春之祭（鋼琴四手聯(lián)彈）

IGOR STRAVINSKY

Le Sacre du printemps?for Four-hand Piano (The Rite of Spring)

在交響樂(lè)曲目中，很少有像斯特拉文斯基的芭蕾舞劇《春之祭》這樣標(biāo)志性的作品。其1913年首演的曲折不斷被提起，以至成為音樂(lè)史學(xué)中的經(jīng)典案例。起初，觀眾并不接受這部新銳作品，認(rèn)為它的內(nèi)容“侵略性”過(guò)強(qiáng)，但隨后，《春之祭》卻逐漸成為經(jīng)典傳世之作。事實(shí)上，在這部作品面世的第一個(gè)十年間，即使將它的戲劇背景分離出來(lái)而僅以音樂(lè)會(huì)形式演出，觀眾仍會(huì)被這部作品深深震撼。它錯(cuò)綜復(fù)雜的音高和節(jié)奏形式以及大量使用的民歌素材（即使斯特拉文斯基否認(rèn)了這點(diǎn)）等迷人之處，即使是被慢慢發(fā)掘的，但憑借著其原始的力量，它多年來(lái)仍是樂(lè)團(tuán)的保留曲目之一。

《春之祭》最顯著的特點(diǎn)是其對(duì)龐雜的管弦樂(lè)編曲的巧妙處理。但實(shí)際上，斯特拉文斯基在構(gòu)思這部作品時(shí)，本打算將其以鋼琴四手聯(lián)彈的方式呈現(xiàn)，甚至在作曲時(shí)，他還邀請(qǐng)德彪西與他一起演奏，后來(lái)，他才改為管弦樂(lè)編曲。原因很簡(jiǎn)單——斯特拉文斯基是位頗有能力的鋼琴家，即便稱不上鋼琴大師，但是他是在鋼琴鍵盤上來(lái)作曲。他的鋼琴演奏風(fēng)格十分獨(dú)特，節(jié)奏感強(qiáng)、棱角分明，與他的作曲風(fēng)格一脈相承。由于《春之祭》的總譜有著極其密集的層次，似乎沒(méi)有哪兩場(chǎng)表演是完全一樣的。欣賞這部作品的鋼琴四手聯(lián)彈版本，雖然沒(méi)有了管弦樂(lè)團(tuán)大氣磅礴的力量，但卻能夠聽(tīng)到美妙清晰的音樂(lè)效果。音樂(lè)中的固定音型變得分外鮮明，聽(tīng)眾和演奏者都更容易感知和聲中所蘊(yùn)含的傳統(tǒng)內(nèi)容，足以令人感到驚喜。

Few works in the symphonic repertoire are as iconic as Stravinsky’s ballet?The Rite of Spring. The story of its tumultuous 1913 premiere has been so often retold as to become a cliché of music historiography, the paradigmatic example of a work of revolutionary newness that challenged and offended audiences only later to become accepted as a canonical masterpiece. In truth, once separated from its theatrical context and presented as a concert work,?The Rite of Spring?has long thrilled audiences, even in its first decade of existence. Although its fascinating intricacies of pitch and rhythmic organization, as well as its heavy reliance on folk-song materials (which the composer denied), have only slowly been uncovered, its visceral force and primal energy have ensured its continuing place in the repertory.

Although one of?The Rite of Spring’s most notable features is its masterful handling of a mammoth orchestral completement, Stravinsky in fact first conceived the work in a version for piano 4 hands which he supposedly tried out together with Debussy while the work was still in progress, only later moving on to complete the orchestration. This was not an unusual state of affairs: Stravinsky was a competent pianist, if not exactly a virtuoso, and always composed at the keyboard. His own unique pianism, rhythmic and hard-edged, was intimately bound up with his compositional style. Because the full score is so densely layered, no two performances seem to draw the same material into the foreground. Hearing the work in its original version for piano four hands, while obviously lacking the force of the orchestral version, has a wonderfully clarifying effect. The music’s ostinato patterns come into sharp relief, and the surprisingly traditional content of many of its harmonic configurations is more readily perceived, both in the ear and under the hand.

