音樂總監：湯馬士．薩赫米亞
Music Director: Thomas Zehetmair
湯馬士．薩赫米亞
Thomas Zehetmair
音樂總監
Music Director
湯馬士．薩赫米亞出任英國北部交響 樂團音樂總監已踏入第七個樂季，由 他指揮的貝多芬交響曲系列，標誌着 樂團進入50周年樂季。
薩赫米亞與英國北部交響樂團灌錄的 布拉姆斯小提琴協奏曲及舒曼第四交 響曲，獲樂評盛讚，更獲《英國廣播 公司音樂雜誌》選為每月唱片之選。
下次合作的唱片將收錄西貝流士和史 達拉斯基的作品
這個樂季，身兼小提琴獨奏家的薩赫 米亞與霍利格指揮的柏林愛樂樂團合 作，另外於作曲家卡特百歲壽辰慶祝 活動，與米高．吉倫指揮的柏林國家 歌劇院樂團合奏卡特的小提琴協奏 曲。其他慶祝活動還有由薩赫米亞四 重奏於紐約舉行的演奏會，曲目包括 卡特的第二片段。而薩赫米亞也委約 漢斯．基里斯蒂安．巴特爾創作小提 琴協奏曲，2008年9月與布隆斯泰特 指揮的萊比錫布業大廳樂團首演。
薩赫米亞師承尼古勞斯．哈農庫特， 喜與古樂器樂團合作，例如啟蒙時代 樂團。
薩赫米亞曾獲德國唱片獎，表揚他 的成就、魏瑪李斯特音樂學院榮譽 博士，以及格拉茨的卡爾．貝姆演繹 大獎。
In his seventh season as Music Director of Northern Sinfonia, Thomas Zehetmair conducted a Beethoven Symphony cycle to launch the orchestra’s 50th Anniversary Season.
Chosen as BBC Music Magazine’s CD of the Month, Thomas Zehetmair’s recording of the Brahms Violin Concerto and Schumann’s 4th Symphony with Northern Sinfonia has received great critical acclaim. Their next joint recording will feature works by Sibelius and Stravinsky.
As a violinist, Thomas Zehetmair appears this season with the Berlin Philharmonic conducted by Heinz Holliger. He also contributes to Elliott Carter’s 100th birthday celebrations playing Carter's Violin Concerto with the Staatsoper Orchestra Berlin under Michael Gielen. To mark the same occasion the Zehetmair Quartet will play a recital in New York including Carter’s Fragment No. 2. Zehetmair has also commissioned a Violin Concerto by Hans Christian Bartel, which he performed for the first time in September 2008 with the Leipzig Gewandhaus Orchestra under Herbert Blomstedt.
After having studied under Nikolaus Harnoncourt, Zehetmair likes to work with period instrument orchestras, including the Orchestra of the Age of Enlightenment.
Zehetmair has received several awards: the Preis der deutschen Schallplattenkritik for his lifetime achievements; an honorary doctorate from the Music Academy Franz Liszt in Weimar; and the Karl Böhm Interpretation Award in Graz.
