NSO狂飆日耳曼-舒曼的萊茵風景1850

Schumann's Rhine Vista, 1850

基本資料

理查･米爾斯《艾歐利斯狂想曲》

理查米爾斯 ( Richard Mills， 1949- ) 澳洲重要的指揮與作曲家之一，作品擅長運用各式的音色，創造出如織錦般的效果。歌劇「第十七個娃娃的夏天」與「巴塔維亞」為他贏得無數的掌聲，而他的管絃樂作品更是當代難得的作品。許多人更對他的打擊樂器協奏曲也十分感到興趣。

1982年，他為澳大利亞聯邦運動會創作，並為兩千年的奧林匹克運動會創作。而他所創作的歌劇與交響曲更在世界各地演出。由於他的作品充滿活力與娛樂性，因此受到廣大愛樂者的肯定。

創作於 1988年，《艾歐利斯狂想曲》這部色彩鮮活的作品是根據古希臘的自然、小調「艾歐利斯」而作。作品運用了簡化的音樂理論，也就是「小調聽起來較悲傷」，而創作出這部令人振奮的作品。作品充滿了純粹的喜悅，也呼應了史特拉汶斯基的作品「火鳥」。儘管短小，卻充滿能量。儘管並沒有甚麼突破性的特別技巧，卻讓人充分享受新浪漫主義的傳統。

孟德爾頌：第一號鋼琴協奏曲

2009年為浪漫時期德奧樂派作曲家孟德爾頌 ( Jakob Ludwig Felix Mendelssohn Bartholdy， 1809 -1847 ) 兩百歲冥誕。這位早熟的天才，曾於2l ~29歲之間，為鋼琴與管絃樂園創作五首作品。第一首作品「燦爛奇想曲」，創作於1830年，但直到1832年才完成。在男爵夫人之女戴芬妮的陪同下，訪問慕尼克，期間他創作了這首G小調第一號鋼琴協奏曲。孟德爾頌在寫給他的姊姊芬妮的信裡提到這位影響他創作的人她是個藝術家，非常有教養，人人愛慕......大臣與伯爵們就像圈養在籠舍裡的動物一般圈繞著她，其他的藝術家，與有教養的人士也是如此-總之，我對她送秋波。」 1831年，作品就在戴芬妮的影響之下逐漸成形，在寫給姊姊芬妮的信中提到她創作了一個小節效果驚人」，但並沒有指出是哪一個小節。孟德爾頌將作品獻給了戴芬妮，卻又向姊姊保證並不愛她。而當時孟德爾頌也不太愛他的妻子賽席兒，儘管後來他們在1837年結了婚。

作品於1831年10月17日在慕尼黑首演，雖然預演時不太順利，但正式演出時獲得聽眾的熱烈喝采。事後孟德爾頌談到此事「此曲帶給聽眾無比的歡樂，按照此地的風俏，他們會一直鼓掌，直到我再度出場為止，但我因為害羞而沒有登場謝幕。」首演之後不斷受到歡迎，從此他也經常演奏，然而真正的成功則是李斯特在巴黎的演出，才讓此曲廣為人知。

孟德爾頌會演奏小提琴，也擔任過室內樂合奏裡的中提琴手，而他最擅長的樂器則是鋼琴與管風琴。他最傑出的協奏曲是35歲時所寫的小提琴協奏曲，而早年所寫的兩首鋼琴協奏曲，也具有燦爛的光輝，但現在已經少有人演奏。兩首作品均由他自己親自首演，也都獲得聽眾的讚賞。

由於孟德爾頌不喜歡聽眾在樂章之間鼓掌，而使得他的音樂中斷。當時在樂章中鼓掌並不是一件不禮貌的事。因此，他在三首最出色的協奏曲中均採用不中斷演奏的方式，以免鼓掌的情形發生。

孟德爾頌以韋伯於1821年所作的「音樂會練習曲」為典範創作自己的第一號鋼琴協奏曲，卻並不因此減損此曲的價值，後來葛利格也以孟德爾頌的作品為典範，創作他的A小調鋼琴協奏曲。

G小調第一號鋼琴協奏曲，作品中以近乎同一鼓號曲調串連澎湃的第一樂章與浪漫的行板樂章，以及華麗的自由輪旋曲式的終樂章。全曲結束之際，出現第一樂章的迴響。與D小調第二號鋼琴協奏曲相同，兩首作品都沒有如慣例的裝飾奏 ( 或稱華彩段，華彩樂段。通常在樂曲結尾，以突顯獨唱或獨奏者的技巧 ) 。

