2月24日（本周五）19:00，天津茱莉亞學(xué)院將再次奉獻(xiàn)春季學(xué)期第二場(chǎng)公開(kāi)音樂(lè)會(huì)，天津茱莉亞室內(nèi)樂(lè)團(tuán)將再度攜手大家走進(jìn)音效極佳的天津茱莉亞音樂(lè)廳。本次演出將為大家呈現(xiàn)路易吉?博凱里尼 《C大調(diào)五重奏》、卡米耶?圣?！督礒大調(diào)七重奏，作品65》，以及約翰內(nèi)斯?勃拉姆斯《F小調(diào)鋼琴五重奏，作品34?》。本場(chǎng)音樂(lè)會(huì)將免費(fèi)向公眾開(kāi)放部分演出票，并通過(guò)【TJS Live｜天津茱莉亞現(xiàn)場(chǎng)】天津茱莉亞網(wǎng)站、天津茱莉亞學(xué)院【視頻號(hào)】【微博】【bilibili】官方賬號(hào)進(jìn)行直播。具體索票方式見(jiàn)下文。?

演出曲目｜Program

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路易吉?博凱里尼 (1743-1805)

C大調(diào)五重奏，為長(zhǎng)笛、雙簧管、小提琴、中提琴與大提琴而作

????????不太快的快板

????????小快板

????????小步舞曲速度

蓋爾蓋伊?伊采什，長(zhǎng)笛

劉明嘉，雙簧管

唐偉思，小提琴

藍(lán)圣杰*，中提琴

金兗珍，大提琴

LUIGI BOCCHERINI (1743-1805)

Quintet in C Major for Flute, Oboe, Violin, Viola and Cello

????????Allegro non troppo

????????Allegretto

????????Tempo di Minuetto

Gergely Ittzés, Flute

Mingjia Liu, Oboe

Tarn Travers, Violin

Sheng-Chieh Lan*, Viola

Yeonjin Kim, Cello

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卡米耶?圣桑 (1835-1921)

降E大調(diào)七重奏，作品65

????????前奏曲

????????小步舞曲

????????間奏曲

????????加沃特舞曲與終曲

謝爾蓋?圖特金，小號(hào)

朱可，小提琴

慈歡，小提琴

劉章卷，中提琴

呂昕陽(yáng)，大提琴

羅旭^，低音提琴

娜塔莉亞?卡圖科娃，鋼琴

CAMILLE ? SAINT-SA?NS (1835-1921)

Septet in E-flat Major, Op. 65

????????Préambule

????????Menuet

? ? ? ? Intermède

????????Gavotte et Final

Sergey Tyuteykin, Trumpet ?

Ke Karl Zhu, Violin

Huan?Ci, Violin

Zhangjuan Liu, Viola

Xinyang Lv, Cello

Xu Luo^, Double ? Bass

Natalia Katyukova, Piano

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— 中場(chǎng)休息｜Intermission —

約翰內(nèi)斯?勃拉姆斯 (1833-1897)

F小調(diào)鋼琴五重奏，作品34 ?

????????勿太快的快板

? ? ????接近柔板速度的行板

????????諧謔曲：快板

????????終曲：稍嚴(yán)肅地勿太快的快板一勿太快的急板

李偉綱，小提琴 ?

于翔，小提琴 ?

李宏剛，中提琴 ?

尼古拉斯?薩瓦拉斯，大提琴 ?

王笑寒，鋼琴

JOHANNES BRAHMS (1833-1897)

Piano Quintet in F Minor, Op. 34

????????Allegro non troppo

????????Andante, un poco Adagio

????????Scherzo. Allegro -Trio

????????Finale. Poco sostenuto - Allegro non ? troppo

Weigang Li, Violin

Angelo Xiang Yu, Violin

Honggang Li, Viola

Nicholas Tzavaras, Cello

Xiaohan Wang, Piano

特邀藝術(shù)家｜Guest Artist?

* 天津茱莉亞學(xué)院研究生?｜?The Tianjin Juilliard School Graduate Student?

蓋爾蓋伊?伊采什本場(chǎng)演出使用一把Sankyo長(zhǎng)笛。

Gergely Ittzés plays a Sankyo flute.

唐偉思所使用的是一把約瑟夫?柯廷小提琴。

Tarn Travers plays ? on a Joseph Curtin violin.

