明日15:00，著名指揮家水藍(lán)將首次與天津茱莉亞管弦樂團(tuán)合作，演出拉威爾《悼念公主的帕凡舞曲》和《圓舞曲》，以及里姆斯基-科薩科夫《舍赫拉查德》。

這是天津茱莉亞學(xué)院春季學(xué)期的首場(chǎng)公開音樂會(huì)，索票通道一經(jīng)開放旋即“秒空”。為了讓更多無(wú)法前往現(xiàn)場(chǎng)的觀眾有機(jī)會(huì)欣賞到藝術(shù)家們的精彩演出，這場(chǎng)音樂會(huì)也將開通現(xiàn)場(chǎng)直播。屆時(shí)，觀眾可通過(guò)天津茱莉亞學(xué)院【視頻號(hào)】【微博】【bilibili】官方賬號(hào)進(jìn)行觀看。

演出曲目｜Program

莫里斯·拉威爾（1875-1937）

悼念公主的帕凡舞曲

MAURICE RAVEL (1875-1937)

Pavane pour une infante défunte

——

莫里斯·拉威爾（1875-1937）

圓舞曲

MAURICE RAVEL (1875-1937)

La Valse

— 中場(chǎng)休息｜Intermission?—

尼古拉·里姆斯基-科薩科夫（1844-1908）

舍赫拉查德

????????廣大而莊嚴(yán)（大海和辛巴達(dá)的船）

????????緩板（卡蘭達(dá)王子的故事）

????????行板近乎稍快板（年輕的王子與公主）

????????極快板（巴格達(dá)的盛宴—大海的船難）

NIKOLAI RIMSKY-KORSAKOV (1844-1908)

Scheherazade

????????Largo e maestoso?(The Sea and Sinbad's Ship)

????????Lento?(The Kalandar Prince)

????????Andantino quasi allegretto?(The Young Prince and?The Young Princess)

????????Allegro molto?(Festival at Baghdad. The Sea.)

莫里斯·拉威爾

悼念公主的帕凡舞曲

MAURICE RAVEL

Pavane pour une infante défunte

與拉威爾大多數(shù)管弦樂作品一樣，《悼念公主的帕凡舞曲》最開始是一支鋼琴曲。帕凡舞曲是歐洲16世紀(jì)時(shí)期興起的一種慢步舞曲，而拉威爾選擇用這種形式（正如他之前的加布里埃爾·福雷）來(lái)營(yíng)造一種柔和的復(fù)古氛圍。他給作品取了這樣一個(gè)標(biāo)題，意在籠統(tǒng)地描繪出一位公主在西班牙宮廷中翩翩起舞的意象。該曲采用的調(diào)式，以及其中點(diǎn)綴著歡快裝飾音的新巴洛克式聲部進(jìn)行，讓整首曲子有了一種復(fù)古的溫情感，令聽眾充滿懷舊的情緒。從形式上來(lái)看，該作品是一部有著舒緩主旋律的回旋曲，每當(dāng)主旋律再度出現(xiàn)時(shí)，其結(jié)構(gòu)也在進(jìn)行過(guò)程中趨于豐滿。每個(gè)樂節(jié)之間的過(guò)渡處理不算精巧，因此樂曲的各個(gè)部分聽起來(lái)差異感較強(qiáng)。盡管這部作品是譜寫給一個(gè)小型管弦樂隊(duì)的，但作曲家對(duì)其進(jìn)行的樂器化處理毫不遜于自己的常規(guī)作品。雖然演奏人數(shù)有限，他仍然在其中做了豐富到令人驚訝的音色處理。

Like so many of Ravel's orchestral works, the?Pavane for a Dead Princess?began life as a piano piece. The pavane, a slow dance that flourished in Europe during the 16th century, was chosen by Ravel (like Faure before him) to conjure an atmosphere of gentle archaism. The work's title was meant to evoke in general terms a scene of a princess dancing in a Spanish court. The music's modality and piquantly decorated neo-Baroque sequential progressions also contribute to the impression of some wistfully recalled scene of ancient tenderness. Formally, the work is a simple rondo whose placid main theme is progressively texturally enriched upon each return. The perfunctory transitions between each section render each part clearly distinguishable. Although Ravel scored the work for a small orchestra, the effect of his instrumentation is no less striking than usual, and he summons an astonishing variety and richness of color with these limited forces.