伊戈?duì)枴に固乩乃够?br>

士兵的故事：組曲

IGOR STRAVINSKY

Suite –?Histoire du soldat?(The Soldier’s Tale)

第一次世界大戰(zhàn)期間，迫于經(jīng)濟(jì)壓力，斯特拉文斯基無(wú)法再像早期一樣，制作大型管弦樂(lè)芭蕾舞劇，只能投身于小型劇場(chǎng)樂(lè)曲的創(chuàng)作中。這段時(shí)期，他最著名的作品要數(shù)1918年，他在中立國(guó)瑞士創(chuàng)作的《士兵的故事》。從表面上看，這部作品應(yīng)歸于斯特拉文斯基創(chuàng)作生涯的“俄國(guó)時(shí)期”，但實(shí)際上，其中的音樂(lè)充滿了模仿與諷刺的超脫氣質(zhì)，強(qiáng)烈表達(dá)了他對(duì)埃里克·薩蒂、六人團(tuán)等同時(shí)期法國(guó)作曲家在目標(biāo)風(fēng)格上的認(rèn)同。如今，這部作品除了常以組曲的形式在音樂(lè)會(huì)上呈現(xiàn)外，也常由舞者和演員們?cè)谖枧_(tái)上加以演繹。由于曲目中出現(xiàn)的人聲都是念白而非演唱，將其翻譯成其他語(yǔ)言并不困難。也正因如此，該曲的文字腳本偶爾會(huì)交由作家（比如，美國(guó)作家?guī)鞝柼亍ゑT內(nèi)古特）二次創(chuàng)作，再與本來(lái)的音樂(lè)搭配。

這部風(fēng)格糅雜的室內(nèi)樂(lè)作品為劇情提供了音樂(lè)伴奏，其形式則是一部非專業(yè)配置的小型室內(nèi)樂(lè)作品，這也增添了故事的諷刺意味。為了更好的敘事，作曲家突出了樂(lè)曲中的小提琴部分。與斯特拉文斯基大部分其他作品相似，《士兵的故事》的節(jié)奏相當(dāng)復(fù)雜，因此盡管室內(nèi)樂(lè)團(tuán)的規(guī)模并不大，指揮仍必不可少。這部作品之所以如此受歡迎，或許應(yīng)歸功于這位作曲家最愛(ài)使用的節(jié)奏設(shè)計(jì)——固定音型。固定音型會(huì)在拍號(hào)變化時(shí)重復(fù)，它們?cè)诿總€(gè)小節(jié)中的位置也各不相同。通過(guò)固定音型和其他類似的設(shè)計(jì)，各種音樂(lè)風(fēng)格（比如，行軍曲、華爾茲、拉格泰姆以及探戈等）會(huì)出其不意地突然響起，營(yíng)造某種不祥的氣氛，襯托當(dāng)前旋律所敘述的劇情。特別是當(dāng)斯特拉文斯基新古典主義風(fēng)格的慣用手段——“不和諧”和弦出現(xiàn)時(shí)，這種氣氛會(huì)變得尤為濃厚。作品結(jié)尾處通過(guò)一段說(shuō)教式、嚴(yán)肅的仿贊歌旋律，用伴奏傳達(dá)了這個(gè)故事的中心思想（普羅科菲耶夫曾評(píng)論好比“得了天花的巴赫”一般）。

During the first world war, when scarce financial resources made productions on the scale of Stravinsky’s earliest ballets with their huge orchestras impossible, he turned instead to theatrical works on a smaller scale. The most well-known of these is?The Soldier’s Tale, composed in 1918 while Stravinsky was living in neutral Switzerland. While ostensibly belonging to the composer’s “Russian Period,” the music of this work, full of pastiche and ironic detachment, is in fact deeply in sympathy with the stylistic aims of some of his French contemporaries (Satie, Les Six, etc.) The music from this work is most often performed today in this concert suite, but revivals of the original version with its complement of dancers and actors are also relatively commonplace. Because its text is spoken and not sung, translations of the work into other languages are eminently feasible. For the same reason, new libretti are occasionally commissioned to fit the preexisting music (notably from the American writer Kurt Vonnegut).