預(yù)約觀演

本場(chǎng)音樂(lè)會(huì)免費(fèi)向公眾開(kāi)放部分演出票，觀眾可通過(guò)如下方式進(jìn)行登記：

• 掃描下方二維碼登記注冊(cè)，開(kāi)放注冊(cè)時(shí)間為2月23日15:00；
  

• 注冊(cè)成功后，您將獲得一個(gè)“專(zhuān)屬二維碼”，請(qǐng)截圖保留；
  

• 演出當(dāng)日憑“專(zhuān)屬二維碼”前往天津茱莉亞學(xué)院東門(mén)兌換實(shí)體票，開(kāi)放兌換時(shí)間為2月24日18:00。
  

溫馨提示：每個(gè)手機(jī)號(hào)限領(lǐng)一張，兒童也需要注冊(cè)領(lǐng)票，身高不足1.2米的兒童將不被允許入場(chǎng)。

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路易吉?博凱里尼

C大調(diào)五重奏，為長(zhǎng)笛、雙簧管、小提琴、中提琴與大提琴而作

LUIGI BOCCHERINI

Quintet in C Major for Flute, Oboe, Violin, Viola and Cello

路易吉?博凱里尼，意大利作曲家、大提琴家，與奧地利作曲家海頓活躍于同一時(shí)代。在路易吉?博凱里尼的音樂(lè)生涯中，他大部分時(shí)間效力于西班牙王室，擔(dān)任宮廷樂(lè)師。如今,博凱里尼僅有少量作品為人熟知。但事實(shí)上，他創(chuàng)作了大量作品，在那個(gè)時(shí)代極具影響力。 正因如此，他的作品集中，有些作品可能并非出自他之手，而是其他作曲家冒用其名義和聲譽(yù)所作（18世紀(jì)，這種情況比比皆是。舉個(gè)最著名的例子，弦樂(lè)四重奏曲《小夜曲》長(zhǎng)期以來(lái)被認(rèn)為是海頓所作，后經(jīng)考證，為德國(guó)作曲家羅曼?霍夫施泰特所作）。目前，《C大調(diào)五重奏》（為長(zhǎng)笛、雙簧管、弦樂(lè)組而作）是否由博凱里尼創(chuàng)作，也存在著爭(zhēng)議。且不論其作曲者為何人，《C大調(diào)五重奏》整體旋律舒緩、歡快，間或透露著淡淡的憂(yōu)郁?？楏w清晰， 給予演奏者充分的空間以展現(xiàn)華麗的修飾。

第一樂(lè)章是18世紀(jì)典型的奏鳴曲式，主題詼諧輕快，緊隨其后的第二主題呈現(xiàn)各種重要 的變化。發(fā)展部相對(duì)簡(jiǎn)短，再現(xiàn)部突然出現(xiàn)，又戛然而止，直接以第二主題開(kāi)始，輕快的主題并沒(méi)有出現(xiàn)在再現(xiàn)部。該作品中間樂(lè)章為小步舞曲形式，呈現(xiàn)在有著兩段對(duì)比性的次屬調(diào)三重奏中。作品有兩個(gè)特點(diǎn)：第一，長(zhǎng)笛和雙簧管的對(duì)話(huà)高貴優(yōu)雅；第二，極富表現(xiàn)力的古典風(fēng)格與整個(gè)樂(lè)章的華麗風(fēng)格形成了鮮明的對(duì)比。

第三樂(lè)章，即最后一個(gè)樂(lè)章，最為與眾不同。像第二樂(lè)章一樣，第三樂(lè)章以二重奏小步舞曲開(kāi)篇。然而，該小步舞曲并不擁有與之匹配的對(duì)比三重奏，而是將這簡(jiǎn)短的小步舞曲主 題發(fā)展出一組12變奏。第一主題由長(zhǎng)笛演奏，卻逐漸變得出乎意料。整個(gè)樂(lè)章的重頭戲在 于大提琴演繹的低音聲部：時(shí)而上升時(shí)而下降的C大調(diào)音階,每小節(jié)只有一個(gè)音符。在每個(gè) 變奏中，音階保持不變（盡管不同樂(lè)器也會(huì)交替演奏相同音階）。新主題元素圍繞樂(lè)章的 固定元素展開(kāi),幾乎成為了帕薩卡利亞舞曲式。

The Italian composer and cellist Luigi Boccherini, roughly a contemporary of Haydn, spent much of his professional life at various court appointments in Spain. Although today he is only remembered for a handful of works, Boccherini was an extremely prolific composer, and highly influential in his day, so much so that some of the works in his catalogue are likely the work of other composers appropriating his name and reputation. (This was not an?uncommon practice during the 18th century - the most well-known such work is probably the famous "Serenade” for string quartet long attributed to Haydn.) The authorship of this particular quintet in C-major for flute, oboe, and strings is also questionable. Regardless of who composed it, however, it is a largely placid and sunny work, albeit with the occasional surprising touch of melancholy. Its transparent textures leave the performers ample space for florid ornamentation throughout.