莫里斯·拉威爾

圓舞曲

MAURICE RAVEL

La Valse

作曲家最初將《圓舞曲》構(gòu)思為一部類似20世紀(jì)早期“佳吉列夫式”的芭蕾曲目，但這部樂曲逐漸在音樂廳中受到了追捧。實(shí)際上，該曲目并未得到謝爾蓋·佳吉列夫的親手制作，雖然他本人欣賞這支曲子，但也認(rèn)為它并不適合被搬上舞臺(tái)。正因如此，這兩位之后一直不和（后來(lái)還是有人用這支曲子編排了舞蹈）。正如《悼念公主的帕凡舞曲》一樣，該樂曲中也呈現(xiàn)了一個(gè)歷史上的舞蹈場(chǎng)景。只不過(guò)，《圓舞曲》中的復(fù)古感更具現(xiàn)代氣息，而且在整個(gè)概念和演出效果上更加深化與成熟。《圓舞曲》多被解讀為一部表現(xiàn)第一次世界大戰(zhàn)前夕歐洲文明衰落景象的作品，但作曲家本人對(duì)其涵義未置可否，只描述說(shuō)樂曲展現(xiàn)的是“1855年前后一場(chǎng)宮廷舞會(huì)”上的舞池場(chǎng)景。

樂曲開場(chǎng)是一段陰郁的旋律，管弦樂厚重的聲音下藏著暗流涌動(dòng)的、隱隱有些類似華爾茲的韻律。通過(guò)對(duì)和弦和音色的嫻熟運(yùn)用，拉威爾營(yíng)造出了整個(gè)舞池的場(chǎng)景氛圍，接著華爾茲標(biāo)志性的聲勢(shì)緩緩?fù)癸@于一片嘈雜之中，讓這個(gè)舞池場(chǎng)景成為了樂曲的焦點(diǎn)。樂曲的主題部分持續(xù)行進(jìn)，奏響了一段段互相連接的短舞曲，其旋律和形式都與傳統(tǒng)華爾茲相似，但拉威爾對(duì)每個(gè)回音處的和弦樂器音色都進(jìn)行了頗具時(shí)髦感的把控。接著，那段充滿不祥感的開場(chǎng)旋律被短暫重復(fù)，為進(jìn)行中的歡快華爾茲旋律摻入了一絲隱約暗藏著的陰郁氛圍。這次重復(fù)的旋律并未像之前一樣逐漸淡去，而是慢慢擴(kuò)散開來(lái)，更加強(qiáng)勢(shì)地與舞蹈旋律不斷碰撞、侵蝕，最終讓舞曲完全變了樣。在一片狂亂的、令人眩暈且活躍的急速旋轉(zhuǎn)中，樂曲步入尾聲，其中的華爾茲也完全變成了一段瘋狂的旋律，它那急促節(jié)奏所描述的畫面呈現(xiàn)出了一種徹頭徹尾的恐懼感。

Although?La Valse?was initially conceived as a ballet, like so many of the opulent orchestral scores of the "Diaghilevschina" of early twentieth century Paris, it has subsequently achieved its main popularity in the concert hall. Indeed, the work never even got as far as being produced by Serge Diaghilev himself, who, despite admiring the music, rejected it as unsuitable for the stage, leading to a permanent rift in his relationship with Ravel (it was later choreographed by others). This work, like the Pavane, is another evocation of a historical dance scene. This one, however, is of more recent vintage, and much more involved and developed in both its conception and realization. Although?La Valse?has been widely interpreted as expressing the decadent state of European civilization in the wake of the first world war, the composer was more tight-lipped about its meaning, describing it as no more than an evocation of a ballroom scene "set in an imperial court, around 1855".

The piece begins in the shadows with an ambiguous intimation of the waltz rhythm rumbling in the depths of the orchestra. Through his masterful control of harmony and timbre Ravel creates the impression ot the ballroom scene gradually coming into focus as the recognizable gestures of the waltz slowly emerge out ot the morass. The main body of the work continues with a series of connected shorter dances, in terms of both melody and form reminiscent of a traditional waltz, albeit enlivened at every turn by Ravel's up-to-date grasp of harmonic and instrumental color. A short reprise of the work's ominous opening reintroduces an undercurrent of dark ambiguity to the brilliant proceedings of the waltz. This time, rather than gradually vanishing, this element metastasizes, colliding with and corrupting the dance in ever more emphatic ways, eventually driving it completely off the rails. The piece ends in an absolute frenzy of disoriented kinetic whirling, the waltz having become completely unhinged and its lively rhythmic profile rendered utterly terrifying.