Colin Matthews (1946- )
…through the glass
Benjamin Britten (1913-1976) Les Illuminations
Fanfare
Villes
Phrase
Antique
Royauté
Marine
Interlude
Being Beauteous
Parade
Départ
(with newly found movements)
Phrase (La cascade sonne)
Aube
A une raison
soprano Sandrine Piau
12.2.2009 (Thursday)
Interval
Ludwig Van Beethoven (1770-1827) Symphony No. 9 in D minor, Op. 125, Choral
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile
Allegro assai
soprano
mezzo-soprano
tenor
baritone
Lisa Milne
Harriet Williams
Michael Colvin
Stephan Loges
Northern Sinfonia and Chorus
conductor
Thomas Zehetmair
Running time: approximately 2 hours and 15 minutes with one interval
柯林．馬修斯 《穿過玻璃……》
樂曲的標題引用詩人布倫登一首詩作 最終的三個字，但音樂作品卻與這 首黑暗凶險的詩毫無關係。《穿過玻 璃……》寫於1994年3月到9月間，長 16分鐘以慢速為主的音樂一氣呵成； 由狂暴的單音樂曲開始，只有一條旋 律，在重現之前有一連串像副歌的插 段，最後一段是低吟的聖咏曲，以弱 音弦樂奏出，更像遠處的歌聲；中間 的快段呼應前面的素材，卻一瞬即 逝；副歌再現，把樂曲帶到舒展結尾 中的典型聖咏曲。
《穿過玻璃……》題獻給莎麗．卡文 德女士。
樂曲介紹由作曲家提供
布列頓
《啟示》（附新發現樂章）
布列頓1939寫成這套組歌，內容取 材自法國詩人蘭波的10首詩。創作 過程由1939年3月開始，最初寫了起 碼三首，在同年6、7月於美國及加 拿大完成餘下部份。期間，布列頓把 原本包含七首曲子的組歌增加至不少 於14首，但其中四首沒被選入最後 版本──〈晨曦〉、〈散句（瀑布鳴 響）〉及〈致一種理〉已完成初稿， 並由我配器；第四首〈王子生氣了〉 該是最長的一首，但只完成了開首 部份。
Colin Matthews …through the glass
樂曲介紹：柯林．馬修斯
The title of this piece derives from the last three words of a poem by Edmund Blunden; but to quote the whole of that poem (a dark and sinister one) would be thoroughly misleading. …through the glass was composed between March and September 1994, and lasts around 16 minutes in a single span of music, mostly slow. The opening is fiercely monodic (a singleline melody), music which recurs in the form only once, after a series of refrain-like episodes, the last of which is a hushed “chorale” for muted strings (more like a distant song than a chorale). A central fast section fleetingly alludes to all the earlier material, before a recapitulation of the refrains leads to an apotheosis of the “chorale” in an extended coda. …through the glass is dedicated to Sally Cavender.
Programme notes by the composer
Benjamin Britten Les Illuminations (with newly found movements)
This song cycle, composed by Benjamin Britten in 1939, uses ten poems by the French symbolist poet Arthur Rimbaud.
Britten began the composition in March 1939, writing at least three of the songs, and wrote the rest between June and October, in Canada and the US. During the process, he expanded his original scheme of seven songs to a cycle of no less than fourteen. Four of these were rejected in the final version Aube, Phrase (La cascade sonne) and A une raison were completed in sketch, and have since been fully orchestrated by me. The fourth, Un prince était vexé, which would probably have been the longest setting of all, did not progress far beyond its opening.
Programme notes by Colin Matthews
布列頓
Benjamin Britten
Les Illuminations
啟示
The Illuminations
Fanfare
J'ai seul la clef de cette parade sauvage.
Villes
Ce sont des villes! C’est un peuple pour qui se sont montés ces Alleghanys et ces Libans de rêve! Des chalets de cristal et de bois se meuvent sur des rails et des poulies invisibles. Les vieux cratères ceints de colosses et de palmiers de cuivre rugissent mélodieusement dans les feux...
Des cortèges de Mabs en robes rousses, opalines, montent des ravines. Là-haut, les pieds dans la cascade et les ronces, les cerfs tettent Diane.
Les Bacchantes des banlieues sanglotent et la lune brûle et hurle. Vénus entre dans les cavernes des forgerons et des ermites. Des groupes de beffrois chantent les idées des peuples. Des châteaux bâtis en os sort la musique inconnue...
Le paradis des orages s'effondre... Les sauvages dansent sans cesse la fête de la nuit...
Quels bons bras, quelle belle heure me rendront cette région d’où viennent mes sommeils et mes moindres mouvements?
Phrase
J'ai tendu des cordes de clocher à clocher; des guirlandes de fenêtre à fenêtre; des chaînes d'or d'étoile à étoile, et je danse.
Antique
Gracieux fils de Pan! Autour de ton front couronné de fleurettes et de baies, tes yeux, des boules précieuses, remeunt. Tachées de lies brunes, tes joues se creusent. Tes crocs luisent. Ta poitrine ressemble à une cithare, des tintements circulent dans tes bras blonds. Ton coeur bat dans ce ventre où dort le double sexe. Promène-toi, la nuit en mouvant doucement cette cuisse, cette seconde cuisse et cette jambe de gauche.