I Molto allegro con fuoco 熱情如火的甚快板 第一樂章 奏鳴曲式。非傳統的導奏只是個引子。第一主題群有 a、b兩部分，a的音樂帶著騎士風範，近似韋伯的；b的音樂則是孟德爾頌自己的風格。第二主題群，則猶如舒曼所言，孟德爾頌是十九世紀的莫札特。

II Andante行板 第二樂章一開始即前面接過來的鋼琴第3句。這樂章似Weber協奏曲第二樂章，清亮的鋼琴加上抒情的cello，是夜晚的音樂。

III Presto -Molto allegro e vivace 急板 一 活潑的甚快板 第三樂章的導奏開始是號角。第一主題，是德奧傳統的句型，像是韋伯的作品。第二主題像孟德爾頌另一部作品「仲夏夜之夢」輕盈、飛揚，精靈一般的感覺。

舒曼：降E大調第3號交響曲， Op‧97

《萊茵》完成於1850年的第三號交響曲《萊茵》是舒曼晚年最重要的作品，那一年他才受聘擔任杜塞爾道夫的樂團指揮，與妻子克拉拉遷居杜塞爾道夫。但由於他的指揮技巧貧乏，惹腦了樂團的演奏家，工作合約最後還是被中止了。

樂曲名為「萊茵」，但並不是舒曼自己命名的。據說是當時舒曼有感於萊茵河明媚風光，因而以音樂來歌頌萊茵河畔的生活、景色以及萊茵河畔最著名的建築物：科隆大教堂，以及教堂裡莊嚴的宗教儀式，於是將這樣的感動寫進這部交響曲中。

自1840年開始的創作生涯晚期，舒曼受到了精神病的折磨，並且開始影響到他的工作。也使得他許多的理想抱負無法實現，作品也有許多未如以往精彩，但仍有傑出的作品寫成，這首降E大調交響曲《萊茵》便是在這種情況下完成。

1841年舒曼開始從事交響曲的創作。這一年寫了第一號交響曲《春》以及第二號交響曲。僅以四天時間完成了他的第一號交響曲《春》，在3月時由孟德爾頌在萊比錫首演，受到熱烈的反應，這個成功大大的鼓舞了他。同年4月舒曼完成所謂的「序曲」總譜，隨後他又加入另兩個樂章，先命名為「組曲」後再改名為「小交響曲」。5月間寫出了一個樂章的鋼琴與管絃樂幻想曲，經過克拉拉試彈之後，不知何故被舒曼擱置了四年之久，這就是他後來最受人歡迎的作品《a小調鋼琴協奏曲》。原本預備為克拉拉的生日寫一首交響曲當作生日禮物，不過曲子並沒有受到歡迎；十二年後修改再演出，成為第四號交響曲。之後舒曼再度創作另一交響曲未有結果，則為現稱第二號交響曲。

最後第三號交響曲《萊茵》完成於1850年底，1851年2月6日由他親自指揮首演。儘管有評論家指出舒曼的四首交響曲，有結構上與管絃配樂上的瑕疵，原因是他並不擅長交響曲，而以鋼琴的方法思考，而非以管絃樂園的方法思考。儘管如此，還是可以發現舒曼交響曲的新意，以及在主題連貫上的別出心裁。

在這首舒曼奮力寫成的作品中，充滿了明亮的心境與樂觀的態度。在寫給他的傳記作家瓦西雷夫斯基的信中提到希望能有一些流行的元素來主導這部作品。確實，由中學富的曲調，以及民歌似的特質，都使得這首作品獲得聽眾與樂評的讚賞，也使得這首作品成了舒曼最成功的傑作之一。

在這首描述性較強的第三號交響曲《萊茵》中，採用了創新手法，並用德語的速度及表情符號代替慣用的義大利語，全曲共分成五個樂章：

I‧ Lebhaft 生動地 第一樂章是生動的奏鳴曲式，沒有序奏，由管絃樂器總奏。節奏明朗歡欣，似乎是舒曼對新環境的信心和愉快心情的描述。

II‧ Scherw：Sehr maBig 詼諧曲：極平穩地 第二樂章則平穩地以萊茵民謠《飲酒歌》所譜成的詼諧曲，反覆出現三次，呈現猶如民間舞曲般的風格。

III‧ Nicht schnell不快地速度 第三樂章以不太快的速度，類似漸奏的模式，演奏出典雅抒情的學富情感。

IV‧ Feierlich 壯麗地 第四樂章則壯麗地以間奏曲風格插入，成為音樂形式上的主要特徽，由法國號與樂章中首次出現的長號演奏，讚美科隆大教堂崇高莊嚴的宗教氣氛。

