Uploaded April 2026 | Updated September 2026, 2 weeks ago
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro assai (𝅘𝅥 = c. 120-32) - Con moto (𝅗𝅥 = c. 72) - A tempo (𝅘𝅥 = c. 120): 0:00
II - Allegro moderato (𝅘𝅥 = c. 92) - Animato (𝅘𝅥 = c. 120) - Tempo giusto - Calmo (𝅘𝅥 = c. 92) - A tempo (𝅘𝅥 = c. 120): 5:38
III - Allegro con brio (𝅘𝅥 = c. 132) - Meno mosso (𝅘𝅥 = c. 104)- Calmo (𝅘𝅥 = c. 80) - Più mosso (𝅘𝅥 = c. 120) - Adagio - Stretto, espansivo (𝅘𝅥 = c. 132) - Meno mosso: 10:55
Holmboe's Symphony No.13 was composed in 1994, commissioned by Welsh conductor Owain Arwel Hughes (to whom the score is dedicated). They had become acquainted in the course of the major project undertook by Swedish label BIS to record all of Holmboe's symphonies. It was premiered in Copenhagen on March 1 of 1996, performed by the Danish National Radio Symphony Orchestra conducted by Owain Arwel Hughes. Structured in three compact movements, the work shows the composer's last symphonic use of the Metamorphosis technique in a concentrated form.
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 is rather free in form. It begins with a rhythmic three-note motive on strings supported by brass chords and percussion, this motive is the core element of the entire symphony. It is then subjected to a series of metamorphosic transformations; one more lyrical on contrapuntal woodwinds while another takes the form of a reference to the German master J. S. Bach: the B-A-C-H theme (Bb-A-C-B). The three-note motive is still clearly audible in all of these variations. The music reaches a wilful climax before the allegro ends with a slow coda, with cello, woods and vibraphone restating the motive for the last time
The second movement is also rather free, vaguely resembling ternary form in structure. It opens with a lively and ambiguous theme born between the interaction of different instrumental groups, clearly derived from the three-note motive. Again it follows the same procedure as in the first movement, being metamorphosically transformed with vast differences in terms of dynamics, tempo, mood. For instance, the central section is much more static and contemplative, before the rhythm returns and leads to a kind of climax. The allegro remains unpredictable: near the end, the first movement's severe opening returns but dissolves into a wittily understated conclusion.
The third movement is free in form. It begins with a determined theme again built on the three-note motive, with marching rhythms underneath. A contrapuntal metamorphosic development then ensues, taking a dance-like motion. After an expansive climax, a calm and mysterious passage dominated by woodwinds and percussion offers dynamic contrast. Music grows in a prolongued crescendo that leads to a vigorous and wilful climax, recalling similar passages from the first movement. The development continues in full force, Unexpectedly, at the very end a calm solo flute carries an active movement away into reflective silence.
Picture: "Still Life" by Danish painter Boerge Ludvig Knudsen.
Musical analysis partially written by myself. Source: tinyurl.com/2apebbhr
To check the score: tinyurl.com/2d7d4e9n
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro assai (𝅘𝅥 = c. 120-32) - Con moto (𝅗𝅥 = c. 72) - A tempo (𝅘𝅥 = c. 120): 0:00
II - Allegro moderato (𝅘𝅥 = c. 92) - Animato (𝅘𝅥 = c. 120) - Tempo giusto - Calmo (𝅘𝅥 = c. 92) - A tempo (𝅘𝅥 = c. 120): 5:38
III - Allegro con brio (𝅘𝅥 = c. 132) - Meno mosso (𝅘𝅥 = c. 104)- Calmo (𝅘𝅥 = c. 80) - Più mosso (𝅘𝅥 = c. 120) - Adagio - Stretto, espansivo (𝅘𝅥 = c. 132) - Meno mosso: 10:55
Holmboe's Symphony No.13 was composed in 1994, commissioned by Welsh conductor Owain Arwel Hughes (to whom the score is dedicated). They had become acquainted in the course of the major project undertook by Swedish label BIS to record all of Holmboe's symphonies. It was premiered in Copenhagen on March 1 of 1996, performed by the Danish National Radio Symphony Orchestra conducted by Owain Arwel Hughes. Structured in three compact movements, the work shows the composer's last symphonic use of the Metamorphosis technique in a concentrated form.
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 is rather free in form. It begins with a rhythmic three-note motive on strings supported by brass chords and percussion, this motive is the core element of the entire symphony. It is then subjected to a series of metamorphosic transformations; one more lyrical on contrapuntal woodwinds while another takes the form of a reference to the German master J. S. Bach: the B-A-C-H theme (Bb-A-C-B). The three-note motive is still clearly audible in all of these variations. The music reaches a wilful climax before the allegro ends with a slow coda, with cello, woods and vibraphone restating the motive for the last time
The second movement is also rather free, vaguely resembling ternary form in structure. It opens with a lively and ambiguous theme born between the interaction of different instrumental groups, clearly derived from the three-note motive. Again it follows the same procedure as in the first movement, being metamorphosically transformed with vast differences in terms of dynamics, tempo, mood. For instance, the central section is much more static and contemplative, before the rhythm returns and leads to a kind of climax. The allegro remains unpredictable: near the end, the first movement's severe opening returns but dissolves into a wittily understated conclusion.
The third movement is free in form. It begins with a determined theme again built on the three-note motive, with marching rhythms underneath. A contrapuntal metamorphosic development then ensues, taking a dance-like motion. After an expansive climax, a calm and mysterious passage dominated by woodwinds and percussion offers dynamic contrast. Music grows in a prolongued crescendo that leads to a vigorous and wilful climax, recalling similar passages from the first movement. The development continues in full force, Unexpectedly, at the very end a calm solo flute carries an active movement away into reflective silence.
Picture: "Still Life" by Danish painter Boerge Ludvig Knudsen.
Musical analysis partially written by myself. Source: tinyurl.com/2apebbhr
To check the score: tinyurl.com/2d7d4e9n