號曲
我獨自掌管這瘋狂遊行的鑰匙。
城市
看這一座城市！為了這裏的人， 阿勒格尼山和黎巴嫩的山巒奮然崛起！ 水晶和木製的小屋在 隱形的路軌和輸送帶上移動。
古老的地洞，被巨人像 和銅鑄的棕櫚包圍，在火裏快樂咆哮…… 麥布的遊行隊伍在紅棕色 和奶白色的袍子裏攀越峽谷。
在上面，戴安娜給野鹿餵哺， 把牠們的腳放在小瀑布和荊林裏。
在野外，酒神的祭司低泣， 而月亮在燃燒和長嘯。
維納斯走進金工和隱士們的深洞。
鐘樓群唱出人們的想法。
從骨頭建成的城堡流瀉不知名的音樂…… 風暴的天堂傾倒…… 野人在黑夜佳節不住地舞蹈。
多可愛的手臂，什麼美麗的時刻 才會帶我回到 我甜睡安寧的地方？
散句
我將繩從教堂一個尖頂掛到另一個尖頂； 花圈從一個戶窗掛到另一戶窗， 金鎖鍊從一夥星掛到另一夥星，我跳舞。
古代藝術
優雅的牧神潘的孩子！ 你額頭的桂冠綴着 小巧的花朵和槳果， 你的眼睛如珍貴的水晶球， 把秋波迎艾。
你的雙頰凹陷，沾着棕色美酒， 皓齒發亮。
你的胸脯像一台齊特琴， 發出的美樂在你金色臂膀內流轉。
你的心
在那雙性的腹中跳動。
夜中漫步，輕移這條腿， 另一條腿，然後是左腳。
Fanfare
I alone hold the key to this wild parade.
Towns
These are towns! This is a people for whom these Alleghenies and these Lebanons were raised up! Crystal and wooden chalets move on invisible rails and pulleys. The old craters, surrounded by colossuses and copper palm-trees, roar melodiously in the flames …. Processions of Mabs in russet and opaline robes climb the ravines. Up there, Diana suckles stags, with their feet in the cascade and brambles.
Suburban Bacchantes sob, and the moon burns and howls. Venus enters caverns of blacksmiths and hermits. Groups of belfries sing the people's ideas. From castles built of bones pour forth unknown music …. The paradise of storms collapses …. The savages dance ceaselessly the festival of the night.
What lovely arms, what beautiful hour will bring back to me that region from whence come my slumber and my smallest movements?
Phrase
I hung strings from steeple to steeple; garlands from window to window; gold chains from star to star, and I dance.
Antique
Gracious child of Pan! Around your brow, crowned by tiny flowers and berries, your eyes precious globes stir.
Stained by brown dregs, your cheeks are hollowed. Your fangs glisten. Your bosom resembles a zither, its chiming spreading about in your fair arms. Your heart beats in that belly where the double sex sleeps. Walk in the night, moving gently this thigh, that other thigh, and that left leg.
我們的骨骼再一次生出 新的愛的軀體。
啊蒼白的臉，肩披鬃毛， 水晶的手臂！ 我真想從炮口擊出自己， 落到樹林和輕風之間！
遊行
真棒的古怪傢伙。有些人已耗用了
你的世界，沒有所求，不大在乎。
利用聰明的腦袋和你良心的經驗。
多成熟的男人﹗
閃亮的眼睛如夏夜，
紅與黑，三色，金星點點的鋼鐵； 扭曲的五官，陰霾，蒼白，災難的； 愚蠢的叫喊！ 殘忍的腳步！
有些年輕的人……
啊狂歡怪相最激烈的天堂！…… 中國人，何騰托人，波希米亞人， 傻瓜，土狼，
閃米族的神，老年神經的，鬼魅的惡魔， 他們混合流行曲調和母親傳授的把戲 帶着禽獸的姿勢和溫柔，演繹 新劇和「好女子」的歌曲。
雜耍大師，他們轉換 空間和人物，利用誘人的喜劇……
我獨自掌管這瘋狂遊行的鑰匙。
出發 看夠了。曾經處處相遇的色相。 夠了。城市的流言，在晚上， 在日光裏，日復一日。
見識夠了。生命的約章。
啊流言和色相！ 在新的感情和新的喧鬧裏出發。
Our bones are dressed once more in a new amorous body.
