Uploaded March 2026 | Updated September 2026, 2 weeks ago
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro non troppo (𝅘𝅥 = c. 150): 0:00
II - Andante affetuoso: 10:02
III - Vivace (𝅘𝅥 = c. 126): 18:43
Holmboe's Symphony No.5 was composed in 1944, during the occupation of Denmark by the Nazi regime. It was premiered after the liberation of the country in Copenhagen on June 14 of 1945, performed by the Tivoli Concert Hall Orchestra conducted by Lavard Frisholm, to whom the work is also dedicated. Holmboe's fifth is the fourth of four symphonies (Nos. 2-5) which relate to World War 2. Divided in three movements, the work is notable for introducing the first form of the technique of metamorphosis, which reached its full development in the Seventh and Eighth Symphonies.
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 a very flexible interpretation of sonata form. It begins with a pulsating motion, then a motivic rhythmic cell being introduced as the core of the allegro. From this a rhythmic and restless main theme is constructed over an up-beat motif of five quavers consisting of a succession of intervals of a fourth plus a third, quickly morphing even before the development takes place. A more melodic and calm second theme is introduced by the wood, clearly derived from the rhythmic cell. The ensuing development sees the material being continuously transformed, culminating in a brilliant and heroic climax. A brief diminuendo leads to the vigorous recapitulation of the themes underlined by militaristic rhythms. A coda full of resolution ends the allegro.
The second movement is written in form of an arch. It opens with a severe and expressive main theme on strings, rooted on the interval of a fourth, which is particularly prevalent in Holmboe's music. As previously outlined, the material becomes the subject of a series of continuous metamorphosic transformations. Woodwinds introduce some contrast with lyrical, almost pastoral ornaments and phrases. Then, in the central section, a gravely funereal march takes place and grows in a passionate and sorrowful climax. Afterwards we return to the opening severity, only at the very end we hear some hopeful chords before the andante vanishes in the silence.
The third movement is monothematic in form. It begins with a rhythmic and playful main theme, offering great contrast from the sombre tone of the previous movements. As in the first, the core is found in a simple rhythmic motive outlined in the beginning of the vivace, which then undergoes the same metamorphosis procedure of continuous development. Holmboe's great love of and admiration for Haydn is somewhat audible here. A kind of recapitulation brings the material to its original shape, before reaching a rugged and vigorously dance-like climax. A wilful coda brings the entire symphony to a determined close.
Picture: "Landscape with Seven Statues" (1941) by the Dutch painter Carel Willink.
Musical analysis written mostly by myself. Source: tinyurl.com/26guxbpr
To check the score: tinyurl.com/2c2csw5o
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Allegro non troppo (𝅘𝅥 = c. 150): 0:00
II - Andante affetuoso: 10:02
III - Vivace (𝅘𝅥 = c. 126): 18:43
Holmboe's Symphony No.5 was composed in 1944, during the occupation of Denmark by the Nazi regime. It was premiered after the liberation of the country in Copenhagen on June 14 of 1945, performed by the Tivoli Concert Hall Orchestra conducted by Lavard Frisholm, to whom the work is also dedicated. Holmboe's fifth is the fourth of four symphonies (Nos. 2-5) which relate to World War 2. Divided in three movements, the work is notable for introducing the first form of the technique of metamorphosis, which reached its full development in the Seventh and Eighth Symphonies.
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 a very flexible interpretation of sonata form. It begins with a pulsating motion, then a motivic rhythmic cell being introduced as the core of the allegro. From this a rhythmic and restless main theme is constructed over an up-beat motif of five quavers consisting of a succession of intervals of a fourth plus a third, quickly morphing even before the development takes place. A more melodic and calm second theme is introduced by the wood, clearly derived from the rhythmic cell. The ensuing development sees the material being continuously transformed, culminating in a brilliant and heroic climax. A brief diminuendo leads to the vigorous recapitulation of the themes underlined by militaristic rhythms. A coda full of resolution ends the allegro.
The second movement is written in form of an arch. It opens with a severe and expressive main theme on strings, rooted on the interval of a fourth, which is particularly prevalent in Holmboe's music. As previously outlined, the material becomes the subject of a series of continuous metamorphosic transformations. Woodwinds introduce some contrast with lyrical, almost pastoral ornaments and phrases. Then, in the central section, a gravely funereal march takes place and grows in a passionate and sorrowful climax. Afterwards we return to the opening severity, only at the very end we hear some hopeful chords before the andante vanishes in the silence.
The third movement is monothematic in form. It begins with a rhythmic and playful main theme, offering great contrast from the sombre tone of the previous movements. As in the first, the core is found in a simple rhythmic motive outlined in the beginning of the vivace, which then undergoes the same metamorphosis procedure of continuous development. Holmboe's great love of and admiration for Haydn is somewhat audible here. A kind of recapitulation brings the material to its original shape, before reaching a rugged and vigorously dance-like climax. A wilful coda brings the entire symphony to a determined close.
Picture: "Landscape with Seven Statues" (1941) by the Dutch painter Carel Willink.
Musical analysis written mostly by myself. Source: tinyurl.com/26guxbpr
To check the score: tinyurl.com/2c2csw5o
