德沃夏克: 第九(自新大陸)交響曲

Dvorak Symphony 9 "From The New World"

Dublin Philharmonic Orchestra, Derek Gleeson, Conductor





Symphony No. 9 (Dvořák)
From Wikipedia, the free encyclopedia

The Symphony No. 9, in E Minor "From the New World" (Op. 95), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895. It is by far his most popular symphony, and one of the most popular symphonies in the modern repertory.

Instrumentation

This symphony is scored for an orchestra of the following:

2 flutes (one doubling piccolo)[1], 2 oboes (one doubling on cor anglais), 2 clarinets in A, 2 bassoons, 4 horns in E and C, 2 trumpets in E, C and E flat, 2 tenor trombones, bass trombone, tuba(second movement only)[2], timpani, triangle, cymbals, and strings.

Movements
 
The piece has four movements:

I. Adagio — Allegro molto
II. Largo
III. Scherzo: Molto Vivace — Poco sostenuto
IV. Allegro con fuoco

Influences
 
Dvořák was interested in the native American music and African-American spirituals he heard in America. Upon his arrival in America, he stated:

"I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them." [3]
The symphony's premiere was on December 16, 1893 by the New York Philharmonic at Carnegie Hall (which was the home of the Philharmonic until 1962), conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony:

"I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral color."
In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's [The Song of] Hiawatha" (he never actually wrote such a piece). He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance".

Curiously enough, passages which modern ears perceive as the musical idiom of African-American spirituals may have been intended by Dvořák to evoke a Native American atmosphere. In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland".[4][5] Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions.[citation needed]

Despite all this, it is generally considered that, like other Dvořák pieces, the work has more in common with folk music of his native Bohemia than with that of the United States. Leonard Bernstein averred that the work was truly multinational in its foundations.[6] Nonetheless, many have proclaimed that the spirit of this symphony is quintessentially American, and the multiculturalism of the work has been cited as supporting this, in harmony with the nature of America as a melting pot.[citation needed]

Influence on other composers
 
The theme from the largo was adapted into a spiritual-like song "Goin’ Home," by black composer Harry Burleigh, whom Dvorak met during his American sojourn, and lyricist William Arms Fisher.[7]

Notes and references
 
1 The scoring of piccolo in this symphony is extremely unusual; although the English horn is brought in for the famous solo in the second movement, the piccolo plays only a short phrase in the first, and nothing else.
2 Tuba is only scored in the second movement. According to the full score book published by Dover, it indicates "Trombone basso e Tuba" in the second movement. The bass trombone is used in all four movements.
3 http://www.classicalnotes.net/columns/newworld.html
4 Kerkering, John D.; Albert Gelpi, Ross Posnock (2003). The Poetics of National and Racial Identity in Nineteenth-Century American Literature. Cambridge University Press, 133. ISBN 0521831148. 
5 Beckerman, Michael Brim (2003). New Worlds of Dvorak: Searching in America for the Composer's Inner Life. W. W. Norton & Company, 237. ISBN 0393047067. 
6 Leonard Bernstein - the 1953 American Decca recordings. DGG 477 0002. Comments on the 2nd compact disc.
7 Smith, Jane Stuart; Betty Carlson (1995). The Gift of Music: Great Composers and Their Influence. Crossway Books. ISBN 089107869X. , p. 157: "The largo of the second movement has a hauntingly beautiful melody played by the English horn. There is a sense of longing about it, and a spiritual has been adapted from it, 'Going Home.'"

Source: http://en.wikipedia.org/wiki/Symphony_No._9_(Dvo%C5%99%C3%A1k)

[YuGong]

德沃夏克第九交響曲
-- 百度百科

德沃夏克的e小調第九交響曲《自新大陸》。（也有的版本譯為“新大陸”或“新世界”交響曲）

偉大的捷克作曲家德沃夏克所留下的九部交響曲，是他一生中最重要的作品，也是十九世紀民族樂派交響曲的代表作，在整個音樂史上也是不容忽視的傑作。由於德沃夏克的交響曲深受古典樂派的影響，所以他的作品結構堅實、牢固。另外，由於他具有天生的旋律才能和豐富、敏銳的旋律感， 因而他的作品充分發揮了旋律的魅力， 而不像傳統的古典交響樂那樣單純地發揮技法。這就是德沃夏克交響曲的特殊之處。 德沃夏克的管弦樂法，並不反映當時的潮流， 雖然沒有華麗絢爛的色彩，卻顯得十分樸實可愛。正是因為如此，他的管弦樂法遭到當時某些樂評家的誤解。實際上，德沃夏克的交響曲不但能充分地發揮各種樂器的特性，而且在樂器的組合運用方麵，更具有無窮的妙味。

1892年，美國紐約國家音樂學院聘請德沃夏克出任該院的院長，德沃夏克則應邀赴美。這部《第九交響曲》即是德沃夏克在美國停留的將近三年期間內，大約在1893年五月完成的作品。1893年12月16日由翟多爾指揮紐約愛樂樂團首演。

這部交響樂實際上是作者對於美國所在的“新大陸”所產生的印象的體現，曲中雖然有類似“黑人靈歌”與美洲“印第安民謠”的旋律出現，但德沃夏克並不是原封不動地將這些民謠歌曲作為主題題材，而是在自己的創作樂思中揉進這些民謠的精神而加以表現。將此交響曲命名為“自新大陸”者，正是作曲者德沃夏克本人

