德弗札克:大提琴協奏曲,作品104 蒙地卡羅愛樂樂團 Dvořák: Cello Concerto, Op. 104 | Marie-Elisabeth Hecker & Orchestre Philharmonique de Monte-Carlo

Dvořák: Cello Concerto, Op. 104 | Marie-Elisabeth Hecker & Orchestre Philharmonique de Monte-Carlo
德弗札克：大提琴協奏曲， Op. 104 |瑪麗-伊莉莎白·赫克與蒙地卡羅愛樂樂團

154,824 views Oct 10, 2024 FÜRSTENPALAST IN MONACO
One of the most popular works of cello music ever: Here, Antonín Dvořák’s Cello Concerto in B minor, Op. 104 is played by German cellist Marie-Elisabeth Hecker with great concentration and dedication. She is accompanied by the Orchestre Philharmonique de Monte-Carlo, under the baton of Yakov Kreizberg. The performance was recorded at the Prince’s Palace of Monaco in 2009.
154,824 次觀看 2024 年 10 月 10 日 摩納哥 FÜRSTENPALAST
有史以來最受歡迎的大提琴音樂作品之一：安東寧·德沃夏克的 B 小調大提琴協奏曲，作品。 104 由德國大提琴家瑪麗伊麗莎白赫克 (Marie-Elisabeth Hecker) 專注而投入地演奏。她由雅科夫·克萊茨貝格指揮的蒙特卡洛愛樂樂團為她伴奏。該場演出於2009年在摩納哥王宮錄製。

(00:00) Allegro
(15:25) Adagio, ma non troppo
(27:23) Finale. Allegro moderato
(00:00) 快板
（15:25）柔板，但我不會停止
（27:23）結局。中庸的快板

It is said that the Czech composer Antonín Dvořák described the cello as "a piece of wood that squeaks at the top and growls at the bottom." He discovered his love for the instrument in the US. Dvořák composed his Cello Concerto in B minor, Op. 104 between 1894 and 1895, at the end of a three-year stay in the US.
據說捷克作曲家安東寧·德沃夏克曾將大提琴形容為「一塊上面吱吱作響、下面咆哮的木頭」。他在美國發現了自己對這種樂器的熱愛。德弗札克創作了 B 小調大提琴協奏曲，作品。 1894 年至 1895 年間，即在美國逗留三年結束時，他的成績為 104 分。

Just as Dvořák was reluctant to play the cello as a solo instrument, he was also initially reluctant to relocate to America. In June 1891, he was offered the position of music director at the newly founded National Conservatory in New York. Dvořák declined, as he had just started a position as a professor at the Prague Conservatory. In 1892, he accepted the US offer after all, lured by the high salary.
正如德沃夏克不願意將大提琴作為獨奏樂器演奏一樣，他最初也不願意移居美國。 1891年6月，他被任命為新成立的紐約國立音樂學院的音樂總監。德弗札克拒絕了，因為他剛開始擔任布拉格音樂學院的教授。 1892年，在高薪的誘惑下，他最終還是接受了美國的邀約。

Regarded as a representative of the Czech national style in his home country, Dvořák was to establish a new, independent American musical culture in the US. Antonín Dvořák's 9th Symphony "From the New World" is considered a prime example of this. Nevertheless, the sounds of his native Bohemia also flowed into his works in the US. The extent to which he missed his homeland is particularly evident in his cello concerto.
德沃夏克被視為捷克民族風格的代表，他在美國建立了一種新的、獨立的美國音樂文化。安東寧·德沃夏克的第九號交響曲《來自新世界》被認為是一個典型的例子。儘管如此，他的家鄉波西米亞的音樂也融入了他在美國的作品中。他對祖國的思念之情在他的大提琴協奏曲中表現得特別明顯。

In the second movement of the concerto, Antonín Dvořák quotes one of his songs, "Lasst mich allein" (Leave me Alone) (Op. 82), which he had written for his secret and unrequited childhood sweetheart Josefina Kounicová, the sister of his future wife. In America, Dvořák had learned that his sister-in-law was seriously ill. She died in May 1895. After his return to his home country, Dvořák changed the coda of the last movement. In this movement he also refers to Czech folklore and again quotes the song "Laßt mich allein."
在這首協奏曲的第二樂章中，安東寧·德沃夏克引用了他的一首歌曲《別管我》（作品82），這首歌是他為他秘密的、單相思的青梅竹馬約瑟芬娜·庫尼科娃(Josefina Kounicová) 寫的，約瑟芬娜是他妹妹。在美國，德沃夏克得知他的嫂子病重。她於 1895 年 5 月去世。在這個樂章中，他還參考了捷克民間傳說並再次引用了歌曲“Laßt mich allein”。

Antonín Dvořák dedicated the cello concerto to his friend, the great cellist Hanuš Wihan who was supposed to play the solo part at the premiere. But a dispute arose. Wihan wanted to make many changes and even wrote a cadenza for the concerto himself against Dvořák's wishes. At the premiere in March 1896, the English cellist Leo Stern played the solo. Dvořák was on the podium and conducted the Royal Philharmonic Society in London.
安東寧·德沃夏克將這首大提琴協奏曲獻給了他的朋友、偉大的大提琴家哈努斯·維漢，後者原定在首演時演奏獨奏部分。但爭議發生了。維漢想對這首協奏曲做出許多改動，甚至違背德弗札克的意願親自寫了一個華彩樂段。在1896年3月的首演上，英國大提琴家李奧史特恩演奏獨奏。德沃夏克站在指揮台上指揮倫敦皇家愛樂協會。

© Karl More Production France / Orchestre Philharmonique de Monte-Carlo 2010
© Karl More Production France/蒙地卡羅愛樂樂團 2010

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