Uploaded March 2026 | Updated September 2026, 2 weeks ago
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro non troppo (𝅘𝅥 = ca. 92) - Più allegro (𝅘𝅥 = ca. 112) - Alla breve (𝅗𝅥 = ca. 80) - Pesante (𝅘𝅥 = ca. 132): 0:00
II - Tempo giusto (𝅘𝅥 = ca. 92) - Meno mosso (𝅘𝅥 = ca. 72) - Presto (𝅗𝅥 = ca. 120) - L'istesso tempo (𝅘𝅥 = ca. 120): 8:01
III - Andante (𝅘𝅥 = ca. 80) - Più mosso (𝅘𝅥 = ca. 112) - A tempo (𝅗𝅥 = ca. 80): 13:47
Holmboe's Symphony No.11 was composed in 1980, being premiered in Copenhagen on February 17 of 1982, performed by the Danish National Radio Symphony Orchestra conducted by Yuri Ahronovitch. Structured in three compact movements, the work shows the composer's prolific use of the Metamorphosis technique in a more concentrated form. Each of its movements is divided into three sections of more or less contrasting tempo. Musicologist Robert Layton, described the symphony as "among the finest to have appeared in the Nordic latitudes". It is music that is at once concentrated and expansive, austere and expressive, intensely concentrated and wildly ecstatic.
Holmboe's Metamorphosis is an original structural principle in which the material is continually being transformed from one state to another, gradually reaching a "total change", without losing its identity or its fundamental characteristics. The correspondence with nature's continuous transformation of matter is striking, and the material which Holmboe introduces into the process of change is most usually a musical "embryo", a thematic, motivic or rhythmical idea. Throughout a lifelong development he unwaveringly kept to a modal-diatonic basis (twelve tone music and serialism appealed little to him) but the principle has striking similarities with the constructive principles employed by Schoenberg and his pupils.
The first movement begins with a brief orchestral tutti that introduces a five-note motive, which is the core of the allegro as well as a recurring element throughout the symphony. Over sustained muted strings, the flute begins a pastoral solo based on that motive. Then a rhythmic figure on strings and side drum is introduced, soon in counterpoint with the flute solo. A metamorphosic development of this material then follows, becoming increasingly vigorous and animated until culminating in an imperious climax. A brief pause leads to a varied recapitulation of the exposition material, growing into another vigorously rhythmic climax. The music then becomes fragmented and dissolves in the silence.
The second movement opens with a rhythmic figure on low strings, to which a variation of the five-note motive is added in counterpoint. As in the first movement, it will serve as the subject in the ensuing Metamorphosis development. It unfolds into a broad and lyrical theme shared between strings and woods, bucolic and peaceful in nature. Follows a passage of increased dissonance and agitation, with contrasting reminiscences of the previous part. The music culminates in a substantial climax of great vitality and rhythmic strength, ending with a forceful tutti.
The third movement begins serenely, before the oboe introduces a melodic theme clearly derived from the five-note motive. It then passes to flute, then violins and oboe in increasingly rich and contrapuntal fashion. The central section is an animated and rhythmic variation of the theme, with its five-note motive root being even more clear. The music reaches a solemn and expansive climax with brass on top. After a diminuendo, the main theme is recapitulated in a lyrical and varied way, before a serene and peaceful coda ends the symphony.
Picture: "Mid fall" (2025) by the Danish painter Eva Helene Pade.
Musical analysis written by myself. Source: tinyurl.com/2apebbhr
To check the score: tinyurl.com/23b657sn
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro non troppo (𝅘𝅥 = ca. 92) - Più allegro (𝅘𝅥 = ca. 112) - Alla breve (𝅗𝅥 = ca. 80) - Pesante (𝅘𝅥 = ca. 132): 0:00
II - Tempo giusto (𝅘𝅥 = ca. 92) - Meno mosso (𝅘𝅥 = ca. 72) - Presto (𝅗𝅥 = ca. 120) - L'istesso tempo (𝅘𝅥 = ca. 120): 8:01
III - Andante (𝅘𝅥 = ca. 80) - Più mosso (𝅘𝅥 = ca. 112) - A tempo (𝅗𝅥 = ca. 80): 13:47
Holmboe's Symphony No.11 was composed in 1980, being premiered in Copenhagen on February 17 of 1982, performed by the Danish National Radio Symphony Orchestra conducted by Yuri Ahronovitch. Structured in three compact movements, the work shows the composer's prolific use of the Metamorphosis technique in a more concentrated form. Each of its movements is divided into three sections of more or less contrasting tempo. Musicologist Robert Layton, described the symphony as "among the finest to have appeared in the Nordic latitudes". It is music that is at once concentrated and expansive, austere and expressive, intensely concentrated and wildly ecstatic.
Holmboe's Metamorphosis is an original structural principle in which the material is continually being transformed from one state to another, gradually reaching a "total change", without losing its identity or its fundamental characteristics. The correspondence with nature's continuous transformation of matter is striking, and the material which Holmboe introduces into the process of change is most usually a musical "embryo", a thematic, motivic or rhythmical idea. Throughout a lifelong development he unwaveringly kept to a modal-diatonic basis (twelve tone music and serialism appealed little to him) but the principle has striking similarities with the constructive principles employed by Schoenberg and his pupils.
The first movement begins with a brief orchestral tutti that introduces a five-note motive, which is the core of the allegro as well as a recurring element throughout the symphony. Over sustained muted strings, the flute begins a pastoral solo based on that motive. Then a rhythmic figure on strings and side drum is introduced, soon in counterpoint with the flute solo. A metamorphosic development of this material then follows, becoming increasingly vigorous and animated until culminating in an imperious climax. A brief pause leads to a varied recapitulation of the exposition material, growing into another vigorously rhythmic climax. The music then becomes fragmented and dissolves in the silence.
The second movement opens with a rhythmic figure on low strings, to which a variation of the five-note motive is added in counterpoint. As in the first movement, it will serve as the subject in the ensuing Metamorphosis development. It unfolds into a broad and lyrical theme shared between strings and woods, bucolic and peaceful in nature. Follows a passage of increased dissonance and agitation, with contrasting reminiscences of the previous part. The music culminates in a substantial climax of great vitality and rhythmic strength, ending with a forceful tutti.
The third movement begins serenely, before the oboe introduces a melodic theme clearly derived from the five-note motive. It then passes to flute, then violins and oboe in increasingly rich and contrapuntal fashion. The central section is an animated and rhythmic variation of the theme, with its five-note motive root being even more clear. The music reaches a solemn and expansive climax with brass on top. After a diminuendo, the main theme is recapitulated in a lyrical and varied way, before a serene and peaceful coda ends the symphony.
Picture: "Mid fall" (2025) by the Danish painter Eva Helene Pade.
Musical analysis written by myself. Source: tinyurl.com/2apebbhr
To check the score: tinyurl.com/23b657sn