尼古拉·里姆斯基-科薩科夫

舍赫拉查德

NIKOLAI RIMSKY-KORSAKOV

Scheherazade

雖然里姆斯基-科薩科夫?qū)⑺蟛糠值膭?chuàng)作精力都投入到了歌劇中，但如今人們對(duì)他印象最深刻的（至少在俄羅斯以外的地方）還是那幾部管弦樂作品。目前來(lái)看，其中最著名的一部當(dāng)數(shù)《舍赫拉查德》。作品的標(biāo)題取自阿拉伯民間故事集《一千零一夜》中的女主人公名字，這部故事集在18世紀(jì)時(shí)聞名歐洲。故事中，殘忍的蘇丹王沙赫里亞爾深信所有女性都是不忠的，因此他在每一次婚禮后的清晨都會(huì)處決自己的新娘。而機(jī)智的女主人公舍赫拉查德每晚給蘇丹王編一個(gè)故事，然后在天亮?xí)r不把故事講完，這樣好奇故事結(jié)局的蘇丹王就不得不讓她活下去。她就是靠這個(gè)辦法改變了自己被處決的命運(yùn)。這本故事集既引人入勝，又奇異非凡，后來(lái)成為了東方主義藝術(shù)浪潮下最典型的作品。在俄國(guó)，這種東方韻味的曲調(diào)被運(yùn)用得尤為明顯，而俄國(guó)作曲家中又?jǐn)?shù)里姆斯基-科薩科夫?qū)@種曲調(diào)研究得最為透徹。從《安塔爾》再到《薩旦王的故事》，他從想象中那風(fēng)光旖旎、裝潢精致又帶有極致魅力的東方世界中獲取了源源不斷的靈感。

《舍赫拉查德》是一部名義上的交響樂組曲，但從其中的規(guī)模和形式設(shè)計(jì)來(lái)看，這完全是一部標(biāo)題交響曲，只不過(guò)沒體現(xiàn)在曲名中而已。正如許多標(biāo)題交響樂作品一樣，《舍赫拉查德》的作曲家也猶豫，在讓聽眾領(lǐng)略音樂中那種文學(xué)性的故事感時(shí)應(yīng)該如何把握好度。創(chuàng)作時(shí)，作曲家為每個(gè)樂章都取了標(biāo)題，呼應(yīng)《一千零一夜》中的角色和形象，雖然他后來(lái)曾想過(guò)去掉標(biāo)題，但現(xiàn)在的版本中一般還是對(duì)其進(jìn)行了保留。作品并未聚焦于某一個(gè)故事，而是全面呈現(xiàn)整個(gè)故事講述的過(guò)程以及那種充滿變革性的力量，并用音樂將其清晰地詮釋了出來(lái)。第一樂章開場(chǎng)時(shí)，代表蘇丹王的旋律唐突粗魯，回應(yīng)它的則是小提琴獨(dú)奏的甜美音律，對(duì)其氣勢(shì)進(jìn)行了弱化。代表舍赫拉查德的旋律由斷斷續(xù)續(xù)的豎琴吟游曲調(diào)作為伴奏，似乎是為了體現(xiàn)其敘事動(dòng)機(jī)的本質(zhì)一一為了邀請(qǐng)聽眾從世俗煩擾的束縛中解脫出來(lái)，進(jìn)入一個(gè)無(wú)拘無(wú)束的想象世界。旋律中的敘事技巧明顯呼應(yīng)了原著故事的結(jié)構(gòu)，每當(dāng)新樂章響起時(shí)就會(huì)再度出現(xiàn)，然后在樂句結(jié)尾處也會(huì)重復(fù)，不知不覺地變幻為一種甜美順從的美妙意境，仿佛寓意蘇丹王終于為舍赫拉查德所折服，令人印象深刻。

Despite having invested most of his creative energies into opera, Rimsky-Korsakov is today best remembered (at least outside Russia) for a handful of orchestral works, of which?Scheherazade?is by far the most substantial. Its title is a reference to the heroine of?The?Thousand and One Nights, a collection of Arab folktales which became famous in Europe over the 18th century. In it, the cruel Sultan Shahryar, convinced of the faithlessness of all women, has each of his brides executed the morning after their marriage. The cunning Scheherazade forestalls this fate by weaving a tale for the sultan each night and leaving it unfinished so that he is compelled to grant her another day to satisfy his curiosity. Titillating and fantastical, the collection of stories became the locus classicus ot a wave of Orientalist art. Nowhere was the Orientalist strain more pronounced than in Russia, and no Russian composer drank more deeply at this well than Rimsky-Korskov. From?Antar?to?The Tsar Sultan, the picturesque, ornamental, and seductive allure of the imagined East was a persistent source of inspiration.