O ashen face, with shield of hair, and arms of crystal!
The cannon on which I must throw myself down, amid the scuffle of trees and the light breeze!
Parade
What sturdy odd fellows. Several have exploited your worlds. Without needs, and little concerned with putting their brilliant minds and their experience of your consciences to work. What mature men!
Dazed eyes like a summer night, red and black, tri-colored, steel dotted with golden stars; deformed features, leaden, made pale, made to burn; their foolish cries! The cruel walk of rags! There are some young ones ….
O the most violent Paradise of the fanatical grimace! … Chinese, Hottentots, Bohemians, deniers, hyenas, Molochs, old demented ones, sinister demons, They mix popular and maternal tricks with bestial poses and tenderness. They interpreted new plays and nice girl songs. Master jugglers, they transform the place and the people and use magnetic comedy …
I alone hold the key to this wild parade.
Departure
Enough seen. Visions have been met in every respect. Enough has been. Rumors of towns, at night, and in the light of day, and always. Enough known. The decrees of life. O rumors and visions! Depart in new affection and new noise.
Phrase (La cascade sonne)
La cascade sonne derrière les huttes d'opéra-comique. Des girandoles prolongent, dans les vergers et les allées voisins du Méandre les verts et les rouges du couchant. Rondes Sibériennes, Chinoises de Boucher.
Aube
J’ai embrassé l’aube d’été.
Rien ne bougeant encore au front des palais. L’eau était morte.
Les camps d'ombres ne quittaient pas la route du bois. J'ai marché, réveillant les haleines vives et tièdes, et les pierreries regardèrent, et les ailes se levèrent sans bruit.
La première entreprise fut, dans le sentier déjà empli de frais et blêmes éclats, une fleur qui me dit son nom.
Je ris au wasserfall qui s’échevela à travers les sapins : à la cime argentée je reconnus la déesse.
Alors je levai un à un les voiles. Dans l’allée, en agitant les bras. Par la plaine, où je l’ai dénoncée au coq. À la grand'ville elle fuyait parmi les clochers et les dômes, et courant comme un mendiant sur les quais de marbre, je la chassais.
En haut de la route, près d’un bois de lauriers, je l’ai entourée avec ses voiles amassés, et j’ai senti un peu son immense corps.
L’aube et l'enfant tombèrent au bas du bois.
Au réveil il était midi.
散句（瀑布鳴響）
瀑布鳴響在滑稽歌劇中的茅屋後。
煙花束束延長了落日的紅與綠， 在梅昂德爾河邊的果園和小徑上。
布歇畫的西伯利亞圓舞曲，中國女人。
晨曦
我擁抱夏之晨曦。
宮殿前一切尚無動靜。
池水死寂。
陰影的營地沒有離開林間的大道。
我走着，驚醒了溫熱的濃烈氣息， 而石塊在張望，翅膀搖升，悄無聲響。
第一件奇事：
在黯淡微光籠罩的小徑上， 一朵花向我道出它的名字。
我向着金色的瀑布歡笑，
它披散着頭髮穿過叢林： 在銀光閃閃的頂上我認出了女神。
於是我撩起一層又一層面紗。
在林間道上，揮動着胳膊。
我穿過原野，向公雞宣告她的到臨。
在城市裏，她逃逸於鐘樓和拱頂之間，
而我像一個乞丐，奔走在 大理石碼頭上，緊追不捨。
大道高處，月桂林旁， 我用她打褶的面紗圍着她， 我稍稍感覺到她那巨大的身軀。
晨曦和孩子跌倒在樹林深處。
醒來時已是正午。
Phrase (The cascade sounds)
The cascade sounds behind the comic-opera shanties. Catherine-wheels prolong, in the orchards And avenues by the meander the greens and reds of sunset. Rounded Siberian women, Chinese girls of Bouchers.