The heterogeneous chamber ensemble that provides the musical accompaniment for the story is in effect a kind of rag-tag pit orchestra, contributing to the overall ironic impression. The violin part, for obvious narrative reasons, is particularly prominent. Like most of Stravinsky’s work, the music of?The Soldier’s Tale?is rhythmically complex – it is almost always performed with a conductor despite the small size of the ensemble. This work in particular is rife with one of the composer’s favorite rhythmic devices: ostinati are repeated throughout various changes of time signature, their relationship to the metrical structure constantly shifting. Through this and other similar devices, the various “genre pieces” which crop up throughout the score (march, waltz, ragtime, tango etc.) are rendered off-kilter and given a sinister edge appropriate to the subject matter at hand, especially when coupled with the “wrong-note” harmonies which were to become a staple of Stravinsky’s neo-classical style. At the work’s conclusion, the “moral” of the story is delivered to the accompaniment of a stern, faux-sermonizing pastiche-chorale (Prokofiev’s quip, “Bach with smallpox,” comes to mind).

曲目介紹由尼科洛·安森博士撰寫(xiě)

Program Notes by Dr. Niccolo Athens

天津茱莉亞室內(nèi)樂(lè)團(tuán)

Tianjin Juilliard Ensemble

天津茱莉亞室內(nèi)樂(lè)團(tuán)由天津茱莉亞學(xué)院的杰出教師團(tuán)隊(duì)組成，是具有國(guó)際水準(zhǔn)、多重編制的室內(nèi)樂(lè)團(tuán)。

作為天津茱莉亞學(xué)院的常駐樂(lè)團(tuán)，天津茱莉亞室內(nèi)樂(lè)團(tuán)擁有一批世界上最優(yōu)秀的古典音樂(lè)藝術(shù)家。他們是獨(dú)奏藝術(shù)家，也是北美、歐洲和亞洲一些屢獲殊榮的室內(nèi)樂(lè)組合及頂級(jí)管弦樂(lè)團(tuán)的前成員。

這些成就斐然的音樂(lè)家們濟(jì)濟(jì)一堂，結(jié)合國(guó)際多元文化背景，呈現(xiàn)精彩紛呈且引人深思的曲目。其配置包含弦樂(lè)、木管、銅管、豎琴、打擊樂(lè)及鋼琴，滿足不同類型室內(nèi)樂(lè)編制的多樣化曲目編排，以饗觀眾。

這支備受期待的新生室內(nèi)樂(lè)團(tuán)于2019年開(kāi)啟首個(gè)演出季，其巡演足跡遍及中國(guó)、韓國(guó)等，并于京津兩地定期推出系列音樂(lè)會(huì)。

The Tianjin Juilliard Ensemble is a world-class, mixed-instrument ensemble showcasing the distinguished faculty from The Tianjin Juilliard School.

As the resident ensemble of The Tianjin Juilliard School, The Tianjin Juilliard Ensemble features some of the world’s finest classical musicians. They are solo artists and former members of award winning chamber groups and top orchestras from North America, Europe, and Asia.

These accomplished performers blend their talents to present concerts that draw on the musicians’ international backgrounds, creating programs that are both dazzling and thought-provoking. The Ensemble encompasses strings, winds, brass, harp, percussion and piano allowing for versatile programming including both small and large ensemble repertoire.

As one of the most exciting new ensembles in China, The Tianjin Juilliard Ensemble kicked off its inaugural season in 2019 with performance tours in China and South Korea in addition to regular concert series in Tianjin and Beijing.