拉赫曼尼諾夫交響舞曲，作品45 _ 維也納愛樂樂團 Rachmaninoff_ Symphonic Dances, Op. 45 _ Vienna Philharmonic & Jakub Hrůša _ Enescu Festival 2023

Rachmaninoff Symphonic Dances, Op. 45 _ Vienna Philharmonic & Jakub Hrůša _ Enescu Festival 2023
拉赫曼尼諾夫交響舞曲，作品45 _ 維也納愛樂樂團與 雅庫布‧赫魯薩 _ 埃內斯庫音樂節 2023

4,158 views Nov 2, 2023 BUCHAREST
Sergei Rachmaninoff: Symphonic Dances, Op. 45 | Vienna Philharmonic & Jakub Hrůša | George Enescu Festival | 11.09.2023 | Bucharest Palace Hall
4,158 觀看 2023 年 11 月 2 日 布加勒斯特
謝爾蓋·拉赫曼尼諾夫：交響舞曲，作品45 |維也納愛樂樂團與雅庫布·赫魯薩 |喬治·埃內斯庫節 | 2023年9月11日 |布加勒斯特宮殿大廳

Rachmaninoff composed the Symphonic Dances four years after his Third Symphony, mostly at the Honeyman estate, "Orchard Point", in Centerport, New York, overlooking Long Island Sound. Its original name was Fantastic Dances, with movement titles of "Noon", "Twilight", and "Midnight". While the composer had written to conductor Eugene Ormandy in late August 1940 that the piece was finished and needed only to be orchestrated, the manuscript for the full score bears completion dates of September and October 1940. It was premiered by Ormandy and the Philadelphia Orchestra, to whom it is dedicated, on January 3, 1941.
拉赫曼尼諾夫在創作《第三號交響曲》四年後創作了《交響舞曲》，大部分創作是在紐約州森特波特俯瞰長島海峽的霍尼曼莊園「果園角」進行的。其原名是《奇幻舞蹈》，樂章標題為《正午》、《黃昏》、《午夜》。雖然作曲家在 1940 年 8 月下旬寫信給指揮尤金·奧曼迪 (Eugene Ormandy)，告知作品已經完成，只需進行配器，但完整樂譜的手稿上註明的完成日期是 1940 年 9 月和 10 月。 1941 年 1 月 3 日，奧曼迪和費城交響樂團首演了這部作品，這部作品就是獻給費城交響樂團的。

The work is fully representative of the composer's later style with its curious, shifting harmonies, the almost Prokofiev-like grotesquerie of the outer movements and the focus on individual instrumental tone colors throughout (highlighted by his use of an alto saxophone in the opening dance). The opening three-note motif, introduced quietly but soon reinforced by heavily staccato chords and responsible for much of the movement's rhythmic vitality, is reminiscent of the Queen of Shemakha's theme in Rimsky-Korsakov's opera The Golden Cockerel, the only music by another composer that he had taken out of Russia with him in 1917.
這部作品充分代表了作曲家後期的風格，其奇特而多變的和聲、幾乎普羅科菲耶夫式的外部樂章的怪誕以及自始至終對個別樂器音色的關注（開場舞中使用中音薩克斯管尤為突出）。開頭的三個音符的主題，雖然引入時很平靜，但很快就被強烈的斷奏和弦所強化，並構成了樂章的大部分節奏活力，讓人想起里姆斯基·科薩科夫的歌劇《金雞》中舍瑪哈王后的主題，這是 1917 年他從俄羅斯帶走的唯一一首由其他作曲家創作的音樂。

The Symphonic Dances combine energetic rhythmic sections, reminiscent of Stravinsky's The Rite of Spring, with some of the composer's lushest harmonies. The rhythmic vivacity, a characteristic of Rachmaninoff's late style, may have been further heightened here for two reasons. First, he had been encouraged by the success of his Rhapsody on a Theme of Paganini as a ballet in 1939 and wanted to write something with which to follow it up. Second, he may have included material intended for a ballet titled The Scythians, begun in 1914–15 but abandoned before he left Russia. While no manuscript for the ballet is known to have survived, this does not make his quoting the work inconceivable, given Rachmaninoff's remarkable memory. He could remember and play back accurately pieces he had heard years earlier, even those he had heard only once.
交響舞曲融合了充滿活力的節奏部分，讓人想起史特拉汶斯基的《春之祭》，以及作曲家最華麗的和聲。節奏的活潑性是拉赫曼尼諾夫晚期風格的一個特點，由於兩個原因，這種活潑性在這裡可能得到了進一步的加強。首先，1939 年，他的芭蕾舞劇《帕格尼尼主題狂想曲》大獲成功，這讓他深受鼓舞，想要寫一些作品來延續這一輝煌。其次，他可能在其中加入了原本計劃用於芭蕾舞劇《斯基泰人》的素材，該劇於 1914-15 年間開始創作，但在他離開俄羅斯之前就被放棄了。雖然據了解這部芭蕾舞劇沒有留存的手稿，但考慮到拉赫曼尼諾夫非凡的記憶力，這並不意味著他引用這部作品是不可想像的。他可以記住並準確地演奏出多年前聽過的曲子，甚至是那些只聽過一次的曲子。

The work is remarkable for its use of the alto saxophone as a solo instrument. Rachmaninoff was apparently advised as to its use by the American orchestrator and composer Robert Russell Bennett. The composition includes several quotations from Rachmaninoff's other works, and can be regarded as a summing-up of his entire career as a composer. The first dance ends with a modified quotation from his unfortunate First Symphony (1897), here nostalgically rendered in a major key. The ghostly second dance was called "dusk" in some sketches. The final dance is a kind of struggle between the Dies Irae theme, representing Death, and a quotation from the ninth movement of his All-night Vigil (1915), representing Resurrection (the lyrics of the All-night Vigil's ninth movement in fact narrate mourners' discovery of Christ's empty grave and the Risen Lord). The Resurrection theme proves victorious in the end (he wrote the word "Hallelujah" at this place in the score).
(Wikipedia)
這部作品因使用中音薩克斯風作為獨奏樂器而引人注目。拉赫曼尼諾夫顯然聽取了美國管弦樂編曲家兼作曲家羅伯特·拉塞爾·貝內特關於其使用的建議。該作品引用了拉赫曼尼諾夫其他作品的幾處內容，可以看作是他整個作曲生涯的總結。第一支舞以他那部不盡如人意的《第一交響曲》（1897 年）中一段經過修改的引文結束，這裡以大調懷舊地演繹。在一些小品中，幽靈般的第二支舞被稱為“黃昏”。最後的舞蹈是代表死亡的《末日經》主題與代表復活的《通宵守夜》（1915 年）第九樂章的引文之間的一種鬥爭（《通宵守夜》第九樂章的歌詞實際上敘述了哀悼者發現基督的空墳墓和復活的主）。復活主題最終獲得了勝利（他在樂譜的此處寫下了“哈利路亞”一詞）。
（維基百科）

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