Dawn
I embraced the summer dawn.
Nothing was stirring yet on the fronts of the palaces. The water was dead. The crowds of shadows had not yet left the woodland road.
I walked, waking vivid warm breaths, and the precious stones looked up, and wings rose without sound.
The first adventure, on the path already full of cool pale gleams, was a flower that told me its name.
I smiled at the blond dishevelled waterfall among the fir trees:
On the silvered peak I recognised the Goddess.
Then I lifted the veils one by one. In the lane, waving my arms.
On the plain where I denounced her to the cockerel. In the city, she fled among bell-towers and domes, And running like a beggar across the marble quays, I chased after her.
At the top of the road, near a laurel wood, I surrounded her with her gathered veils, And I felt her vast body a little.
Dawn and the child fell down at the foot of the wood.
Waking, it was noon.
貝多芬
Ludwig Van Beethoven
Symphony No. 9 in D minor, Op. 125, Choral
D小調第九交響曲，作品125 《合唱》
O Freunde, nicht diese Töne!
Sondern laßt uns angenehmere anstimmen, und freudenvollere.
Freude, schöner Götterfunken
Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!
Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.
Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein!
Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund!
Freude trinken alle Wesen
An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küße gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.
Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.
Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt! Brüder, über’m Sternenzelt Muß ein lieber Vater wohnen.
Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.
「朋友啊，別用這種聲音！ 讓大家唱些喜悅的、快樂的歌！ 快樂啊，讓我們歌頌你！」
快樂啊，你在永火中閃耀， 是極樂世界的女兒！ 天上的女神，你那醉人之火， 使我們癡癡地走進你的聖殿。
被世俗分開的人群 藉你的神力得以團結。
你柔柔羽翼所到之處 眾人皆如兄弟。
誰人有幸覓得 真摯友誼，
或求得可愛賢妻， 誰人能稱得上知己； 也當同來盡興！ 但若連一個都沒有 就只好垂淚離開。
萬物從大自然的哺育， 獲得歡愉；
賢愚不肖，
皆隨玫瑰香蹤追尋快樂。
她賜下親吻與葡萄美酒，
也賜我生死之交；
連蟲豸也獲享生命愉悅， 何況那與神同在的天使！
喜樂猶如艷陽光輝， 照耀宏偉天國， 兄弟，快上路吧！ 像凱旋的英雄般欣喜。
慈愛充盈萬物， 為世界獻上親吻！ 真的，在眼前的星空之上， 有慈愛的天父！
萬民齊來敬拜，世人啊， 你知道自己的創造者嗎？ 在眼前的星空之上尋找吧﹗ 天父就在那裏！
中譯：鄭曉彤
O friends, no more of these sounds. Let us raise a song of sympathy and gladness. O Joy, let us praise thee!
Joy, beautiful spark of God Daughter of Elysium! We come fire-touched, Heavenly one, to your shrine. Your magic again binds What custom has divided. All men become brothers, Under the sway of your gentle wing.
Whoever has created, An abiding friendship, Whoever has won a loving wife, Yes, whoever calls even one soul theirs, Join in our song of praise; But any that cannot must leave tearfully Away from our circle.
All creatures drink of joy At the breasts of nature; All good, all evil, Follow her roses’ trail. Kisses gave she us, and wine, A friend, proven unto death; Pleasure was to the worm granted, And the cherub stands before God.
Glad, as his suns fly Through the Heavens’ glorious plan, Run, brothers, your race, Joyful, as a hero to victory.
Be embraced, you millions! This kiss for the whole world! Brothers, beyond the star-canopy Must a loving Father dwell.
Do you bow down, you millions? Do you sense the Creator, world? Seek Him beyond the star-canopy! Beyond the stars must He dwell.