The Quintet’s first movement is for the most part a standard 18th-century "sonata form” affair with a playful initial subject, and a variety of important themes introduced in the secondary key-area that follows. Following a brief development section, the movements recapitulation appears rather suddenly, and is unusually truncated: it begins directly with the secondary material, while the playful initial subject is never restated. The work's central movement is a minuet in the subdominant with two contrasting trios. The first of these features an elegant dialogue between the flute and oboe, while the second is notable for its expressive “stile antico” suspensions that contrast strikingly with the Galant atmosphere of the work as a whole.

The quintet’s third and final movement is also its most unusual. Like the second movement, it opens with a brief minuet in binary ?form. Rather than being paired with contrasting trios, however, this short minuet goes on to serve as the theme for a set of 12 variations. The initial melody, heard in the flute, turns out to be inconsequential. The material of real importance is instead the bass-line played by the cello - a doggedly ascending and then descending C-major scale, one note per bar. This scale is preserved unaltered in each variation (although it is passed around between the different instruments of the ensemble). New material is woven around this fixed element 一 almost in the manner of a passacaglia.

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卡米耶?圣桑?

降E大調(diào)七重奏，作品65

CAMILLE SAINT-SA?NS?

Septet in E-flat Major, Op. 65

卡米耶?圣桑倡導(dǎo)發(fā)展法國(guó)非歌劇領(lǐng)域的器樂(lè)創(chuàng)作。他創(chuàng)作了許多交響樂(lè)和室內(nèi)樂(lè)作品， 從某種程度上創(chuàng)造性地實(shí)現(xiàn)了上述目標(biāo)。在近代法國(guó)，室內(nèi)樂(lè)尤其不受作曲家的重視。此 夕卜,他還全力推動(dòng)法國(guó)古器樂(lè)的復(fù)興，例如編訂作曲家拉莫的鍵盤(pán)作品集。這首《降E大調(diào) 七重奏》融合了以上這兩個(gè)要素，并大量借鑒巴洛克音樂(lè)風(fēng)格，形成了獨(dú)具一格的室內(nèi)樂(lè) 曲。在該作品中，最顯著的特點(diǎn)是采用了小號(hào)，不乏幽默詼諧地隱喻了樂(lè)曲的實(shí)際使用組織 La Trompette音樂(lè)學(xué)會(huì)。

明亮的小號(hào)聲部吹奏引子，第一樂(lè)章開(kāi)門(mén)見(jiàn)山，直接轉(zhuǎn)入低音聲部，演繹賦格織體，展現(xiàn)了 18世紀(jì)早期的音樂(lè)風(fēng)格。第二樂(lè)章為小步舞曲，以二重奏形式演繹，曲調(diào)華麗，歡快的和音和鋼琴的琶音穿插其間，相映成趣。第三樂(lè)章為間奏曲，風(fēng)格獨(dú)特。相較于早期古典音樂(lè)，這個(gè)間奏曲更像意大利《小夜曲》的風(fēng)格，旋律慷慨激昂，展現(xiàn)了復(fù)調(diào)音樂(lè)的驚人層次深度。此作品的收尾樂(lè)章是一首加沃特舞曲，末樂(lè)章回到了新巴洛克音樂(lè)風(fēng)格。仿照拉莫 的風(fēng)格，加沃特舞曲（一種輕快的舞曲形式，從小節(jié)的后半部分開(kāi)始）用三部曲式寫(xiě)成，緊 跟著一段輕快的賦格曲式樂(lè)段，將作品引向激烈的尾聲。

An ongoing preoccupation for Camille Saint-Saens was to reforge for France a presence in the domain of non-operatic instrumental music. In part, he accomplished this creatively through the composition of numerous works of symphonic and chamber music, the latter genre in particular having been neglected by French composers of the recent past. Another area in which he focused his efforts was the revival of French instrumental music of more distant vintage, editing the keyboard works of Rameau, for example. Both these strains came together in his Septet in E-flat major, a sui generis piece of chamber music that makes many overt references to Baroque models. The most notable feature of the work’s instrumentation is the inclusion of the trumpet, a humorous reference to the name of the organization for which the piece was written ( ‘La? Trompette’ ).

