第六交響樂(Liszt transcription) - by 塵埃

【李斯特音樂欣賞】Beethoven Symphonies, S.464，第六交響樂

Cyprien Katsaris: Piano

 

 

Beethoven Symphonies, S.464, is a set of nine transcriptions for solo piano by Franz Liszt of Ludwig van Beethoven's symphonies.

Liszt began the work in 1838, but at that time only completed the Fifth, Sixth and Seventh Symphonies, of which the Fifth and Sixth were published by Breitkopf & Härtel and the Seventh by Tobias Haslinger. In 1843, he arranged the third movement of the Third Symphony, which was later published by Pietro Mechetti in 1850. Liszt was paid 8 francs per page by Breitkopf & Härtel, who first requested two symphonies to be transcribed. During his 1840 travels in Europe he might have given the transcribed symphonies some publicity by playing them at his concerts. With three symphonies transcribed, Liszt set aside the work for another 23 years. It wasn't until 1863 that Breitkopf & Härtel suggested to Liszt that he transcribe the complete set for a future publication. For this work, Liszt recycled his previous transcriptions by simplifying passages, stating that "the more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value". He would note down the names of the orchestral instruments for the pianist to imitate, he would also add pedal marks and fingerings for amateurs and sight readers.

When Liszt was trying to transcribe the choral movement of the Ninth Symphony for solo piano, he became "...convinced of the impossibility of making any pianoforte arrangement of [it]... that could in any way be... satisfactory". (He had in fact completed a transcription of the Ninth Symphony for two pianos in 1850.) Nevertheless, he made another attempt after an expressive letter from Breitkopf & Härtel. The full set of transcriptions was finally published in 1865 and dedicated to Hans von Bülow. The original publication of the Fifth and Sixth symphonies had been dedicated to the painter and amateur violinist Jean Auguste Dominique Ingres.

該作品與貝多芬著名的《第五交響曲“命運”》作於同時，但內容卻大不一樣。貝多芬天生愛好自然，曾花盡大半時間踏遍郊野。他頻繁地離開維也納，為的是到偏遠的鄉郊工作。他在1808年夏天的書信中說：“我在灌木、大樹、草坪和岩石間行走的時候，是多麽快樂啊！因為樹叢、花草和岩石，都能給人以共鳴。”人們在他1803年的筆記本中找到了這樣的話：“河愈大，調愈沉”，說明他通過觀察自然汲取靈感。

《田園交響曲》就是根據貝多芬在海利根斯塔特的體驗寫成的。他並不是首位以交響樂描述大自然的作曲家，之前的約瑟夫·海頓曾於1802年首演的清唱劇《四季》；然而他的技巧而要更高一籌，使得全曲充滿了對自然的敏感捕捉和對心境的出色描摹。

1808年12月22日在維也納劇院首演，與《第五交響曲》一同問世。在首演時亦曾以“重拾鄉郊的集體回憶”為題。

柏遼茲在其對貝多芬交響曲的分析論文中對該作品作出了極高的評價：
“這一令人驚歎的圖景，應該由普桑設計，由米開朗基羅執筆……
那些偉大、崇高而美麗的古代詩篇，在這一音樂的奇跡麵前也變得蒼白！……
把臉藏起來吧，可憐的古董詩人們，可憐的凡人；你們中規中矩的語言，盡管純淨和諧，卻也比不過聲響之藝術。……是的，偉大而可敬的詩人們，你們被打敗了。“

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