Chopin: Cello Sonata In G Minor, Op. 65, B 160 - Scherzo: Allegro Con Brio
played by Yo-Yo Ma, Emanuel Ax
音樂會時間： 2010 年 2 月26 日星期五，
地點：倫敦巴比肯音樂中心
真正喜歡馬友友的大提琴還是從他的那《自由探戈》和《電影情緣》，我有ipod 也沒多久，以前去旅遊的話總喜歡帶著馬友友的《電影情緣》 cd 伴遊。
鄰居是日本外派來者工作的，女主人很喜歡音樂，她也很喜歡馬友友的演奏的音樂，她說她前年聖誕前和她丈夫去了馬友友在巴比肯《 Tango 》專場音樂會，她說馬友友的演奏非常精彩， 遺憾的是隻是她丈夫在一邊聽著睡著了，馬友友常來來倫敦的，去年夏天放假之前上網看是有他的音樂會， 當時也沒注意節目是什麽，就是想去一場馬友友的獨奏音樂會，我的好朋友也說要跟我一起去，我知道她是馬友友的粉絲，她總說馬友友真帥， 確實馬友友是很儒雅謙虛， 音樂的人文氣質很濃。
當時訂票時是衝馬友友的名字去的，可快臨近音樂會時才發現真是太好的選擇了，這場音樂會是舒曼肖邦曲目的專場音樂會，特別又是這兩位作曲家的大提琴作品，肖邦又大提琴作品？之前我都不知道， 隻熟悉他們的鋼琴作品， 在倫敦所有的紀念肖邦舒曼 200 周年的音樂會裏，這場音樂會應該是很獨特唯一的，其他的音樂會大家多是在彈肖邦的鋼琴作品， 肖邦的大提琴奏鳴曲 大提琴，鋼琴的戲份都很足，不是一般的鋼琴伴奏能勝任的。 美國鋼琴家 Emanuel Ax ，知道他是很有名的，對他不熟， 目前是柏林愛樂樂團的residency pianist , 這麽精彩的曲目和演奏家的搭配，馬友友和埃克斯也是老搭檔了， 這場音樂會不能錯過， 不能遲到。
音樂會的那天我們都比較早早安排好家人的晚餐，兩個女人就有說有笑地前往巴比肯，路途需要花一個小時， 朋友她是第一次去這樣的古典音樂會，平日隻是喜歡聽些抒情歌曲，喜歡 Michael Buble ， 我也很想今晚的音樂會能給她留下滿意的回憶， 可事情卻偏偏不順利，那晚的地鐵走走停停，最後幹脆就停了，司機說地鐵有些問題不知道什麽時候才能往前移動，真是天不作美，平日都是好好的， 趕快下車換車！ 今天肯定是要遲到了，但總比傻等好。
到巴比肯都遲到一刻鍾了，門外站著一大群遲到的觀眾，音樂廳外的閉路電視正在現場播放這場音樂會實況，兩位藝術家專著的演奏，音樂會遲到是很不好，現在隻有等這曲演奏完，觀眾鼓掌的時候才能進去，有時有的大指揮他們是不允許中間入場的， 我安慰朋友，別急，精彩的在後麵， 其實這場音樂會我是衝著肖邦的大提琴奏鳴曲，那是中場休息後的事了。
當晚的節目如下：
Emanuel Ax & Yo-Yo Ma Schumann, Lieberson and Chopin
Schumann Adagio and Allegro Op 70
Schumann Five pieces in folk style
Peter Lieberson Remembering Schumann (UK premiere)
Chopin Polonaise Brillante Op 3
Schumann Fantasiestucke Op 73
Chopin Cello Sonata in G major Op 65
Yo-Yo Ma cello
Emanuel Ax piano
掌聲又響起，我們被允許入場，兩個曲目間時間間隔很短，沒時間去找我們的座位了，我拉著朋友小聲說別我們就坐在樓梯這聽吧，別動了，一路周折，能趕上聽到肖邦的大提琴《輝煌的波蘭舞曲》我已經很滿足了，
兩位演奏家演奏了舒曼，肖邦，Peter Lieberson的作品，Peter Lieberson是現代美國作曲家，他的《懷念舒曼》沒聽到，舒曼和肖邦的大提琴曲都聽了，更喜歡肖邦的大提琴， 舒曼的大提琴對我來說有點沉悶， 也許與我對作品了解不夠有關， 我還要慢慢學習。
