@小提琴家蔡美兒與吳佩嫻演奏布拉姆斯的雙協奏曲（快板） @ChloeChuaviolinist and Ng Pei-Sian in Brahms's Double Concerto (Allegro)

@ChloeChuaviolinist and Ng Pei-Sian in Brahms's Double Concerto (Allegro)
@小提琴家蔡美兒與吳佩嫻演奏布拉姆斯的雙協奏曲（快板）

2079 views May 3, 2025
This work was Brahms’s last orchestral work after his Fourth Symphony in 1885, and he was not to write any more till his death in 1897. The opening Allegro begins in dramatic fashion, with the cello solo setting the scene before the violin enters and almost merges with the cello, offering chordal combinations and smoothly passing phrases to the other, showing that the combined instruments made for a true super-instrument. It is not hard to see Brahms expressing in music his desire for reconciliation. Extensive use of the A-E-F motif may be explained by it being a permutation of F-A-E, Joachim Joseph’s personal motto Frei aber einsam (“Free but lonely”). As Joachim and Hausmann were the soloists at the premiere, the former could not have missed these clues. Here, the violin and violoncello work together, sometimes playing in tandem, sometimes in counterpoint, completing each other’s phrases, but always as a team against the orchestra. (Edward C. Yong)
2079 瀏覽 2025 年 5 月 3 日
這部作品是布拉姆斯繼 1885 年創作的《第四號交響曲》之後的最後一部管弦樂作品，直到 1897 年去世，他都沒有再創作任何作品。開場的快板以戲劇性的方式開始，大提琴獨奏奠定了基調，然後小提琴進入並幾乎與大提琴融為一體，提供和弦組合併流暢地將樂句傳遞給對方，表明組合後的樂器構成了真正的超級樂器。不難看出，布拉姆斯在音樂中表達了他對和解的渴望。 A-E-F 主題的廣泛使用可能是因為它是 F-A-E 的排列，即約阿希姆約瑟夫的個人座右銘 Frei aber einsam（“自由但孤獨”）。由於約阿希姆和豪斯曼是首演時的獨奏演員，因此前者不可能錯過這些線索。在這裡，小提琴和大提琴一起演奏，有時串聯演奏，有時對位演奏，完成彼此的樂句，但始終作為一個團隊對抗管弦樂隊。 （愛德華·C·楊）

Chloe Chua, violin
Ng Pei-Sian, cello (Principal Cello and The HEAD Foundation Chair, Singapore Symphony)
Hans Graf, Quantedge Music Director
Singapore Symphony Orchestra
Chloe Chua，小提琴
Ng Pei-Sian，大提琴（新加坡交響樂團首席大提琴兼HEAD基金會主席）
Hans Graf，Quantedge 音樂總監
新加坡交響樂團

Provided to YouTube by Singapore Symphony
新加坡交響樂團提供給 YouTube