瘋迷24舒伯特 24 Hours SCHUBERT

24 Hours SCHUBERT - 【The Complete Symphonies】Symphony No. 3 & Symphony No.4

基本資料

Ｄ大調第三號交響曲，作品200

演出時間｜ 2O22.2.19( 六) 17:OO-18:OO 演出地點｜音樂廳

指揮：亞歷山大．布魯格／樂團：國立臺灣交響樂團

同樣創作完成於1815 年，與第二號相隔僅2 個月，是舒伯特交響曲中最短的作品，沒有證據顯示此曲是否作曲家生前演出過，也不知道創作動機，全曲公開演出也是要到1881 年倫敦音樂會才有記錄。

全曲共分為四個樂章，第一樂章與前兩號一樣，用莊嚴的慢板展開序奏，在單簧管領奏木管樂器的過門後，進入後段活潑的快板，以單簧管獨奏搭配弦樂團演奏出本段主題，舒伯特使用了非常多的漸強或突強音，搭配上定音鼓的滾奏配合，帶出強大的戲劇效果，聽起來就像是當時流行的羅西尼歌劇序曲。第二樂章則是稍快板，收起了定音鼓，用ABA 三段式寫法，A 段是弦樂演奏出鄉間舞蹈的愉悅感，B 段則用單簧管獨奏帶出更自由奔放的歌唱風旋律。第三樂章則是精神抖擻的小步舞曲，同樣是ABA 三段式寫法，A 段都在正拍加入突強效果，類似詼諧曲的寫法，B 段則是優雅的蘭德勒三拍子舞曲，做出強烈對比。第四樂章則是更快的急板，開頭就進入帶有西班牙舞曲塔朗泰拉風格節奏的主題，第二主題則是管樂加入短暫出現緩和情緒段落，最終又回到第一主題強烈地結束此曲。即便作曲體裁上仍不出古典時期的樣貌，但第三號交響曲加入了更多當時流行的想法，稍微走出向前人致敬的習作風格。

c 小調第四號交響曲《悲劇》，作品417

演出時間｜ 2O22.2.19( 六) 17:OO-18:OO 演出地點｜音樂廳

指揮：亞歷山大．布魯格／樂團：國立臺灣交響樂團

創作完成於1816 年，與第三號相隔一年左右，舒伯特親自為此曲寫上《悲劇》標題，但並未說明原因，不過此曲與之後的《未完成》，是舒伯特唯二用小調寫成的交響曲，或許是想強調聽起來的感受。在舒伯特生前應曾有過私人演出，但細節未明，真正公開演出則是1849 年在萊比錫。

全曲共分為四個樂章，第一樂章同樣是由慢板的序奏開始，本次序奏的長度與延展感比起前三號更加宏大，有仿效海頓神劇《創世紀》序曲〈混沌出現〉的結構感，之後進入活潑的快板主題，則可以聽出轉化自貝多芬第四號弦樂四重奏Op. 18-4 的開頭旋律，整個樂章在小調旋律與弦樂八分音符不停催促下，相當具有張力。第二樂章行板，採用了ABABA 的形式，這也預告了未來舒伯特多半用此方式創作交響曲慢板樂章，A 段主題柔美和緩，旋律之後也運用在舒伯特為鋼琴寫的四首即興曲D. 935 中的第二首，B 主題則是轉為小調，是轉化第一樂章主題旋律而來，呈現出強烈對比。第三樂章是活潑的快板，用小步舞曲ABA 三段體寫法，A 段是帶有詼諧曲的正拍強拍風格，B 段主題則又再度改編自第一樂章的主題，但聽起來較為輕巧明快，預示了本曲的最終結尾。第四樂章快板，在很短暫的序奏後，呈現出具有快速動能的二拍子奏鳴曲式旋律，然而最終又把音樂回到C 大調，以光輝燦爛的方式結尾。

Symphony No. 3 in D Major, D. 200

Time: 2O22.2.19 Sat. 17:OO-18:OO Location: Concert Hall

Conductor: Alexander BRIGER AO

Orchestra: National Taiwan Symphony Orchestra

Symphony No. 3 was also completed in 1815, a mere two months after the second, and is the shortest among SCHUBERT's symphonies. There is no evidence it was performed during the Composer's lifetime, nor is anything known about the inspiration behind it. The 1881 London concert was the earliest recorded performance.

The work consists of four movements. The first movement, like that of SCHUBERT's first two symphonies, opens with a solemn Adagio. The solo clarinet and the string orchestra play out the theme, leading to an Allegro con brio. SCHUBERT uses a lot of Crescendo and Forzando; the rolling timpani brings out a powerful dramatic effect, and cites a strong resemblance to the overtures of ROSSINI's operas, which were popular at the time. The second movement puts away the timpani. This Allegretto is structured in ABA form. Section A is a joyful country dance by the strings; Section B uses a solo clarinet to bring out a more free and unbounded song-like melody. The third movement is a spirited Minuet, which is also written as ABA. Section A has a sudden forceful accented on-beat, similar to the writing style of a Scherzo. In contrast to section A, Section B is a graceful Ländlerlike triple-meter trio. The fourth movement is a faster Presto. It begins with a theme in a Spanish tarantella rhythm, the second theme introduces winds to briefly ease the mood, then it returns to the first theme with vigor. Even though the compositional style is still of the classical period, Symphony No. 3 added more novel and popular ideas from that time, moving away from the more conventional writings that paid tribute to the composer's predecessors. 

Symphony No. 4 in c minor,D. 417, Tragic

Time: 2O22.2.19 Sat. 17:OO-18:OO Location: Concert Hall

Conductor: Alexander BRIGER AO

Orchestra: National Taiwan Symphony Orchestra

A year after writing his third symphony, SCHUBERT completed symphony No. 4 in 1816. He gave it the title Tragic but never explained why. But since this and the later Symphony No. 8 Unfinished are the only two in minor keys, perhaps the name is just to describe how it sounds. There may have been a private performance before SCHUBERT's death, but the details are not clear. The first public presentation took place in Leipzig in 1849.

The piece is in four movements. Like the previous, the first movement also starts with an Adagio, with a more expansive feel compared to the first three, modeling the structure after HAYDN's "The Representation of Chaos" overture to The Creation. Later, it enters the Allegro vivace theme, which quotes from the opening theme of BEETHOVEN's String Quartet, Op. 18, No. 4. The whole movement feels full of tension with the minor-key melody and the catalyzing eighth notes from the strings. The second movement is Andante, with the form of ABABA, anticipating that SCHUBERT will continue to use this form for most of his future symphonic slow movements. The theme of section A is soft and gentle, and the composer will reuse the melody again more than a decade later in the second of the four piano impromptus, D. 935. The B section turns to a minor key, and the new theme, developed from the Allegro theme of the first movement, demonstrates a strong contrast with the earlier version. The third movement is also an Allegro vivace, written as an ABA Minuet. Section A is a Scherzo that has strong on-beats. Section B's theme is again adapted from the first movement theme, but sounds lighter and brighter, heralding the ending mood of the song. The fourth movement is an Allegro. After a very short prelude, it presents a two-beat sonata-style melody with rapid kinetic energy, but finally returns the music to C Major, ending gloriously. 

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