瘋迷24舒伯特 24 Hours SCHUBERT

24 Hours SCHUBERT - 【The Complete Symphonies】Symphony No. 1 & Symphony No.2

基本資料

Ｄ大調第一號交響曲，作品82

演出時間｜ 2O22.2.19( 六) 21:4O-22:4O 演出地點｜音樂廳

指揮：楊智欽／樂團：高雄市交響樂團

創作完成於1813 年，舒伯特當時只有16 歲，還在皇家神學院研讀音樂，實際創作動機未明，或許是為了題獻給神學院校長所寫，由於現存資料不見草稿，一般認為舒伯特是用很快的速度完成此作。雖然沒有實際記錄，但考慮到舒伯特的配器有配合當時神學院樂團的編制，據信此作應該曾在皇家神學院內演出過。公開演出記錄則要到1881 年（舒伯特過世後53 年）才在倫敦全曲首演。

全曲共分為四個樂章，第一樂章採用慢板做為序奏，可以在海頓的第104 號交響曲看到此手法，在以低音弦樂與銅管帶出序奏的莊嚴宏大感後，木管使用上行音階進入快板，第一主題由弦樂團及高音木管組成，展現出快速愉悅旋律，第二主題則是回到序奏的分解和弦，再經過不斷的配器變化後，再現部時，舒伯特把原本序奏的時值拉長兩倍，讓和弦展現出更加延展的效果，最後回到第一主題歡快地結束。第二樂章為行板，以ABABA 的反覆形式創作，是以長笛做為主角的海頓風樂章。第三樂章快板，是帶有德奧蘭德勒舞曲的三拍子風格，以ABA 的形式構成，前後快速中間和緩。第四樂章則是活潑的快板，第一小提琴主導的第一主題，與提琴聲部和低音管搭配的第二主題緊密相連，是具有羅西尼風的義大利式樂章。

降B 大調第二號交響曲，作品125

演出時間｜ 2O22.2.19( 六) 21:4O-22:4O 演出地點｜音樂廳

指揮：楊智欽／樂團：高雄市交響樂團

創作完成於1815 年，此時舒伯特已經返家，於父親的學校裡任教，工作之餘仍投身大量創作的他，此時已經寫下超過140 首藝術歌曲，包含了《魔王》、《野玫瑰》等名作，至於為何著手創作第二號交響曲則動機未明。全曲共分為四個樂章，第一樂章同第一號交響曲一樣，以緩板開始序奏，改以下行音階為主，在澎湃華麗中帶有緊張感，之後的快板部分則是能夠明顯聽到貝多芬芭蕾配樂《普羅米修斯的創造》序曲中的主題，是舒伯特對於偉大作曲家的致敬引用，整個樂章以此主題為基礎，極速又具動態感地完成此樂章。第二樂章則是行板，由主題與五個變奏組成，弦樂團拉出的主題旋律，同樣是引用貝多芬為鋼琴所寫的兩首輪旋曲 Op. 51 當中的第一首，可見舒伯特對於貝多芬的推崇與景仰，隨著管樂的加入，變奏變得越來越激昂，但最終又回到一開始主題的恬靜風格結束，這也是舒伯特交響曲創作中唯一的變奏曲。第三樂章是活潑的快板，為ABA 三段式的小步舞曲，A 段是樂團齊奏的強烈樂段，B 段則有趣地使用了部分木管與弦樂，吹出第二樂章的主題變奏，同時也是少見用小調寫成的小步舞曲。第四樂章急板，是兩拍子的加洛普舞曲，不做太多展開，暢快淋漓、充滿動能地結束此曲。

Symphony No. 1 in D Major, D. 82

Time: 2022.2.19 Sat. 21:40-22:40 Location: Concert Hall

Conductor: YANG Chih-chin

Orchestra: Kaohsiung Symphony Orchestra

Symphony No. 1 was completed in 1813. SCHUBERT was only 16 years old at the time, and he was still studying music at the Stadtkonvikt. The actual motivation for the creation is unknown. Perhaps it was written for the dedication of the president of the Stadtkonvikt. It's believed that SCHUBERT wrote it very quickly.

As the symphony's orchestration matches the seminary's orchestra of the time, it is commonly assumed the work should have been performed in the Stadtkonvikt, though there is no actual record of this. The first performance of which we have an extant record was not until 1881, in London, 53 years after SCHUBERT's death.

The piece is divided into four movements. The first movement begins with an Adagio, reminiscent of HAYDN's 104th symphony in this format. After bringing out the solemn and stately feeling of the prelude with the bass strings and brass, the woodwinds use the ascending scale to enter the Allegro vivace. The first theme consists of a string and high winds, bringing a nimble and lively melody. The second theme recalls the broken chords of the introduction. After various transitions of the instruments, in the recapitulation SCHUBERT returns to the movement of the prelude but doubles the tempo, emphasizing an extended effect of the chords, and ends jubilantly. The second movement is an Andante, structured in a repetitive ABABA form. With the flute as the protagonist, the movement reflects HAYDN's influence. The third movement is a three-beat Menuetto that evokes the style of Ländler folk dance. It is in an ABA form with the two A sections faster than the middle B. The fourth movement is an Allegro vivace. Its first theme is led by the first violins, followed closely by the second theme from the other strings and bassoons. It is an Italian-style movement that manifests Gioachino ROSSINI's musical style.

Symphony No. 2 in B-at Major, D. 125

Time: 2O22.2.19 Sat. 21:4O-22:4O Location: Concert Hall

Conductor: YANG Chih-chin

Orchestra: Kaohsiung Symphony Orchestra

SCHUBERT completed his second symphony in 1815. At this time, SCHUBERT had returned home and was teaching in his father's school. While occupied teaching during the day, he still devoted himself to writing after work. During this period, he wrote more than 140 lieder, including famous works such as Der Erlkönig and Heidenröslein. The motivation behind the creation of Symphony No. 2 remains unclear. There are four movements. The first movement is similar to Symphony No. 1, starting with a Largo as a prelude, but using the descending scale to create a sense of tension in the surging excitement. Later, in the Allegro vivace part, the theme of BEETHOVEN's overture to The Creation of Prometheus is cleverly quoted as a tribute from SCHUBERT to the other composer. The theme plays as the foundation of the movement, which builds in speed and ends with intense dynamics.

The second movement is Andante, a theme with five variations. The theme melody drawn by the strings is also quoting BEETHOVEN, one of the two rondos Op. 51 for solo piano, demonstrating the admiration and respect SCHUBERT had for BEETHOVEN. As the winds add in, the variation becomes more and more exciting, but finally returns to the quiet style of the beginning theme at the end. This is SCHUBERT's only set of symphonic variations. The third movement is an Allegro vivace, which is an ABA form of the Minuet. Section A is a powerful Tutti, then Section B interestingly uses partial woodwinds and strings to play the theme from the second movement. It is a rare Minuet written in a minor key. The fourth movement is a duple meter Gallop in Presto. It does not expand too much, and ends the piece in a lively and dynamic manner.

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