Analysis Of The Creation Techniques Of Henze’s Symphony NO.10

Hans Werner Henze(1926-2012)was a German composer.His creative techniques are rich and mature,and his works are famous for "general techniques",especially his late works show a tendency that all rivers run into No.10,completed between 1997 and 2000 belongs to his late work.It shows us a colorful musical picture,reflects His rich creative experience and contains profound philosophical connotation.From the perspective of composition technology,this paper intends to take Symphony No.10 as the research object and take the technology and set of central harmonies as the entry point to comprehensively analyze the evolution of the set of central harmonies,the control and application of set to sequence,and the matching use of set.Subsequently,the overall arrangement of the orchestra,the texture characteristics of the percussion music and the spatial and temporal layout of the timbre of the work are comprehensively interpreted.lt aims to explore the logical linear thinking and rational kernel behind Essence seemingly free and undisciplined musical language.(In this paper,the percussion instrument group includes piano,steel chip organ,harp and other percussion instruments with high pitch.)This paper intends to make a detailed analysis of the Symphony No.10 from four parts:Chapter one:Overview of Henze and the Symphony No.10.In order to better understand the cultural connotation of the work,the composer’s creation process and the overview of the main works,the formation of the composer’s creation style and the creation background and concept of the Tenth Symphony are discussed.Secondly,the structure and structural force of the Symphony No.10 are sorted out to explore the influence of pitch materials,texture,rhythm,timbre and other factors on the structure.Chapter two:the center chord technology of the pitch material analysis,to the center of the symphony No.10 of the overall pitch control,research center and the evolution of the set and derived collection and its application,then because the second movement of the symphony under the control of the the twelve-tone sequence,with the center and the twelve field as the entry point,the sequence under the control of the new twelve field.Chapter three:In the construction of sound system with timbre as the core,firstly,the layout of the whole sound system is generally understood from the aspects of the whole band arrangement and the functional transformation of each instrument group.Secondly,from the perspective of the analysis of different texture of percussion instruments,the influence of texture transformation on the overall sound effect is explored.Finally,the spatial and temporal layout of timbre,from the horizontal and vertical two aspects to explore the three-dimensional timbre sound of the work,and finally constitute the whole sound system.Chapter four:The Symphony No.10 style diversity,this part the author will from the Symphony No.10 creation style and the traditional music of blood ties and the Symphony No.10 style diverse fusion of these two angles obtains,through to its advanced technique and style of his works as traced back,to clear its the venation of the inheritance of creation techniques,From the perspective of " general technique",we can better explore the"general style" formed by the diversified integration of Henze’s creative style.Through the analysis of the construction of pitch system based on center and tone technology and the construction of sound system based on timbre,the author finally points to the "general technique" and the diversified integration of writing style in the writing techniques of the Symphony No.10.This makes the author have a more comprehensive understanding of Henze’s Symphony No.10.It lays a solid foundation for the analysis of other works of Henze and other composers in the same period.