V‧ Lebhaft 生動地 第五樂章透過生動的奏鳴曲形式，傳達群眾愉悅歡欣的情景。

RICHARD MILLS：Aeolian Caprices Richard Mills, born in 1949, is one of the most renowned conductors and composers in Australia. He is adept at using all kinds of timbres to create a tapestry-like effect. His operas Summer of the Seventeenth Doll and Batavia have won him rapturous applause, and his orchestral pieces are fantastic works of the time. Many people are particularly interested in his Percussion Concerto. He was commissioned to write music for the 1982 Commonwealth Games and the 2000 Olympic Games. His operas and symphonies are regularly performed throughout the world. Lively and entertaining, his works are well-received by the general public. Aeolian Caprices (1988) is a vivacious work based on the Aeolian mode, an ancient Greek natural minor. It is an exciting work, displaying the oversimplification of basic music theory that ""minor keys are sad sounding."" This is a work of pure joy, echoing to Stravinsky's Firebird. It teems with energy despite its short length. Even though there is little breakthrough, it is very enjoyable in the tradition of the neo-Romantics. MENDELSSOHN：Piano Concerto No. 1 in G minor, Op. 25 Austro-German Romantic composer Jakob Ludwig Felix Mendelssohn Bartholdy (1809-1847) would have been 200 years old in 2009. This precocious genius wrote five works for piano and orchestra between the ages of 21 and 29. He began writing the first of them, the Capriccio Brilliant, in 1830, but did not complete it until 1832. He composed his Piano Concerto No. 1 in G minor, Op. 25 when he visited Munich, where he was accompanied by Delphine von Schauroth, the daughter of a baroness. He wrote to his sister Fanny about this influential person, ""She is an artist, and very cultured, whom everyone adores. Ministers and counts trot around her like domestic animals in the hen yard； artists, too, and other cultivated persons.... In short, I made sheep's eyes."" This concerto gradually took shape in 1831 due to Delphine's encouragement. In another letter to Fanny, ""She composed a passage...that makes a startling effect,"" without specifying which one. Felix dedicated the work to Delphine, bur assured his sister that he did not love her. However, Mendelssohn didn't quite love his wife Cecile, either, but they still got married in 1837. The premiere took place in Munich on October 17th, 1831. Although the rehearsal didn't go well, the actual performance won much accolade from the audience. Later the composer talked about this event, ""The composition brought unparalleled joy to the audience. According to the tradition here, they would have kept applauding until I made another appearance, but I was too shy to answer the curtain call."" He often performed the concerto after the success of the premiere. Yet it was a performance by Franz Liszt in Paris that made the work truly famous. Mendelssohn could play the violin and he also played the viola for chamber ensembles. On top of that, he was best at the piano and the organ. His best concerto is his violin concerto written at the age of 35, and his two early piano concertos are also brilliant works but they are not popular anymore. These two piano concertos were premiered by himself and won the audience's recognition. Mendelssohn didn't like it when the audience applauded between movements since it would break off his music. At that time, it wasn't a rude thing to applaud between movements. Therefore, he chose to put connected movements in his three most celebrated concertos to prevent applause. While Mendelssohn's model of his first piano concerto was the 1821 Konzerrstiick by Carl Maria von Weber, this does not reduce the value of the concerto. Later, Grieg also wrote his piano concerto in A minor based on Mendelssohn's work. The Piano Concerto No. 1 in G minor uses nearly the same fanfares to connect the surging first movement and the romantic andante as well as the ebullient rondo finale. At the close, the subject of the opening movement is recalled. Same as his Piano Concerto No.2 in 0 minor, this one doesn't have a cadenza as custom, which often appears at the end of a composition to showcase the skills of a solo singer or musician. I Molto allegro con fuoco The first movement is in sonata form. The non-traditional introduction only serves as a lead-in. The first subject has two parts：A and B, where A is similar to Weber's music in its cavalier style while B demonstrates his own style. The second subject shows that Mendelssohn was the Mozart of the 19〈h century as Schumann put it. II Andante The second movement opens with the third piano sentence from the front. This movement is similar to the