音樂欣賞：貝多芬第五交響曲（命運）

Symphony No. 5 (Beethoven)
From Wikipedia, the free encyclopedia
 
Ludwig van Beethoven's Symphony No. 5 in C minor, Op. 67 was written in 1804–08. This symphony is one of the most popular and well-known compositions in all of European classical music, and one of the most often-played symphonies.[1] It comprises four movements: an opening sonata allegro, an andante, and a fast scherzo which leads attacca to the finale. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. E.T.A. Hoffmann described the symphony as "one of the most important works of the time".

It begins by stating a distinctive four-note "short-short-short-long" motif twice: 


 
The symphony, and the four-note opening motif in particular, are well known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television. During World War II, the BBC used the four-note motif to introduce its radio news broadcasts because it evoked the Morse code letter "V" (for "victory") (dot-dot-dot-dash).

Form

The work is in four movements:

First movement
 
The first movement opens with the four-note motif discussed below, one of the most famous in western music. There is considerable debate among conductors as to the manner of playing the four opening bars. Some conductors take it in strict allegro tempo; others take the liberty of a weighty treatment, playing the motif in a much slower and more stately tempo; yet others take the motif molto ritardando (a pronounced slowing through each four-note phrase), arguing that the fermata over the fourth note justifies this.[11]

The first movement is in the traditional sonata form that Beethoven inherited from his classical predecessors, Haydn and Mozart (in which the main ideas that are introduced in the first few pages undergo elaborate development through many keys, with a dramatic return to the opening section—the recapitulation—about three-quarters of the way through). It starts out with two dramatic fortissimo phrases, the famous motif, commanding the listener's attention. Following the first four bars, Beethoven uses imitations and sequences to expand the theme, these pithy imitations tumbling over each other with such rhythmic regularity that they appear to form a single, flowing melody. Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E flat major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, using modulation, sequences and imitation, and including the bridge. During the recapitulation, there is a brief solo passage for oboe in quasi-improvisatory style, and the movement ends with a massive coda.
 
Second movement
 
The second movement, in A flat major, is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda.

The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos, and a coda to close the movement.[12]
 
Third movement
 
The third movement is in ternary form, consisting of a scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements, containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and a coda. (For further discussion of this form, see "Textual questions", below.)

The movement returns to the opening key of C minor and begins with the following theme, played by the cellos and double basses:

The 19th century musicologist Gustav Nottebohm first pointed out that this theme has the same sequence of pitches (though in a different key and range) as the opening theme of the final movement of Mozart's famous Symphony No. 40 in G minor, K. 550. Here is Mozart's theme: 
 

(The derivation emerges more clearly if one listens first to Mozart's theme, then Mozart's theme transposed to Beethoven's key and range, then Beethoven's theme, thus:
 
While such resemblances sometimes occur by accident, this is unlikely to be so in the present case. Nottebohm discovered the resemblance when he examined a sketchbook used by Beethoven in composing the Fifth Symphony: here, 29 measures of Mozart's finale appear, copied out by Beethoven.[13]

The opening theme is answered by a contrasting theme played by the winds, and this sequence is repeated. Then the horns loudly announce the main theme of the movement, and the music proceeds from there.

The trio section is in C major and is written in a contrapuntal texture. When the scherzo returns for the final time, it is performed by the strings pizzicato and very quietly.

"The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio ... The Scherzo then contrasts this figure with the famous 'motto' (3 + 1) from the first movement, which gradually takes command of the whole movement." [14]

Fourth movement
 
The triumphant and exhilarating finale begins without interruption after the scherzo. It is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the scherzo was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work.

The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. Charles Rosen, in The Classical Style[15] suggests that this ending reflects Beethoven's sense of Classical proportions: the "unbelievably long" pure C major cadence is needed "to ground the extreme tension of [this] immense work."