Although nominally a "symphonic suite", the scale and formal design of?Scheherazade?make it a program symphony in all but name. As with many programmatic symphonic works, its composer vacillated as to what extent the listener should be presented with concrete literary corollaries of the music. At one point each movement was assigned titles evoking characters and images from?The Thousand and One Nights, and although Rimsky-Korsakov later wished to omit them, they are usually retained today. Rather than any specific tale, it is the idea of storytelling itself and its transformative power that is translated most clearly into the music. At the opening of the first movement, the brusque theme ot the sultan is softened by the sweetness of the solo violin's reply. Scheherazade's theme, accompanied by bardic broken chords in the harp, seems to embody the essence of the narrative impulse: an invitation to the listener to break free from the bonds of worldly care and enter the unfettered realm of the imagination. In an unmistakable evocation of the framing device from the original set of stories, this theme returns at the outset of each movement and, unforgettably, at the close, when the Sultan, perhaps finally won over by Scheherazade, drifts into sweetly resigned dreams.

曲目介紹由尼科洛·安森博士撰寫

Program Notes by Dr. Niccolo Athens

水藍(lán)，指揮

Lan Shui, Conductor

不管是領(lǐng)導(dǎo)樂團(tuán)還是委約、首演、錄制當(dāng)今亞洲乃至國(guó)際交響音樂界炙手可熱作曲家的作品，指揮家水藍(lán)都展現(xiàn)出其才華橫溢和無(wú)比的熱情。作為剛剛就任于臺(tái)灣交響樂團(tuán)首席客座指揮的他，在2021/22季度仍不間斷的出任亞洲以及歐洲多個(gè)交響樂團(tuán)的客座指揮。

水藍(lán)曾在1997至2019年間任新加坡交響樂團(tuán)音樂總監(jiān)，美國(guó)唱片評(píng)論曾稱贊他“將一個(gè)優(yōu)秀的地區(qū)交響樂團(tuán)升華至世界級(jí)水準(zhǔn)，每一場(chǎng)音樂會(huì)都是真情演繹！”在歐洲、亞洲，以及美國(guó)進(jìn)行了多個(gè)好評(píng)如潮的巡演之后，水藍(lán)率領(lǐng)新加坡交響樂團(tuán)在2014年9月首次登上逍遙音樂節(jié)。他于2019年1月起任新加坡交響樂團(tuán)桂冠指揮。2007至2015年他曾出任哥本哈根愛樂樂團(tuán)首席指揮一職，現(xiàn)在為樂團(tuán)榮譽(yù)指揮。

作為客座指揮，水藍(lán)曾與國(guó)際多個(gè)樂團(tuán)合作。其中美國(guó)樂團(tuán)包括洛杉磯愛樂樂團(tuán)、舊金山交響樂團(tuán)，以及巴爾的摩和底特律的交響樂團(tuán)。曾合作過(guò)的歐洲樂團(tuán)有柏林德意志交響樂團(tuán)、法蘭克福廣播交響樂團(tuán)、丹麥國(guó)家交響樂團(tuán)、斯圖加特廣播交響樂團(tuán)、德意志廣播愛樂樂團(tuán)、哥德堡交響樂團(tuán)、法國(guó)國(guó)家管弦樂團(tuán)和里爾國(guó)家管弦樂團(tuán)。在亞洲，他曾指揮香港、馬來(lái)西亞與日本愛樂樂團(tuán)，并與中國(guó)愛樂樂團(tuán)和上海交響樂團(tuán)經(jīng)常合作。

自1998年以來(lái)，水藍(lán)錄制了超過(guò)35張CD，其中包括與新加坡交響樂團(tuán)攜手為BIS錄制的史上第一個(gè)齊爾品交響曲全集，和與馬爾默交響樂團(tuán)錄制的多個(gè)阿諾德和欣德米特的作品一一參與錄制的獨(dú)奏家有依芙琳·葛蘭妮、林昭亮、吉爾·沙漢姆。水藍(lán)的專輯曾兩次獲得格萊美提名。

水藍(lán)曾在北京藝術(shù)節(jié)、紐約齊爾品協(xié)會(huì)、第37屆法國(guó)貝桑松指揮比賽獲得多個(gè)國(guó)際獎(jiǎng)項(xiàng)，并在波士頓大學(xué)榮獲杰出校友獎(jiǎng)以及新加坡藝術(shù)界有著最高榮譽(yù)的文化獎(jiǎng)?wù)?。水藍(lán)出生于中國(guó)杭州，曾在上海音樂學(xué)院學(xué)習(xí)作曲，并畢業(yè)于中央音樂學(xué)院。他在波士頓大學(xué)進(jìn)行研究生學(xué)習(xí)期間曾在坦格伍德音樂節(jié)上與倫納德·伯恩斯坦學(xué)習(xí)。

