Berlioz - « Grande fête chez Capulet » (Act II), excerpt from Roméo et Juliette op.17 柏遼茲 - 《凱普萊特家的盛大節慶》（第二幕），選自《羅密歐與茱麗葉》，作品

Berlioz - « Grande fête chez Capulet » (Act II), excerpt from Roméo et Juliette op.17
柏遼茲 - 《凱普萊特家的盛大節慶》（第二幕），選自《羅密歐與茱麗葉》，作品17

23,983 views Sep 20, 2018
The Orchestre Philharmonique de Radio France, conducted by Mikko Frank, performs the « Grande fête chez Capulet », excerpt from Act II of Berlioz's Roméo et Juliette op.17. Live concert recorded on 14 September 2018 at the Radio France Auditorium.
The four symphonies left behind by Berlioz are each distinctive and inventive in their own way: the Symphonie fantastique, based upon a programme (only work of its kind in Berlioz's repertoire); Harold en Italie, with a principal alto (another novelty at the time); and the Symphonie funèbre et triomphale for large brass ensemble. Roméo et Juliette is no less a leap into unknown musical territory, that of the dramatic symphony, in which the traditional form is deconstructed (the work, for example, is divided into seven parts).
觀看次數：23,983 2018年9月20日
法國國家廣播愛樂樂團在米科·弗蘭克的指揮下，演奏了柏遼茲《羅密歐與茱麗葉》第二幕選段《凱普萊特家的盛大節日》。現場音樂會錄製於2018年9月14日，地點：法國國家廣播電台禮堂。
柏遼茲留下的四部交響曲各有特色，獨具匠心：《幻想交響曲》，基於一個節目單（柏遼茲曲目中唯一一部此類作品）；《哈羅德在意大利》，由一位女低音首席演奏（這在當時也是一項創新）；以及為大型銅管樂團創作的《葬禮與凱旋交響曲》。 《羅密歐與茱麗葉》同樣是跨越未知音樂領域的嘗試，即戲劇交響曲，其傳統形式被解構（例如，作品被分為七個部分）。

Though programmatic music boasts today a long and healthy heritage, its origins are not entirely clear. At its core (an extension of "the law of the crescendo" as explored by Berlioz in his Symphony no.9, and demonstrated by Ian Kemp and David Cairns), Roméo et Juliette is unique, a new union of drama and abstract: the story mixed with the symphony. Beethoven's Ninth was already no more than a distant memory, and even the symphonies with voices by Mahler and Shostakovich that would come later dared not to follow the same path.
儘管標題音樂如今擁有悠久而健康的傳承，但起源尚不完全清楚。 《羅密歐與茱麗葉》的核心（是對柏遼茲在其第九交響曲中探索的「漸強律」的延伸，並由伊恩·肯普和大衛·凱恩斯加以闡釋）獨樹一幟，是戲劇與抽象的全新結合：故事與交響曲交織。貝多芬的第九號交響曲早已成為遙遠的記憶，即使是後來由馬勒和蕭斯塔科維奇配音的交響曲也不敢重蹈覆轍。

However, Roméo et Juliette does not blindly follow the theatrical work's storyline: the similarities between Shakespeare's drama and its symphonic treatment are thus more in the mind. The orchestra alone is only used for the intimacy that surrounds Roméo et Juliette (parts 2, 3, 4 and 6), and the descriptive voice for the public scenes (parts 1, 5 and 7). The excerpt following the Prologue is entitled "Roméo seul. Tristesse. Bruits lointains de concert et de bal. Grande fête chez Capulet" [Romeo alone. Sadness. Distant sounds of the concert and the ball. Grand ball at the Capulets]. The Allegro performed here follows a long chromatic melody, ecstatic phrases, and finally premonitory echoes of the ball.
然而，《羅密歐與茱麗葉》並非盲目地遵循戲劇作品的故事情節：莎士比亞戲劇與其交響樂處理之間的相似之處更多地體現在觀眾的意識中。管弦樂團僅用於營造圍繞著《羅密歐與茱麗葉》的親密氛圍（第二、三、四和六部分），而描述性的聲音則用於公共場景（第一、五和七部分）。序幕之後的選段名為「羅密歐獨自一人。悲傷。遠處傳來音樂會和舞會的聲音。凱普萊特家的盛大舞會」。這裡演奏的快板緊隨其後的是一段長長的半音旋律、狂喜的樂句，以及舞會的預兆迴響。

The level of inspiration of these first pages almost overshadows the rest of the movement in this Allegro which, in comparison - but only -, exudes an external brightness, in the form of rondeau, with a chorus interspersed with contrasting sections. Its exuberance and savagery almost turn the ball into an orgy, reminiscent of those of the brigands in Harold en Italie.
前幾頁的靈感幾乎掩蓋了這首快板樂章的其餘部分，相比之下——但也僅此而已——樂章以迴旋曲的形式散發出一種外在的明亮，其合唱部分穿插著對比鮮明的部分。它的盛宴和野蠻幾乎將舞會變成了一場狂歡，令人聯想到《哈羅德在義大利》中強盜們的狂歡。

法國音樂會網站（France Musique Concerts）提供至YouTube
Written by Pierre-René Serna
作者：皮埃爾-勒內·塞爾納

Provided to YouTube by France Musique concerts
法國音樂會網站（France Musique Concerts）提供至YouTube