Notes and references
 

1. ^ Schauffler, Robert Haven. Beethoven: The Man Who Freed Music. Doubleday, Doran, & Company. Garden City, New York. 1933; pg 211
2. ^ ^{a b c d e} Hopkins, Antony. The Nine Symphonies of Beethoven. Scolar Press, 1977. ISBN 1-85928-246-6.
3. ^ Beethoven's deafness
4. ^ Kinderman, William. Beethoven. University of California Press. Berkeley, Los Angeles. 1995. ISBN 0-520-08796-8; pg 122
5. ^ Parsons, Anthony. Symphonic birth-pangs of the trombone
6. ^ Landon, H.C. Robbins. Beethoven: His Life, Work, and World. Thames and Hudson. New York City. 1992; pg 149
7. ^ Allgemeine Musikalische Zeitung, July 1810
8. ^ Moss, Charles K. Ludwig van Beethoven: A Musical Titan.
9. ^ Symphony No. 5 in C minor, Op. 67 by Richard Freed
10. ^ Rushton, Julian. The Music of Berlioz; pg 244
11. ^ ^{a b} Scherman, Thomas K, and Louis Biancolli. The Beethoven Companion. Double & Company. Garden City, New York. 1973; p. 570
12. ^ Scherman, Thomas K, and Louis Biancolli. The Beethoven Companion. Double & Company. Garden City, New York. 1973; pg 572
13. ^ Nottebohm, Gustav (1887) Zweite Beethoviana. Leipzig: C. F. Peters, p. 531.
14. ^ Lockwood, Lewis. Beethoven: The Music and the Life. W.W. Norton & Company. New York. ISBN 0-393-05081-5; pg 223
15. ^ Rosen, Charles (1997) The Classical Style, 2nd ed. New York: Norton, p. 72
16. ^ Jolly, Constance. Beethoven as I Knew Him; London: Faber and Faber, 1966; as translated from Schindler's 'Biographie von Ludwig van Beethoven', 1860
17. ^ Cooper, Barry. The Beethoven Compendium, Ann Arbor, MI: Borders Press, 1991, ISBN 0-681-07558-9.; pg 52
18. ^ Classical Music Pages. Ludwig van Beethoven - Symphony No.5, Op.67
19. ^ Wyatt, Henry. Mason Gross Presents - Program Notes: 14 June 2003. Mason Gross School of Arts.
20. ^ Rosen, Charles. Beethoven's Piano Sonatas: A Short Companion. New Haven: Yale University Press, 2002, p. 134
21. ^ "Ludwig van Beethoven." Grove Online Encyclopedia. online (subscription required).
22. ^ Tovey, Donald Francis (1935) Essays in Musical Analysis, Volume 1: Symphonies. London: Oxford University Press.
23. ^ Kallai, Avishai. "Revert to Eggert". Retrieved on 2006-04-28.
24. ^ Ludwig van Beethoven: Symphony No. 5 in C minor, edited by Jonathan Del Mar. Kassel: Bärenreiter (1999), ISMN M-006-50054-3
25. ^ Del Mar, Jonathan (July-December 1999). "Jonathan Del Mar, New Urtext Edition: Beethoven Symphonies 1-9". British Academy Review. Retrieved on 2008-02-23.
26. ^ Ludwig van Beethoven: Symphony No. 5 in C minor; Critical Commentary, edited by Jonathan Del Mar. Kassel: Bärenreiter (1999)

Retrieved from: http://en.wikipedia.org/wiki/Symphony_No._5_(Beethoven)
 
 
 

 

[林貝卡]

謝謝分享和介紹。It is great.

[YuGong]

Herbert von Karajan
From Wikipedia, the free encyclopedia

Herbert von Karajan (April 5, 1908 – July 16, 1989) was an Austrian conductor. His obituary in the New York Times described him as "probably the world's best-known conductor and one of the most powerful figures in classical music," and placed him "in the topmost ranks of 20th-century conductors."[1] Karajan conducted the Berlin Philharmonic for thirty-five years.

