西貝流士_小提琴協奏曲（希拉蕊·哈恩） Sibelius _ Concerto pour violon (Hilary Hahn)

Sibelius _ Concerto pour violon (Hilary Hahn)
西貝流士_小提琴協奏曲（希拉蕊·哈恩）

Conducted by Mikko Franck, the Orchestre Philharmonique de Radio France performs the "Violin Concerto in d minor" op.47 by Jean Sibelius with Hilary Hahn. Concert recorded live on 2 May at the Radio France Auditorium in Paris.
在米科·弗蘭克的指揮下，法國廣播愛樂樂團與希拉里·哈恩一起演奏了讓·西貝流士的《d小調小提琴協奏曲》op.47。音樂會於 5 月 2 日在巴黎法國廣播電台禮堂現場錄製。

Four years before the death of the violinist Joseph Joachim (1831-1907), who inspired a great number of 19th-century musical compositions, Jean Sibelius began writing his own Violin Concerto, composed between his second and third symphonies. However, as contrary to Brahms for example, the concerto was not written with Joachim in mind, or even performed by the famous violinist. The concerto was first heard in 1903, then premiered in its final version on 19 October 1905 in Berlin, performed by Karl Halir and conducted by Richard Strauss. The work bears witness to Sibelius's desire to add a sense of vigour to his musical expression, a density far from the sentimentality, for example, of Glazounov (whose Violin Concerto also dates from 1903). Sibelius, himself a talented violinist, tackled one of the most traditional forms, respecting the tripartite progression (a rhapsodic first movement, a sublime cantilena, a joyful rondo), imbued with a unique and foreign inspiration. Eight years later, Nielsen also attempted to renew the concerto form (divided in two parts, each with two movements), but his attempt did not have the same impact. At the heart of Sibelius's creation we find a musical universe both changing and maturing. In 1904, Sibelius moved to Järvenpää, his final home thirty kilometers north of Helsinki, as if in search of a new environment, one of solitude and exigency.
Sibelius never sought modernity at all costs. He was of his time, and not one imposed by the day of his birth. When asked, in 1914 which composer of his time was the greatest, he answered without hesitation: "Schoenberg. But I also enjoy my own music". Little concerned by the musical fashions and current trends, Sibelius was nonetheless a victim of those, though well-intentioned, who saw him as the composer of rising Finnish nationalism.
小提琴家約瑟夫·約阿希姆（Joseph Joachim，1831-1907 年）為19 世紀的大量音樂作品提供了靈感，在去世前四年，讓·西貝柳斯開始創作自己的《小提琴協奏曲》，該作品是在他的第二號交響曲和第三號交響曲之間創作的。然而，與布拉姆斯相反，這首協奏曲並不是為約阿希姆而寫的，甚至也不是由這位著名小提琴家演奏的。該協奏曲於 1903 年首次被聆聽，最終版本於 1905 年 10 月 19 日在柏林首演，由卡爾·哈利爾 (Karl Halir) 演奏，理查德·施特勞斯 (Richard Strauss) 指揮。這部作品見證了西貝流士希望為他的音樂表達增添活力感，這種密度遠非格拉佐諾夫（其小提琴協奏曲也可以追溯到 1903 年）的感傷。西貝流士本身就是一位才華橫溢的小提琴家，他採用了最傳統的形式之一，尊重三部分進行（狂想曲的第一樂章，崇高的坎蒂萊納，歡樂的迴旋曲），充滿了獨特的外國靈感。八年後，尼爾森也嘗試更新協奏曲形式（分為兩部分，每部分有兩個樂章），但他的嘗試並沒有產生同樣的影響。在西貝流士創作的核心，我們發現了一個不斷變化和成熟的音樂世界。 1904 年，西貝流士搬到了位於赫爾辛基以北 30 公里處的耶文帕（Järvenpää），他的最後一個家，似乎是在尋找一個新的環境，一個孤獨而緊急的環境。
西貝流士從未不惜一切代價追求現代性。他屬於他那個時代，而不是他出生的那一天所強加的。 1914年，當被問及他那個時代最偉大的作曲家時，他毫不猶豫地回答：「勳伯格。但我也喜歡我自己的音樂」。西貝流士不太關心音樂時尚和當前的潮流，儘管他是善意的，但他仍然是那些將他視為芬蘭民族主義崛起的作曲家的受害者。

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