CHEN Xieyang Conducts All Beethoven IIi
演出时间Date & Time︱2017.4.22（周六/SAT）19:30
演出地点Venue︱苏州文化艺术中心大剧院 SCAC Grand Theatre
指挥Conductor |陈燮阳 CHEN Xieyang
钢琴Piano |袁芳YUAN Fang
曲目 | Program
贝多芬 降E大调第五钢琴协奏曲，作品73, 皇帝
BEETHOVEN Leonore Overture No.3, Op.72b
BEETHOVEN Piano Concerto No. 5 in E-flat major, Op. 73, Emperor
BEETHOVEN Symphony No. 5 in C minor, Op. 67
《莱奥诺拉》写于1804年，完成于1805年。然而贝多芬在随后的几年中不断地修改。最后，他一共为这部歌剧写了四首序曲，其中第三首被保留为 Op. 72b。《第五钢琴协奏曲》是贝多芬创作的最后一部钢琴协奏曲，写作于1809到1811年。其名称“皇帝”的由来颇具有戏剧性：当作品在维也纳首演之时，拿破仑的一位军官在喝彩时大声喊道“这就是协奏曲中的皇帝！”这一则趣闻无从可考，而这一作品确是当仁不让的“皇帝”。这一名称自此被沿用至今。
Perseverance in the face of adversity: this is not only the philosophical theme running through all the works selected for this program, not also Beethoven’s personal narrative as he pursued happiness, justice and betterment of the world at large. As the most famous motif “ta-ta-ta-taaa” heralds the “knocking of fate”, one invariably remembers Beethoven as the fighter, just like his character Leonora who fought for the life of her husband. Upon learning of Napoleon’s unjust ambitions, the indignant composer tore off the dedication page of the “Emperor” concerto, just like a fighter for justice, and defender of mankind’s freedom and happiness.
Vienna is a city of dreams for all musicians, as it was in the 1800’s for Beethoven where his sole opera Fidelio, originally named Leonora, Piano Concerto No. 5 and Symphony No. 5 were all premiered at Theater an der Wien.
Beethoven began composition of Leonora in 1804 and completed it in 1805. However he revised it many times over the next years, eventually renaming the opera Fidelio and writing for it four overtures, of which the third one remains as Opus 72b and a regular opener for symphonic concerts.
Piano Concerto No. 5, composed between 1809 and 1811 is Beethoven’s last piano concerto. It obtained the nickname “Emperor” when one of Napoleon’s officers stationed in Vienna at the time supposedly exclaimed that it was “an emperor of a concerto”. The anecdote has never been proven but the nickname has remained in prosperity. ( I wonder if there is something else you can add to this.)
Few would argue, even for the untrained ear in music, that the ‘ta-ta-ta-taaa’ rhythm which opens Beethoven’s Fifth Symphony is the most identifiable motif in all of music history. Ever since Beethoven’s friend, the German poet Schiller referred to this opening as the “knock of fate”, the notion of the ‘fate’ motif has remained a topic of debate amongst Beethoven scholars who regarded this interpretation as an overly romanticized view of Beethoven’s actual intentions. In any case, the influence of Beethoven’s Fifth Symphony on composers such as Brahms, Tchaikovsky, Bruckner, Mahler and Berlioz is overwhelming and the sense of “torchbearer” of the symphonic tradition is awe-inspiring. The symphony is in C minor, which is said to be Beethoven’s key of “stormy and heroic key” and contains four movements, each with a distinctly human message: beginning with the knock of destiny, continuing with the lyrical yearning in the second movement and smile of irony in the third, the symphony closes with triumphant optimism in C major.
Maestro CHEN Xieyang is the first conductor to conduct this symphony in China and leads the Suzhou Symphony Orchestra in its first performance of what is the epitome in the symphonic literature.