全曲共分為四個樂章：

第一樂章 序奏，慢板，e小調，4/8拍子。 此序奏部分頗為宏大，其主題與相繼的主部快板部分有極其微妙的關係，擔負一種連貫全曲的特殊任務，甚至可稱之為全曲精神的中心旋律。樂章的引子部分由弦樂器、定音鼓和管樂器競相奏出強烈而熱情的節奏，暗喻了美國那種緊張、忙碌的快節奏生活 ； 樂章的主部主題貫穿了全曲的四個樂章，這個主題被認為和黑人靈歌《流吧，約旦河》有連帶關係，也有人認為，切分音與五聲音階的進行與居住於匈牙利和波西米亞境內的馬劄兒民族固有的民俗音樂具有共通的性質。這一特殊主題靠著巧妙發展，轉達了不同於以往音樂世界的“新世界”的消息， 具有強烈的震撼效果。 德沃夏克當時背井離鄉，鄉愁蘊積，故而引用了他少年時期耳熟能詳的民俗歌曲特質，以遣思鄉念國的情懷。樂章中另一段優美的旋律透露出濃濃的鄉愁,恰是作者這種心情的體現。

第二樂章 最緩板，降D大調，4/4拍子，複合三段體。 這個樂章原有《傳奇》的標題，一連串莊嚴的和弦引出《回家》的旋律。這一樂章是整部交響曲中最為有名的樂章，經常被提出來單獨演奏，其濃烈的鄉愁之情，恰恰是德沃夏克本人身處他鄉時，對祖國無限眷戀之情的體現。整個樂隊的木管部分在低音區合奏出充滿哀傷氣氛的幾個和弦之後，由英國管獨奏出充滿奇異美感和神妙情趣的慢板主題，弦樂以簡單的和弦作為伴奏，這就是本樂章的第一主題,此部分被譽為所有交響曲中最為動人的慢板樂章。 事實上，也正因為有了這段旋律，這首交響曲才博得全世界人民的由衷喜愛。這充滿無限鄉愁的美麗旋律，曾被後人填上歌詞，而改編成為一首名叫《戀故鄉》的歌曲，並在美國廣泛流傳、家喻戶曉。本樂章的第二主題由長笛和雙簧管交替奏出， 旋律優美絕倫， 在忽高忽低的情緒中流露出了一種無言的淒涼，仍是作者思鄉之情的反映。 本樂章的第三主題轉為明快而活潑的旋律，具有一些捷克民間舞蹈音樂的風格。

第三樂章 諧謔曲，從“海華沙的婚宴”中的印第安舞蹈中得到啟發,舞蹈由快而慢地不停旋轉。音樂有兩個主題，第一主題輕快而活潑，帶有跳躍的情緒；第二主題清麗、明快,富有五聲音階特色；兩個主題彼此應和、模仿。 樂章的中間部分主題悠長而婉轉，是典型的捷克民間音樂風格。

第四樂章 終曲，快板，奏鳴曲式。 氣勢宏大而雄偉，這個總結性的樂章將前麵樂章的主要主題一一再現，同時孕育出新的主題，彼此交織成一股感情的洪流，抒發了作者想象中和家人聚首時的歡樂情景。樂章的主部主題由圓號和小號共同奏出，威武而雄壯；副部主題則是柔美、抒情性旋律,由單簧管奏出。這一切經過發展之後，形成輝煌的結尾。


這首交響曲的版本可選:

1.庫貝利克指揮柏林愛樂樂團版，DG, CD編號447 412-2(第八、第九交響曲)，《企鵝》評介三星。

2.克爾特斯指揮倫敦交響樂團版，Decca, CD編號417 724--2(+德沃夏克的《隨想諧謔曲》、《狂歡節序曲》）。

3.卡拉揚指揮維也納愛樂樂團版，DG, CD編號439009-2(十斯美塔那的《沃爾塔瓦河》)(金版)，《企鵝》評介三星保留一星。
卡拉揚指揮柏林愛樂樂團版，DG, CD編號435 590-2 （畫廊，+德沃夏克的《斯拉夫舞曲》選)，《企鵝》評介三星。

4.夏伊裏指揮阿姆斯特丹音樂廳樂團版，Decca, CD編號421 016-2（+德沃夏克的《狂歡節序曲》)。

5.萊文指揮德累斯頓交響樂團版，DG, CD編號447754-2(第八、第九交響曲)。

6.康德拉辛指揮維也納愛樂樂團版，Decca, CD編號430 702-2(+德沃夏克的《美國組曲》)，《企鵝》評介三星。

7.帕雷指揮底特律交響樂團版，Mercury, CD編號434317-2(+西貝柳斯的《第二交響曲》)，《企鵝》評介三星。

8.賈維指揮蘇格蘭國家交響樂團版，Chandos,CD編號CHAN8510(+德沃夏克的《我的家》)，《企鵝》評介三星。

9.紐曼指揮捷克愛樂樂團版，SUPR,CD編號C37-7002。

這首交響曲，托斯卡尼尼指揮NBC交響樂團有1953年錄音，RCA, CD編號GD 60279 （+科達伊的《哈萊·雅諾斯組曲》、斯美塔那的《沃爾塔瓦河》，《企鵝》評介曆史錄音三星。

Source: http://baike.baidu.com/view/179006.html