莫扎特 《聖體頌》，K 618
莫扎特的短壽令人扼腕嘆息，在他 臨終前數月寫成的這首經文歌《聖 體頌》，風格樸實安祥，卻不失熱情 優美的旋律進行，不禁叫人遐想， 他若健在將可開拓出怎樣的一片音樂 境地。
樂曲在1791年6月成稿；當時莫扎特 正埋頭《魔笛》的創作，仍抽空到維 也納附近的巴登，探望在溫泉養病的 妻子康斯坦兹。他們的老朋友安東． 史托，是該鎮的教師，並帶領聖詩 班，他邀請莫扎特寫一首耶穌聖體瞻 禮日用的短聖詩，由於當地教堂在空 間和資源上的限制，莫扎特把《聖體 頌》編成只有管風琴和小型弦樂隊， 以為合唱伴奏。
在古今一眾被這首莫扎特小品名曲迷 倒的樂評人中，出生於維也納的音樂 學家蓋凌格最能簡潔地總括此經文歌 的魅力所在，他稱讚作品是「藝術經 濟效益的一大進步」，他評道：「樂 曲僅由46個音節組成，這樣小巧而能 盛載豐溢的激情和古典美，實在難能 可貴。」
《喪禮協奏曲》
赫特曼堅毅地熬過納粹統治的黑暗日 子；這位在慕尼黑出生的作曲家，被 放逐於德國境內，頑抗不仁政權， 堅 拒讓自己的作品在德國演出。戰後他 受委任為巴伐利亞國家歌劇院的音樂 總監，又在慕尼黑發起了當代音樂節 系列「Musica Viva」，不但助長了德國
Wolfgang Amadeus Mozart Ave verum Corpus, K 618
Composed within the last months of Mozart’s tragically-short life, this serene motet is seen by many as offering a tantalising glimpse of what he could have achieved further – a development in style that was unadorned, yet concentrated in its melodic and passionate progression.
Ave verum corpus (Hail, true Body) was composed in June 1791. Mozart had broken off work on The Magic Flute to travel to Baden, near Vienna, where his ailing wife Constanza was taking a spa water cure.
A long-time friend of the couple, Anton Stoll, a schoolteacher and choirmaster in the town, asked Mozart for the favour of a short choral piece to celebrate Corpus Christi Sunday. As the local church was restricted in its space and resources Mozart arranged Ave verum corpus for its organ and a small ensemble of strings to complement the choir.
Of the many critics who have been entranced by Mozart’s miniature masterpiece over the years, the Vienna-born musicologist Karl Geiringer, praising its “great progress in artistic economy”, most effectively sums up the motet’s attraction through his comment: “The piece comprises but 46 bars; and rarely has so much fervour and classical beauty been poured into so tiny a vessel”.
Karl Amadeus Hartmann
Concerto Funebre for Violin and String Orchestra
Karl Amadeus Hartmann was nothing if not a survivor. The Munich-born composer managed to survive as an “internal exile” in Germany under the Nazis while steadfastedly refusing to co-operate and allow any of his works to be performed there during that cruel regime. And at the end of the Second World War he was appointed music director of the Bavarian State Opera and launched Munich’s series of Musica Viva festivals, which not only fostered the development of contemporary German music but also ensured that the music of Jewish and dissident composers which had 赫特曼
現代音樂的發展，更提供演出平台， 讓那些被納粹所禁的猶太和異見音樂 家的創作，能有接觸聽眾的機會。
雖然科隆大學和柏林音樂學院都曾向 他招手，但赫特曼選擇在慕尼黑度過 餘生。他獲多項殊榮，在推廣新作曲 家方面，更是舉足輕重，但他自己的 創作倒從未得到應得的注視，這或要 歸咎他的自我苛求，他認為筆下每個 音符必先經過「節奏和音效、橫向和 縱向等多角度考量」。
赫特曼的創作動力跨越兩個絕然不同 的音樂世界。他曾跟隨一些現代派作 曲家學習，例如在1941到42年間的 安東．韋伯，又仰慕荀伯格和史特拉 汶斯基的作品；然而，最能打動他靈 魂深處的，卻是德國浪漫時期後期的 音樂，尤其是馬勒的作品，其感情的 特質往往與他要全心投入的前衛風格 迥異。
赫特曼用這首《喪禮協奏曲》，清楚 展示怎樣撮合這兩種音樂境界；樂曲 寫於1939年，曾在59年改寫過，由小 提琴和弦樂合奏，嚴厲的開段呈現荀 伯格早期調性作品的影子，之後豐富 的旋律陸續透現。
此曲是技巧精湛的小提琴家一展身手 的絕妙良機，樂器所有聲部和本調織 體都得以發揮，表達遼闊的情感。沉
思的首樂章〈極慢板〉，把音樂引領 到較激動卻不失誠摯的〈慢板〉，當 中小提琴獨奏與其他弦樂器交流了一 首辛酸的歌曲。隨後的〈很快的快 板〉，生動而富節奏感，再一次讓獨 奏和合奏通過令人目眩的技巧性音 樂，盡展其長。
悲傷而安祥的調子開始了短小的終樂 章「聖咏曲」，弦樂擔當了在禮儀中 的合唱角色，與塵俗生命說再見，並 唱出對永恆的和平安樂的期許；但遺 留的悲傷卻突然以最戲劇性的表情出 現，在協奏曲叫人始料不及的結尾， 爆炸性的不協和和弦，憤怒而絕望， 是對死亡的不忿呼喊。