Source: http://en.wikipedia.org/wiki/Herbert_von_Karajan

[YuGong]

第五交響曲

一提到貝多芬的第五交響曲，人們就會想到一個聲音，這就是著名的“命運的叩門”。著名的“命運的叩門”，是對解釋貝多芬第五交響曲的最簡短而又最形象化的注釋。“命運的叩門”這句話被重複了不知多少次，幾乎要被某些音樂“行家”指斥為對貝多芬音樂的庸俗化、簡單化的形容。可是我們這裏還是要再重複一遍這句話，因為這句話的確是理解貝多芬第五交響曲的最中肯的斷語，它出自貝多芬本人之口。據貝多芬的學生，貝多芬傳記作者辛德勒的記述，他曾向貝多芬請教關於第五交響曲第一樂章主導動機的寓意，貝多芬回答說：“這是命運的叩門，命運就是這樣敲門的。”後來人們就稱第五交響曲為“命運交響曲”。

我們不必為這句話是否真的出自貝多芬本人而繁瑣考證。也不必圍繞主題音型是否象征某種具象化的音響而爭論不休。還是應該多了解一點貝多芬創作這部交響樂的生活背景和精神狀態。再從貝多芬的音樂裏去感悟貝多芬用他那崇高的啟蒙精神點燃的生命之火。

貝多芬開始構思並動筆寫第五交響曲是在1804年，那時，他已寫過“海利根遺書”，他的耳聾已完全失去治愈的希望。他熱戀的情人朱麗葉塔·齊亞蒂伯爵小姐也因為門第原因離他而去，成了加倫堡伯爵夫人。一連串的精神打擊使貝多芬處於死亡的邊緣。但是，貝多芬與命運展開了頑強的抗爭。他在一封信裏寫道：“假使我什麽都沒有創作就離開這世界，這是不可想象的。”貝多芬在一生中最痛苦的時期，展開了一次旺盛的創作高潮：第三交響曲（英雄）尚未寫完，第五交響曲（命運）已開始動筆。1807年《命運》完成並出版之前，活潑浪漫的第四交響曲已在一年前上演，同場首演的還有第六交響曲《田園》，第四鋼琴協奏曲和為鋼琴、合唱與樂隊寫的幻想曲。在此期間，完成的著名作品還有：鋼琴奏鳴曲《華爾斯坦》、《熱情》，俄羅斯弦樂四重奏三部，貝多芬自己鍾愛的唯一一部歌劇《菲黛裏奧》和三種《萊奧諾拉序曲》，貝多芬唯一的小提琴協奏曲（這也是世界小提琴經典作品），C大調彌撒曲。等等。所有這些作品都堪稱是煌煌巨著，每一部後來都成為垂世之作。這是貝多芬留給世界的寶貴的精神財富。

1808年12月22日晚上，在維也納劇院舉行了一場可以載人史冊的音樂會。在這場音樂會上，連續首演了貝多芬的四部新作品，它們是《第五（命運）交響曲》、《第六（田園）交響曲》、《第四鋼琴協奏曲》和《鋼琴、合唱幻想曲》，由貝多芬親自指揮和擔任鋼琴獨奏。剛剛擺脫精神折磨的貝多芬表現出驚人的人格力量：一個晚上，四部大型作品，十二個樂章，外加一部幻想曲一起上演，連續120分鍾的輝煌旋律，可以想象在那個晚上維也納劇院被貝多芬的生命之火映照得何等燦爛奪目。但是，演出並不像我們今天想象的那樣盛況空前，貴族們的耳朵聽不慣貝多芬音樂裏強烈的音響對比。反應冷淡。樂師們欺負貝多芬耳聾，不肯好好演奏。這場音樂會成了貝多芬的自我燃燒。在這次音樂會以後，貝多芬永遠告別了鋼琴演奏舞台。他再也沒有以演奏家的身份登台演出。

貝多芬的第五交響曲展現的是人的精神世界的激烈鬥爭和獲得靈魂自由的勝利歡悅。雖然貝多芬創作這部交響曲時，個人遭遇到許多苦難，但是他的音樂追求的卻是人類的歡樂。他不以一己之悲歡，局限自己的創作，因此，貝多芬的音樂具有崇高精神。精一地崇高青窩在“通過苦難的歡樂”之中，它揭示出人類精神曆程的艱難和戰勝苦難的崇高之美。