水藍(lán)曾與大衛(wèi)·津曼合作并任其巴爾的摩交響樂團(tuán)助理指揮，也出任過(guò)底特律交響樂團(tuán)尼姆·雅爾維的助理指揮。他密切合作過(guò)的藝術(shù)家和樂團(tuán)還包括紐約愛樂的庫(kù)爾特·馬祖爾、克利夫蘭管弦樂團(tuán)的皮埃爾·布列茲。

Lan Shui is renowned for his abilities as an orchestral builder and for his passion in commissioning, premiering and recording new works by leading composers from Asia and elsewhere on the international contemporary?orchestral scene. Having recently assumed the position of Principal Guest Conductor of the Taiwan Symphony Orchestra. 2021/22 sees Shui continuing to guest conduct eminent orchestras in both Asia and Europe.

Lan Shui served as the Music Director of the Singapore Symphony?Orchestra from 1997 to 2019, with?American Record Review?noting that Shui "turned a good regional orchestra into a world-class ensemble that plays its heart out at every concert." Together they made several acclaimed tours to Europe, Asia and the United States and appeared for the first time at the BBC Proms in September 2014. As of January 2019, Shui has?been appointed SSO's Conductor Laureate. Lan Shui also held the position of Chief Conductor of the Copenhagen Phil from 2007 to 2015, currently?serving as the orchestra's Honorary Conductor.

As a guest conductor, Shui has worked with many orchestras worldwide. In the United States he has appeared with the Los Angeles Philharmonic,?San Francisco Symphony, and Baltimore and Detroit symphony orchestras.?In Europe he has performed with Deutsches Symphonie-Orchester Berlin, hr-Sinfonieorchester, Danish National Symphony Orchestra, Radio-Sinfonieorchester Stuttgart des SWR, Deutsche Radio Philharmonie, Gothenburg Symphony, Orchestre National de France and Orchestre National de Lille. In Asia he has conducted the Hong Kong, Malaysian and Japan Philharmonic orchestras and maintains a close relationship with the China Philharmonic and Shanghai Symphony.?

Since 1998 Shui has recorded over 35 CDs with the Singapore Symphony?Orchestra for BIS - including the first ever complete cycle of Tcherepnin's?symphonies - and also works by Arnold and Hindemith with the Malm??Symphony Orchestra featuring soloists such as Dame Evelyn Glennie, Cho-Liang Lin and Gil Shaham. His albums have received twice Grammy?nominations.

Lan Shui is the recipient of several international awards from the Beijing Arts Festival and the New York Tcherepnin Society, the 37th Besan?on Conductors' Competition in France and Boston University (Distinguished Alumni Award) as well as the Cultural Medallion - Singapore's highest?accolade in the arts.

Born in Hangzhou, China,?Shui studied composition at the Shanghai Conservatory and graduated from The Beijing Central Conservatory. He continued his graduate studies at Boston University while at the same time working closely with Leonard Bernstein at the Tanglewood Music Festival.?He has worked together with David Zinman as Conducting Affiliate of the Baltimore Symphony Orchestra, as Associate Conductor to Neeme J?rvi at the Detroit Symphony Orchestra, and with Kurt Masur at the New York?Philharmonic and Pierre Boulez at The Cleveland Orchestra.

天津茱莉亞管弦樂團(tuán)?

Tianjin Juilliard Orchestra

天津茱莉亞管弦樂團(tuán)在每個(gè)音樂季中獻(xiàn)上約十場(chǎng)音樂會(huì)。從巴洛克時(shí)期曲目到當(dāng)代作品，天津茱莉亞管弦樂團(tuán)會(huì)為我們帶來(lái)風(fēng)格豐富的演繹，其中也包含了與中國(guó)傳統(tǒng)樂器合作演奏的佳作。常駐教師與客座教師將指導(dǎo)樂隊(duì)聲部排練，并與他們一同練習(xí)和演出。在駐團(tuán)指揮帶領(lǐng)的音樂會(huì)之外，樂團(tuán)最近幾個(gè)樂季還與著名的客座指揮合作，其中包括余隆、邵恩、張潔敏、陳琳、林大葉和景煥。

The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a diverse repertoire ranging from baroque to contemporary orchestral works, as well as pieces using traditional Chinese instruments. Resident faculty and visiting artists lead discussions, coach sectionals, and play side-by-side with students in rehearsals and performances. In addition to concerts led by the resident conductor, in recent seasons the orchestra has also worked with renowned guest conductors such as Long Yu, Shao En, Rachel Zhang, Chen Lin, Daye Lin and Huan Jing.?