這場音樂會給我留下的印象是 ：歡快明亮肖邦的 大提琴《輝煌的波蘭舞曲》、很有些馬祖卡的味道，這是肖邦19歲時的作品，當時肖邦去維也納回波蘭，在王子Antonin Radziwill 山間打獵的住所逗留，並教王子的女兒鋼琴課， 這首大提琴《輝煌的波蘭舞曲》就是他在山間逗留的作品，肖邦對他這首舞曲的自我評價是” 什麽也沒有，隻有明亮和光彩，隻是沙龍作品…” 原來是這樣，19歲，那是一個充滿陽光滿懷希望的年齡， 聽起來是不一樣。
肖邦的大提琴奏鳴曲，這是肖邦為他的大提琴朋友Auguste – Joseph Franchcomme寫的大提琴作品，於1845 到1846年寫的， 中間反複修改多次
與前一首不同的是，是肖邦35，36歲的作品，這代表成熟的肖邦，那時的他已經過了人生的風風雨雨，遠離親人， 在異國他鄉，其實也不完全是異國， 那也是他父親的故鄉啊，而且他還有兩個姑姑在法國鄉下，可肖邦從來沒去拜訪父親的老家，他一直認為自己就是波蘭人。更重要的是肖邦在寫這部作品時，他已經和喬治桑相愛8年後分手了， 這8年也是肖邦創作的高峰， 此時喬治桑的離走， 結核病的折磨，肖邦寫這首曲子的心情是可想而知，他一直是愛喬治桑的，直到臨終前肖邦都一直想見上喬治桑一麵， 可以聽得出曲子裏的心情也比前一首要複雜，可有一點就是肖邦的曲子不管再憂傷總是不失熱情的，這也是我為什麽喜歡肖邦音樂的原因：
浪漫-憂傷- 熱情，這就是肖邦， 也許是他血液裏流淌著法蘭西的浪漫，斯拉夫的熱情，再加上他本人的詩人氣質的原因吧
共4個樂章：
1.中庸的快板，G小調，奏鳴曲式。第一主題先由鋼琴奏出，大提琴與之以對答旋律出現，邊自由轉調邊發展進行。第二主題也以此方式表現。
2.諧謔曲，燦爛的快板，D小調，3段體。大多以大提琴表現主旋律，插入的鋼琴音色極盡浪漫效果。
3.最緩板，降B大調，3段體，主要主題呈送葬進行曲的形態，由大提琴、鋼琴交互演奏對話般地結尾。
4.快板，G小調，奏鳴曲式。第一主題含略帶哀愁的半音階進行，第二主題則明朗而單純，其中鋼琴輝煌的技巧展示後，速度轉快，以G大調結尾。
（網上資料）
肖邦的大提琴奏鳴曲裏充滿熱情，歌劇般的抒情， 纏綿沉思，第三樂章的大提琴低吟傾訴和鋼琴熱烈輕柔的回應情感深處， 第四樂章的急速的高潮一浪高過一浪讓人熱淚泉湧，真是無詞的音樂勝過千言萬語
馬友友， 和 EmanuelAx 的表演很出色的，演出完畢，兩位藝術家都非常謙虛，都互相請對方走前， 最後雙雙牽手謝幕， Encore 時他們在反複的掌聲下又加奏了一曲勃拉姆斯的曲子。
這場音樂會不是那種激情飛揚的那種， 更多的是沉思和謎想，不過我覺得自己音樂會前的功課做的不是太充分，如果自己準備得充分些，會更好的 enjoying ，在肖邦的奏鳴曲中也很享受，另外如果這場音樂會是在更小一點的音樂廳演奏的話，效果會更好更溫馨，當然我們的位子也比較後麵。音樂會完了以後，問朋友怎麽樣？ 她說還可以，都沒看清楚，並說下次有朗朗李雲迪的音樂會告訴她一聲。
其實並不是每場音樂會都會讓你輕鬆，就如看電影， 看完電影出影院的心情也因電影而已，看美國電影多是皆大歡喜，法國電影浪漫但有些沉重，聽音樂也是這樣， 要看音樂而不一定是演奏家的原因， 這場音樂會讓人覺得有些沉重，究竟這首大提琴曲是肖邦和喬治 桑分手後，可以感受得到肖邦的痛苦憂傷心情， 但是他那份波蘭式的熱情總是在那， 伴隨他的一生。 聽一個曲子也如讀一本書， 拜讀音樂家的那不一般的人生， 這也是我去音樂會的目的之一吧， 而這場音樂會讓我跳躍式地《拜訪》了 肖邦：19歲的肖邦和《暮年》的肖邦。
巴比肯對兩位演奏家們的介紹：
Few chamber collaborations have been so well documented on disc as that of pianist Emanuel Ax and cellist Yo-Yo Ma. Chamber music collectors will therefore already know what to expect from this concert: instinctive teamwork, dynamic engagement and musical excellence.