second movement of Weber's concerto, where the crispy piano and lyrical cello make it a piece of music for the night. III Presto - Molto allegro e vivace The third movement begins with a fanfare. The first subject is a traditional Austro-German sentence, similar to Weber's work. The second subject is like another work of Mendelssohn's, A Midsummer Night's Dream, in its light, flying and elf-like feelings. SCHUMANN：Symphony No. 3 in E-flat minor, Op. 97, Rhenish The Symphony No. 3 in E-flat minor, Op. 97 Rhenish, written in 1850, is one of the most important works of Schumann's late years. It was the year when Schumann succeeded Ferdinand Hiller as musical director at Diisseldorf, and then moved to the city with his wife Clara. Nevertheless, he was a poor conductor and quickly aroused the opposition of the musicians. His contract was eventually terminated. His Symphony No. 3 soon became known as the Rhenish although the nickname wasn't given by Schumann. It is said that the composer was inspired by the beautiful scenery of the Rhine river and then wrote his feelings in the music to celebrate the life, and the most noted building, Cologne Cathedral, by the river as well as the solemn ceremony in the church. Late into his creative period starting in 1840, ""nervous prostration"" began to take a toll on Schumann's health and work performance. This made it almost impossible to realize many of his ambitions and many of his works were not as good as before. Yet he still managed to accomplish some outstanding works including this Symphony No. 3 in E-flat minor Rhenish. Schumann started to write symphonies in 1841. He wtote his Symphony No.1 Fruhling and Symphony No.2 in that year. He spent only four days writing Fruhling whose premiere in Leipzig in March by Mendelssohn was received with a warm response. The success gave him a confidence boost. In April the same year, he completed the score of the so called ""overture,"" and then he added two more movements and named it a ""suite,"" which was renamed a ""sinfonietta."" Schumann wrote one movement of a fantasy for piano and orchestra, his Phantasi, in May, which was shelved by the composer for four years for unknown reasons after Clara test played it. This piece turned out to be one of his most popular works, Piano Concerto in A minor, Op.54. He wrote a symphony as a birthday present to his wife but it wasn't well-received. 12 years later, he revised the work and named it his Symphony No.4. The composer sketched another symphony in 1945 and published it as his second symphony in 1947. His third symphony Rhenish was completed at the end of 1850 and premiered on February 6th 1851 under his direction. Some critics point out that his four symphonies are flawed in the structure and instrumentation due to the fact that he tended to write from the angle of the piano instead of the orchestra because writing symphonies wasn't his strength. Even so, one can still discover breakthroughs in his symphonies and his original design in the connection of themes. Schumann made a lot of efforts to make this symphony a bright and optimistic one. He wrote to his biographer, Wilhelm von Wasielewski, that he wanted ""popular elements"" to dominate this work. Indeed, the symphony's tunefulness and folk-like character helped it to win a warm public and critical reception and the Rhenish became one of the composer's greatest successes This highly descriptive Symphony No.3 uses an innovative technique and German words to indicate tempo and mood instead of Italian ones. The composition is divided into five movements. I. Lebhaft The first movement, in lively sonata form, is presented by the orchestra without an overture. The bright and joyful rhythm suggests Schumann's confidence in the new environment and his happy mood. II. Scherzo：Sehr maBig In the second movement, Schumann incorporated the jovial Rheinweinlied (Rhine-wine Song) into the Scherzo, which is repeated three rimes, showing a folkdance-like sryle. III. Nicht schnell The third movement plays out lyrical emotions as a crescendo with a moderate tempo. IV. Feierlich Marked Feierlich (Solemn), the fourth movement comes in as an intermezzo, which characterizes its musical form. The French horn and the trombone, which makes its first appearance in the music, aim to praise a solemn ceremony of the Cologne Cathedral. V. Lebhaft The Finale, marked Lebhaft, describes a scene of a buoyant crowd.

理查･米爾斯：《艾歐利斯狂想曲》
孟德爾頌：第一號鋼琴協奏曲
舒曼：第三號交響曲《萊茵》

RICHARD MILLS：Aeolian Caprices
MENDELSSOHN：Piano Concerto No. 1 in G minor, Op. 25
SCHUMANN：Symphony No. 3 in E-falt minor, Op. 97, Rhenish

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