After a brief introduction dominated by the trumpet’s fanfare figures, the septet’s first movement launches fearlessly into striding bass lines and fugal textures that immediately conjure the musical style of the early 18th century. The septet’s second movement is a minuet, a brief galanterie in binary form that might be indistinguishable from the real article if it were not for a few piquant harmonies and Romantic piano arpeggios. The work’s third movement intermezzo is stylistically in a different world, more Italianate serenade than “musique ancienne.” Its generous melodic unfolding reveals surprising depths of contrapuntal invention. The septet’s closing movement is a gavotte and finale that returns to a neo-Baroque vein. A pair of gavottes (a brisk dance form beginning on the second half of the bar) arranged in ternary fashion à la Rameau are followed by a brisk fugato that brings the work to a vigorous conclusion.

約翰內(nèi)斯?勃拉姆斯?

F小調(diào)鋼琴五重奏，作品34

JOHANNES BRAHMS?

Piano Quintet in F Minor, Op. 34

與勃拉姆斯的許多杰作一樣，1866年寫(xiě)成的F小調(diào)鋼琴五重奏也經(jīng)歷了曲折的創(chuàng)作過(guò)程。本部作品是這一音樂(lè)體裁中公認(rèn)的杰出范例，但實(shí)際上勃拉姆斯在創(chuàng)作之初并未將其定為鋼琴與弦樂(lè)四重奏的形式。經(jīng)過(guò)兩年的創(chuàng)作歷程和反復(fù)對(duì)比多個(gè)替換版本后，勃拉姆斯才最終確定了這種形式。勃拉姆斯將其精通的對(duì)位法將這一樂(lè)器編制的織體進(jìn)行了極大的豐富。在此之前，舒曼是這一體裁最著名的先驅(qū)。舒曼的作品更多的以鋼琴為主導(dǎo)，弦樂(lè)更常提供和聲的輪廓支持；而勃拉姆斯的五重奏將五種樂(lè)器做了更好的融合，并使其呈現(xiàn)更豐富的復(fù)調(diào)可能性。?

第一樂(lè)章的開(kāi)場(chǎng)小節(jié)淋漓盡致地展現(xiàn)出了五重奏的交響性音階和緊張感。F小調(diào)第一主題如暴風(fēng)雨襲來(lái)，緊接著迂回到了委婉纏綿的第二主題的升C小調(diào)（小調(diào)次中音）。呈示部被一個(gè)結(jié)束主題巧妙結(jié)束，隨著調(diào)式被轉(zhuǎn)到降D大調(diào)，使第一段的主調(diào)輪廓更加清晰鮮明。此樂(lè)章的發(fā)展部將呈示部的主題樂(lè)思賦予了豐富的想象力，勃拉姆斯用對(duì)位寫(xiě)法為已經(jīng)非常豐富 的呈示部進(jìn)行加碼。再現(xiàn)部的開(kāi)始既巧妙也有新意：第一主題的開(kāi)頭樂(lè)句融入了屬音持續(xù)低 音，在得到解決之前就結(jié)束了發(fā)展部。再現(xiàn)部的結(jié)尾和其后尾聲的開(kāi)始似乎預(yù)示著將平靜地 解決到F大調(diào)，但樂(lè)曲被猛拉回同主音小調(diào)。最終,本樂(lè)章在嚴(yán)肅且抗?fàn)幍那榫w中結(jié)束。

第二樂(lè)章是柔板樂(lè)章，與勃拉姆斯的大多數(shù)中聲部樂(lè)章一樣，采用了中規(guī)中矩的三部曲式。降A(chǔ)大調(diào)的主旋律柔和而平靜，而猛烈激昂的中段采用了E大調(diào)（呈現(xiàn)出與第一樂(lè)章呈示部中相同的降下中音呼應(yīng)關(guān)系）〇在過(guò)渡到降A(chǔ)大調(diào)主題再現(xiàn)部的連接處，許多音調(diào)被偽裝成了其他調(diào)，因此當(dāng)預(yù)料的再現(xiàn)時(shí)刻最終出現(xiàn)時(shí)，就巧妙地產(chǎn)生了令人滿(mǎn)意的結(jié)果。諧謔曲可能是本五 重奏中最受歡迎和最令人難忘的樂(lè)章。隨著樂(lè)章的展開(kāi)，音樂(lè)愈加扣人心弦。樂(lè)章的兩個(gè)主 題交互出現(xiàn)，一個(gè)主題營(yíng)造出支離破碎、不穩(wěn)定感，另一個(gè)則營(yíng)造出無(wú)畏英雄般的氣勢(shì)。在諧謔曲重復(fù)之前，一個(gè)簡(jiǎn)短的C大調(diào)三重奏輕柔且高貴的使情緒松弛了片刻。

