we reach towards a cadence accompanied by a bitterly sarcastic motto rhythm. Just as the cadence is in sight, we again collapse.

CODA

30:31 – Introductory Complex: A minor. Introductory theme in sour inverse counterpoint at the tritone. Ends with the Motto.

31:30 – Final liquidation resulting in rhythmic, harmonic, motivic, and tonal uniformity. The symphony ends with the Motto in A minor, where the major triad has been omitted.

兩大重錘時間軸：

HAMMER 1 1:07:15

HAMMER 2 1:12:07

2. Scherzo: Wuchtig 0:22:42

3. Andante moderato 0:35:50

4. Finale: Sostenuto – Allegro moderato – Allegro energico 0:52:17

1. 1st Hammer Strike 1:04:51
2. 2nd Hammer Strike 1:09:24
3. 3rd Hammer Strike 1:19:53