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苏州交响乐团2017音乐季-陈燮阳与完全贝多芬(二)
演出类型:音乐
演出时间:2017.4.22(周六/SAT)19:30
演出票价:380/280/180/120/80
出品公司:苏州交响乐团
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陈燮阳与完全贝多芬(二)

CHEN Xieyang Conducts All Beethoven IIi

演出时间Date & Time︱2017.4.22(周六/SAT)19:30

票价80/120/180/280/380

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             《莱奥诺拉》序曲第3号,作品72b

贝多芬             降E大调第五钢琴协奏曲,作品73, 皇帝

贝多芬             C小调第五交响曲,作品67,命运

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

 

追求光明与永恒的幸福,贝多芬透过音乐传达给世人这样的信念:尽管过程艰辛,筚路蓝缕,我们仍然勇往直前。他对我们生存的这个世界有着美好的向往。当那清晰可辨的命运敲门声“咚-咚-咚咚——”响起时,与它一同共鸣的是《莱奥诺拉》中最后标志着胜利的号角声,以及钢琴协奏曲“皇帝”的恢宏气质。你会知道只要有贝多芬的音乐,我们将永远不会失去对生活的热情。!

 

1800年左右的维也纳美好而令人向往,当地的维也纳河畔剧院在贝多芬的生平史上留下了浓墨重彩的一笔:唯一的一部歌剧《莱奥诺拉》(原名《费黛里奥》)、第五钢琴协奏曲、第五交响曲都在此上演。

 

《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。

 

《第五交响曲》有着广为流传的、强有力的名字“命运”。这不仅是贝多芬个人最著名的作品,甚至成为了音乐史的注解。其清晰可辨的开头“咚-咚-咚咚——”被贝多芬的好友,诗人席勒解释为命运的敲门声。尽管人们也许过于把这扣人心弦的开头用浪漫的方法去解释,而认为是贝多芬的有意为之,但是那令人颤栗的旋律从始至终贯穿了整个四个乐章。这部作品触及到了许多人的灵魂——即便是最严苛的耳朵也收到了震动——,更不用说那些在贝多芬指挥首演的现场听众,当怀揣着怎样的热情!今晚,指挥家陈燮阳将为我们带来他与苏州交响乐团的演绎:作为新中国第一位指挥《贝五》的指挥家,他一定有许多感悟倾诉在音乐之中。

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.