Beethoven - Egmont Overture | WDR Symphony Orchestra 貝多芬 - 《埃格蒙特》序曲 | 西德廣播交響樂團

Beethoven - Egmont Overture | WDR Symphony Orchestra
貝多芬 - 《埃格蒙特》序曲 | 西德廣播交響樂團

49,659 views Premiered Apr 5, 2025 KÖLNER PHILHARMONIE
The Egmont Overture by Ludwig van Beethoven, from the music for Johann Wolfgang Goethe's tragedy ‘Egmont’, op. 84, played by the WDR Symphony Orchestra under the baton of Andrés Orozco-Estrada. Live recording on 21 February 2025 in the Cologne Philharmonic Hall.
49,659 次觀看 首演 首演：2025年4月5日 科隆愛樂樂團
路德維希·範·貝多芬的《埃格蒙特》序曲，選自約翰·沃爾夫岡·歌德悲劇《埃格蒙特》（作品84），由西德廣播交響樂團在安德烈斯·奧羅斯科-埃斯特拉達的指揮下演奏。現場錄音於2025年2月21日在科隆愛樂音樂廳舉行。

Ludwig van Beethoven - Egmont Overture
路德維希·凡·貝多芬 - 《埃格蒙特》序曲

WDR Symphony Orchestra
Andrés Orozco-Estrada, conductor
西德廣播交響樂團
安德烈斯·奧羅斯科-埃斯特拉達，指揮

Introduction to the work:
How self-determined are human beings – and how much does their personal claim to freedom weigh against a collective ‘destiny’? These are the questions that Johann Wolfgang von Goethe must have asked himself when writing his tragedy ‘Egmont’, as well as Beethoven when composing his ‘Egmont’ music. The plot, set in the 16th century, had already been envisaged by Goethe as a young lawyer in Frankfurt: namely, the conflict between the Flemish Count Egmont and Duke Alba, the ruthless representative of Spanish rule in the Netherlands. In the end, Egmont, a man of principle, pays for his commitment to the independence of his people with his life – and it was this ending that Goethe envisioned as the visionary appearance of ‘Freedom in heavenly robes’, which Friedrich Schiller found to be an all-too-daring ‘salto mortale into the world of opera’. However, the opera-like and musical aspects were an integral part of Goethe's dramatic concept for ‘Egmont’. Klärchen, the count's lover, intones two songs, stage directions call for melodramas and incidental music, and at the end even a ‘victory symphony’. And according to the custom of the time, an overture and several pieces of music between the acts would probably have been added. It is not known what music was played at the premiere of the tragedy in Mainz in 1789, but it was probably composed by Goethe's musician friend Philipp Christoph Kayser. What is more interesting is that the story of the freedom fighter Egmont accompanied one of the most turbulent phases in European politics during the two decades between the original premiere and the Viennese premiere with Beethoven's music in June 1810 – a period characterised by the French Revolution and the rise of Napoleon from freedom fighter to conqueror.
作品簡介：
人類的自主性究竟有多強？他們個人對自由的訴求與集體「命運」相比，究竟佔了多大比重？約翰·沃夫岡·馮·歌德在創作悲劇《埃格蒙特》時，以及貝多芬在創作《埃格蒙特》音樂時，一定都曾捫心自問。故事背景設定在16世紀，歌德在法蘭克福擔任年輕律師時，早已構思出這一情節：佛蘭德伯爵埃格蒙特與殘酷的西班牙統治者阿爾巴公爵之間的衝突。最終，堅守原則的埃格蒙特，為他為民族獨立所做的承諾付出了生命的代價——歌德將這一結局描繪成“身披天衣的自由”的夢幻形象，而弗里德里希·席勒則認為，這是一次大膽的“致命一躍”，最終進入歌劇的世界。然而，歌劇式的風格和音樂元素是歌德戲劇理念《埃格蒙特》中不可或缺的一部分。伯爵的情人克拉爾興吟唱了兩首歌曲，舞台指導要求加入情節劇和背景音樂，最後甚至還有一首「勝利交響曲」。根據當時的慣例，劇中可能還會添加序曲和幾首幕間音樂。這部悲劇於1789年在美因茨首演，演奏的音樂尚不清楚，但很可能是由歌德的音樂家朋友菲利普·克里斯托夫·凱瑟創作的。更耐人尋味的是，自由戰士埃格蒙特的故事伴隨著歐洲政治最動盪的時期之一——從最初的首演到1810年6月維也納首演，貝多芬的音樂伴奏——這段時期正值法國大革命和拿破崙從自由戰士崛起為征服者的時期。

In 1805 Vienna was occupied by the French for the first time, and the counterattack by the Austrians in 1809 also ended in a bloody defeat at the Battle of Wagram. Beethoven's hopes in Bonaparte as a Promethean bringer of freedom, hopes he shared with many intellectuals of the time, had given way to disappointment in the unscrupulous usurper, who, in the summer of 1809, also ruined Beethoven's holiday in the country due to the inflation caused by the war. It is therefore reasonable to assume that Beethoven accepted the commission for the incidental music from the Vienna Burgtheater not only for his ‘love of the poet’, but also because he identified with the political content of the drama. While most of Beethoven's Egmont music has been forgotten, the overture became a repertoire piece – incidentally, also in totalitarian systems, which propagandistically reinterpreted Goethe and Beethoven's partisanship for the cause of freedom. In the music, the battle lines are drawn right at the beginning: the heavy string chords depict the heavy burden on the shoulders of the Flemings and the Dutch – some have even seen the chords in 3/2 time as a stylisation of a Spanish sarabande as an attribute of the Duke of Alba. The main Allegro section, in which the striking chords repeatedly emerge as a smouldering threat, is characterised by hectic activity (on the part of the rebels?). At the end, the thunder of trumpets sounds out that ‘symphony of victory’ to which the inwardly clarified and death-prepared Egmont strides towards his firing squad.
(Text: Michael Struck-Schloen)
1805年維也納首次被法國人佔領，1809年奧地利人的反攻也以華格拉姆戰役慘敗收場。貝多芬曾希望波拿巴能像普羅米修斯一樣帶來自由，他與當時的許多知識分子都抱持著同樣的希望，但最終，他對這位不擇手段的篡位者感到失望。 1809年夏天，由於戰爭引發的通貨膨脹，波拿巴也破壞了貝多芬在鄉間的假期。因此，我們有理由相信，貝多芬接受維也納城堡劇院的配樂委託，不僅是因為他“熱愛詩人”，也因為他認同這部戲劇的政治內容。雖然貝多芬的大部分《埃格蒙特》音樂已被遺忘，但這首序曲卻成為了保留曲目——順便說一句，在極權主義體制下也是如此，因為極權主義體制以宣傳的口吻重新詮釋了歌德和貝多芬對自由事業的擁護.....

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