第五交響曲共分四個樂章，四個樂章之間有密不可分的關聯，它們不僅是順理成章的，而且還被那個著名的“命運主題”賈成一體。貝多芬所說的“命運”不同於我們通常理解的“天命”或“天數”，這個命運是指人生的苦難和種種不幸。而人應該戰勝苦難，主宰自己的生活，達到人類光明的理想。所以，他在給阿芒達牧師的信中說過那句名句：“我決心掃除一切障礙……我將扼住命運的喉嚨。”音樂的第一樂章開門見山地推出主題——“命運的敲門”，這聲音威嚴、頑強甚至凶險，它環繞四周不時降臨．揮之不去躲避不及，使人緊張不安。第二主題是抒情性旋律，溫和舒緩，然而，第一主題的命運動機再次襲來，鬥爭的畫麵就是這樣戲劇性地展開。矛盾衝突愈演愈烈，形成了樂章的高潮，最後，敲門動機的沉重音響結束了第一樂章。

第二樂章有如一首抒情詩，表現了人的感情體驗的複雜世界。在流暢的行板上，第一主題深沉安詳，蘊含著內在的熱情，這個旋律是從民間歌曲改編成的。第二主題是具有號召力的英雄色彩旋律。兩個主題輪換變奏，樂曲從溫情柔弱逐漸發展成堅定有力的進行曲。

第三樂章是別開生麵的諧謔曲，分為主部、中部和再現部。這個樂章又展開了兩種力量緊張衝突的廣闊場麵，這是人與命運的最後搏鬥。主部音樂中兩種矛盾因素形成對比，大提琴和倍大提琴在輾轉沉思，這時，圓號帶著那命運的叩門聲再次闖入，但是這次已不是低沉的暗示，而是響亮威嚴，嚴峻地行進，具有進行曲的特征。基本主題與命運動機輪流呈現，衝突更加明顯。最後，命運動機占了上風。樂章的中部晦澀的小調式轉成開朗的大調，精神為之一振，人間的歡樂形成不可遏製的力量。第三樂章在凱旋的歡騰氣氛中直接過渡到第四樂章，充滿光明和勝利的情緒。在這個樂章裏，命運動機的陰影仍然存在，但隻是一個影子而已。最後，當勝利和歡樂的終曲響起時，它已經完全銷聲匿跡，最後的狂歡是對人的力量的讚美和歌頌。

在第五交響曲裏，貝多芬通過對人生光明的歌頌，表現出他自己的高貴人格。有評論家說貝多芬就是在這部交響曲上成為一個巨人的。恩格斯在書信裏甚至說：“如果你還沒有聽過這部壯麗的作品，那你這一生可以說是什麽也沒聽過。”恩格斯之所以用如此誇張的言辭形容貝多芬的第五交響曲，是因為在貝多芬的音樂裏潛在著一種精神，一種力量，它把人類心靈深處隱藏很深的某種東西啟發出來了，使這個蒙昧已久的東西被喚醒，成為人主宰自己命運的人格力量。

假如我們自己在人生之路上遇到某種苦難或是遭到命運的捉弄，那麽就請去追尋一下貝多芬第五交響曲裏展現的精神境界吧！這樣一切都會變得微不足道的，人生的意義比我們身邊的一切都偉大得多。這就是貝多芬的命運交響曲告訴我們的。

現在再把貝多芬創作第五交響曲時個人的遭際與音樂中凝聚的強大力量做一個對比，更可以顯現出貝多芬開闊的心胸和高尚的人格。貝多芬自己的生活經曆固然是產生他的音樂的基礎，但是，貝多芬在創作中完全進入了忘我的境界。他善於觀察人類靈魂的深處，善於體會人類的感情，而並不育於一己之私，因為他已經完全把自己交給了藝術。他說：“我作為一個普通的人，僅僅為我的藝術和未完成的職責而活著。”他用自己的音樂給人類精神帶來燦爛的陽光，也是他自己生命活力的表現，用心傾聽他的音樂可以產生人性的內省，把人生的意義顯現出來。19世紀浪漫派大師舒曼評論第五交響曲時說：“不論你聽過多少遍，都會自然產生一種新的敬仰和感歎，隻要世界上還有音樂在，它就會世世代代傳下去。”

Source: 百度百科
http://baike.baidu.com/view/78922.htm