貝多芬 -第三號交響曲「英雄」 |邁克爾·蒂爾森·托馬斯 |新世界交響曲 (Beethoven- Symphony No. 3, "Eroica" | Michael Tilson Thomas | New World Symphony (2017

(Beethoven - Symphony No. 3, "Eroica" | Michael Tilson Thomas | New World Symphony (2017)
貝多芬 - 第三號交響曲「英雄」 |邁克爾·蒂爾森·托馬斯 |新世界交響曲 (2017)

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Ludwig van Beethoven’s Third Symphony, a triumphant homage to heroism, has been hailed as “the greatest single step made in the history of music.”
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路德維希·凡·貝多芬的《第三號交響曲》是對英雄主義的勝利致敬，被譽為「音樂史上最偉大的一步」。

What we now know as the “Eroica” Symphony (Italian for “Heroic”) began under the title “Bonaparte.” Beethoven had been contemplating a work inspired by Napoleon for several years by the time he took up the symphony, and he held the revolutionary hero in high regard as of 1803. Beethoven’s adulation turned to disgust in 1804, when he learned that Napoleon had declared himself Emperor. According to Beethoven’s student Ferdinand Ries, who delivered the disturbing news, “Beethoven went to the table, seized the top of the [symphony’s] title-page, tore it in half and threw it on the floor.” When Beethoven prepared the symphony for publication in 1806, he titled it “Sinfonia eroica, composed to celebrate the memory of a great man.” The “great man” may have still referenced Napoleon, but some have speculated that the title actually meant to honor Prince Louis Ferdinand of Prussia, who died in 1806 fighting against Napoleon’s army. Ferdinand was a friend of Prince Joseph Franz von Lobkowitz, Beethoven’s patron and the symphony’s dedicatee.
我們現在所熟知的「英雄」交響曲（義大利語「英雄」）最初的名字是「波拿巴」。當貝多芬開始創作這首交響曲時，他已經考慮了好幾年，想創作一部受拿破崙啟發的作品。當拿破崙宣布自己是拿破崙的追隨者時，他的崇拜變成了厭惡皇帝。據傳達這一令人不安的消息的貝多芬的學生費迪南德·里斯稱，“貝多芬走到桌子旁，抓住（交響曲）標題頁的頂部，將其撕成兩半並扔在地上。” 1806 年，當貝多芬準備出版這首交響曲時，他將其命名為「為紀念一位偉人而創作的英雄交響曲」。這位「偉人」可能仍指拿破崙，但有人猜測，這一頭銜實際上是為了紀念普魯士王子路易·費迪南，他於 1806 年在與拿破崙軍隊的戰鬥中犧牲。費迪南是約瑟夫·弗朗茨·馮·洛布科維茨親王的朋友，後者是貝多芬的贊助人和這部交響曲的受贈者。

The “Eroica” Symphony did not impress the Viennese public at its debut on April 7, 1805. First the audience had to grapple with the length, an unprecedented 50 minutes. (Haydn’s “London” Symphonies, by comparison, averaged about 30 minutes each.) To further complicate matters, the marathon first movement offered no real singing melodies to latch onto, just short motives and patterns that circulated and developed in novel ways. Such concision and unity became hallmarks of Beethoven’s middle-period.
「英雄」交響曲於 1805 年 4 月 7 日首演時並沒有給維也納公眾留下深刻印象。 （相較之下，海頓的「倫敦」交響曲平均每部長度約為30 分鐘。）更複雜的是，冗長的第一樂章並沒有提供真正的歌唱旋律可供依附，只有以新穎的方式流傳和發展的短暫動機和模式。這種簡潔、統一成為了貝多芬中期創作的象徵。

Provided to YouTube by New World Symphony
由新世界交響樂團提供給 YouTube