Franz Schubert: 鱒魚 Piano Quintet In A Major D.667(1)-朗朗鋼琴

鱒魚五重奏 (The Trout Quintet) 是 舒伯特 1817 年所寫的一首 五重奏 樂曲的通俗稱呼。這首五重奏在 Otto Erich Deutsch 的舒伯特作品目錄裏的正式名稱是 “A 大調鋼琴五重奏 Op.114” ，作品編號 D.667 。而 “ 鱒魚 ” 隻不過是第四樂章的副題，而並非整個五重奏的名稱。這首作品於 1819 年 完成，當時舒伯特隻有 22 歲，亦是他一生唯一的一首鋼琴五重奏樂曲。

與一般五重奏不同之處是，這首五重奏是一首由 鋼琴 、 低音大提琴 、 大提琴 、 中提琴 及 小提琴 一起合奏的樂曲。一般的五重奏並沒有低音大提琴，但有兩個小提琴。

本樂曲之所以叫作 “ 鱒魚 ” ，是因為它改編自舒伯特另一首同名的早期作品。

(1)

這部為鋼琴與大、中、小提琴和低音提琴所做的作品共分五個樂章，以第四樂章最為著名。在原作的歌曲中，作者先以愉快的心情，生動描繪了清澈小溪中快活遊動的鱒魚的可愛形象；而後，鱒魚被獵人捕獲，唉。

(2)

Lang Lang - piano
Radoslaw Szulc - violin
Hermann Menninghaus - viola
Sebastian Klinger - violoncello
Karl Wagner - double bass

• 1. Allegro vivace in sonata form. As commonplace in works of the Classical genre, the exposition shifts from tonic to dominant; however, Schubert's harmonic language is innovative, incorporating many mediants and submediants. This is evident from almost the beginning of the piece: after stating the tonic for ten bars, the harmony shifts abruptly into F major (the flattened submediant) in the eleventh bar. The development section starts with a similar abrupt shift, from E major (at the end of the exposition) to C major. Harmonic movement is slow at first, but becomes quicker; towards the return of the first theme, the harmony modulates in ascending half tones. The recapitulation begins in the subdominant, making any modulatory changes in the transition to the second theme unnecessary - a frequent phenomenon in early sonata form movements written by Schubert.It differs from the exposition only in omitting the opening bars and another short section, before the closing theme.

• 2. Andante in F major (the flattened submediant of the work's main key, A major). This movement is composed of two symmetrical sections, the second being a transposed version of the first, except for some differences of modulation which allow the movement to end in the same key in which it began. Each section contains three themes. The striking feature of this movement is its tonal layout: the tonality changes chromatically, in ascending half tones, according to the following scheme (some intermediate keys of lower structural significance have been omitted): F major - F sharp minor - G major - A flat major - A minor - F major. Such a tonal structure is revolutionary to the harmonic concept of Classical composers such as Mozart and Beethoven

• 3. Scherzo: Presto. This movement also contains mediant tonalities, such as the ending of the first section of the Scherzo proper, which is in C major - the flattened mediant.

• 4. Andantino - Allegretto in D major (the subdominant of the work's main key), a theme and variations on Schubert's Lied Die Forelle. As typical of some other variation movements by Schubert (in contrast to Beethoven's style) ^[4] , the variations do not transform the original theme into new thematic material; rather, they concentrate on melodic decoration and changes of mood. In the first variations, each variation features the main theme played by a different instrument or group. Schubert's innovation and originality lies in the fifth variation, coming after the traditional variation in the minor key ^{[citation needed]} . Rather than returning immediately to the tonic major, Schubert begins this variation in the flat submediant (B flat major), and creates a series of modulations within the variation, eventually leading back to the movement's main key, at the beginning of the final sixth variation. Schubert repeated this unique harmonic structure within a variation movement, in three of his later compositions: the octet in F major, D. 803 (fourth movement); the piano sonata in A minor, D. 845 (second movement); and the Impromptu in B-flat major, D. 935 No. 3. The concluding variation is highly similar to the original Lied, and shares the same characteristic accompaniment in the piano, based on a musical motif picturing the trout appearing and disappearing in the water (depicted by rising and falling notes, respectively)
  
  
  (from wikipwdia, http://www.05sun.com/downinfo/16179.html)