最后樂(lè)章較為漫長(zhǎng)，在結(jié)構(gòu)上充分呼應(yīng)了激烈而精細(xì)的第一樂(lè)章。本樂(lè)章以三跳音為動(dòng)機(jī)，緩慢的以音階形式開(kāi)場(chǎng)，最終為主題準(zhǔn)備了屬音：一段令人難忘的旋律，并在其關(guān)系大調(diào)的內(nèi)部和聲為旋律增添了一絲作曲家鐘愛(ài)的“吉普賽”味道。這些主題繼續(xù)下去并成為奏鳴曲回旋曲樂(lè)章形式的基礎(chǔ)，極具活力和獨(dú)創(chuàng)性。本樂(lè)章美妙的尾聲開(kāi)始于主旋律到葬禮進(jìn)行曲的過(guò)渡，然后是意想不到的最后轉(zhuǎn)折，引回第一樂(lè)章的升C小調(diào)。這樣的安排又引出主題的變奏，這次6/8拍的轉(zhuǎn)換，不僅振奮人心，還將樂(lè)曲推向猛烈而驟然的結(jié)尾。

As with many of Brahms’s masterpieces, the F-minor piano quintet of 1866 had a tortuous gestation. While it is now regarded as one of the outstanding examples of the genre, it did not in fact begin life as a piece for piano and string quartet. Brahms only finally settled on this form after two years of work and as many discarded alternate versions. Nevertheless, the music perfectly suits its final instrumentation: Brahms used his contrapuntal mastery to expand the textural variety of the ensemble far past what Schumann accomplished in the work’s most notable predecessor. Whereas Schumann's work was largely dominated by the piano with the strings often sustaining its harmonic outline, in Brahms’s quintet the five instruments are combined in many more and varied polyphonic possibilities.

The symphonic scale and intensity of the quintet is apparent from its first movement’s opening bars. A stormy primary theme in f minor gives way to a devious secondary theme in the remotely related key of C-sharp minor (the minor submediant). The exposition is rounded off by a closing theme in which the mode is adjusted to D-flat major, bringing the tonal shape of the entire first stretch into clearer focus. The movement's development treats all the exposition’s thematic material with great imagination, Brahms upping the contrapuntal ante on the already very rich part writing of the exposition. The recapitulation begins in a cunningly inventive way, with the initial phrases of the primary theme intruding on the dominant pedal that closes the development before it has resolved. The end of the recapitulation and the beginning of the coda that follows it seem to promise a tranquil resolution into F major, but the music is wrenched back to the tonic minor where the movement ends in a mood of grim defiance.

The quintet's second movement adagio is, like most of Brahms’s inner movements, a more modestly scaled ternary affair. Its main theme in A-flat major is tender and placid, while its stormy central section is cast in E-major (resulting in the same flat-sub mediant key relationship that characterized the first movement’s exposition). The transition into the reprise of the A-flat major theme makes many tonal feints towards other keys, so that when the moment of expected return does at last occur it is exquisitely satisfying. The quintet’s scherzo is perhaps its most popular and memorable movement Extremely compelling in its relentless forward drive, the main body of the movement is built around the alternation of two themes, one rhythmically disjointed and unsettled, the other brash and heroic. A brief trio in C-major provides a stretch of gently noble repose before the scherzo is repeated.

The work’s lengthy finale more than fulfills the structural promise of its intense and elaborate opening movement. The finale opens with a highly chromatic slow introduction based on a leaping three-note motive, eventually settling on a dominant preparation for the main theme: a memorable tune whose internal tonicization of the relative major gives it some of the Mgypsy" flavor for which the composer is so beloved. These theme goes on to be the basis for a “sonata-rondo" movement of great vitality and ingenuity. The movement's marvelous coda begins with a transformation of this main theme into a kind of funeral march that is then followed by a surprising final turn towards the first movement’s C-sharp minor. This in turn sets off another variant of the main theme, this time an exhilarating 6/8 transformation of the tune that sets in motion a madcap dash to the finish.

曲目介紹由尼科洛·安森博士撰寫(xiě)

Program Notes by Dr. Niccolo Athens

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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(mǎn)足不同類(lèi)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.

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