The few works that Chopin wrote for cello hint at what might have been had he applied his lyricism to the dark tones of the instrument more often. Schumann's temperament is equally well-suited to the cello as his concerto for the instrument reveals. Having studied the cello as a youth, his very last pieces (subsequently destroyed) were written for it. While only one of tonight's pieces – the Five pieces in folk style – was actually composed for cello, on both of the others Schumann named the cello as an acceptable alternative.
Peter Lieberson is the first of the three composers in this Barbican series to take Schumann and Chopin as the starting point for a new work.
part of Emanuel Ax Residency
‘Ma is a fabulous cellist, wearing his brilliance lightly.’ The Independent
泰晤士報評論：三顆星 by Hilary Finch
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/live_reviews/article7044371.ece
There was a long queue for returns for an unexceptional programme, at times unexceptionally performed. But the reputations of Yo-Yo Ma and Emanuel Ax always go before them — and a good time will have been had by all.
Pieces by Schumann and Chopin, for cello and piano, framed the evening’s main focus: the British premiere of a short three-movement work by the American composer Peter Lieberson, called Remembering Schumann. The composer is the widower of the much lamented soprano, Lorraine Hunt Lieberson — so he certainly has quite some memories of Schumann. But the variations that shape each five-minute movement say just as much about Lieberson as they do about Schumann.
Variations on Simple Chords evokes the third variation of the Études symphoniques, yet its trampoline-like piano chords have a bittersweet darkness about them that recalls Kurt Weill. Poignant fragments of cello song drift in melancholy dream over them. Variations on a Simple Melody is still more unstable, the cello almost improvisatory in style as it moves towards an intense solo cadenza, and finally vanishes into thin air. And the final Fantasy Variations on A-S-C-H (a motif from Schumann’s Carnaval) leads Lieberson to fractured and fractious syncopations very much of his own soul and his own century. Ma and Ax had preceded this with Schumann’s Adagio and Allegro Op 70 and his Fünf Stücke im Volkston — both more secure and more eloquent in the piano than in the somewhat unballasted playing of the cello.
In their Chopin, Ma was bel canto diva and Ax the sprinkler of brilliant pianistic stardust in the Introduction and Polonaise brillante. And, as a grand finale, Chopin’s Sonata for Cello and Piano at last found both musicians in rhapsodic voice, with Ma’s beautifully shaped slow movement played as though the music had always been hovering in the ether, only waiting to be drawn down to Earth.
英國衛報的評論：四顆星，- by George Hall
http://www.guardian.co.uk/music/2010/mar/01/yoyo-ma-emanuel-ax-review
The Polish-born American pianist Emanuel Ax is giving three Barbican recitals focusing on two of this year's anniversary composers, Schumann and Chopin, over the next few weeks. In the first programme, he shared the platform with his regular cellist partner Yo-Yo Ma in a unity of approach and gesture that made every item a true duo.
Schumann came first. It's not often remembered that he studied the cello briefly as a youngster, though only one of the works here was written for the instrument. The Five Pieces in Folk Style are a group of character pieces, full of the quirkiness and idiosyncrasy typical of Schumann in his late period. Ma was particularly adept at finding the ideal weight as well as colour of tone to express their essential natures, but not even with both players at their most imaginative did the Adagio and Allegro written for horn sound ideal in its alternative cello format. The Three Fantasy Pieces conceived for clarinet worked surprisingly well, though, with Ma's sense of spontaneity matched by Ax in every note.
Even more than Schumann, Chopin is so indelibly associated with the solo piano that the existence of his substantial sonata for cello comes as a surprise. But it's a passionate and expertly composed piece, dynamically delivered here by both players in a striking realisation of its thematic material.
There was a new piece, too, jointly commissioned by the Barbican to celebrate Schumann's bicentenary. The American Peter Lieberson's Remembering Schumann makes the occasional specific reference to its subject's music but generally contents itself with emulating his fantasy and freedom in a less specific idiom. Pleasant if discursive, it registered as pallid beside its models, especially when performed with this level of commitment.
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