been banned by the Nazis was able to find and inspire new audiences in the concert halls.
Hartmann was based in Munich for the rest of his life, turning down offers of professorships at the Cologne Hochschule and Berlin Conservatory, and, although he received many honours and was revered as an influential promoter of others’ music, his own never really won the recognition it deserved.
This is partly due to the fact that Hartmann’s creative energies bridged two musical universes. He studied under such modernists as Anton Weber, from 1941-42, and was a great admirer of the works of Schoenberg and Stravinsky. He was a fastidious composer, once declaring that he’d never written a note that had not first been “weighed in every facet of its context –rhythmic and acoustic, horizontal and vertical”. But it was the music of the last period of the great German Romantics, in particular Gustav Mahler, that was deeply rooted in his soul: its qualities of emotion were sometimes at odds with the progressive influences he was prepared to embrace.
A fine example of how Hartmann could link these two worlds effectively is the Concerto funèbre which was composed in 1939 and revised in 1959. This concerto for violin and string orchestra opens severely and presents echoes of Schoenberg’s earlier tonal works, before those rich melodic influences make themselves felt.
Above all, it is a wonderful showcase for a virtuoso violinist, expressing the entire range of emotions and utilizing all the voices and tonal textures of the instrument.
The contemplative Largo opening leads into a more impassioned, yet equally heartfelt, Adagio in which the solo violin exchanges a poignant song with the other strings. A vibrant and rhythmic Allegro di molto follows, once more giving the soloist and orchestra full rein in some spectacularly skilful music. A sad but serene melody opens the short Chorale final movement where the strings take on the role of a liturgical choir, bidding farewell to the mortal life and anticipating eternal peace and rest. But the grief that remains behind is suddenly given the most dramatic expression as the concerto ends with a sudden explosive dissonant chord, a cry of anger at the injustice of loss as much as an exhalation of despair.
莫扎特
Wolfang Amadeus Mozart
Ave verum Corpus
聖體頌
Hail, true Body
Ave verum Corpus, natum
De Maria Virgine, Vere passum, immolatum
In cruce pro homine, Cuius latus perforatum
Unda fluxit et sanguine, Esto nobis praegustatum
In mortis examine.
海頓
Joseph Haydn
Mass in B flat, Harmoniemesse
降B
Kyrie
Kyrie eleison. Christe eleison.
Kyrie eleison.
Gloria
Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis, Deus Pater omnipotens.
Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus.
Jesu Christe.
Cum Sancto Spiritu in gloria
Dei Patris. Amen.
Credo
Credo in unum Deum, Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium.
Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri, per quem omnia facta sunt.
Qui propter nos homines et propter nostram salutem descendit de coelis.
Et incarnatus est de Spiritu Sancto ex Maria Virgine: Et homo factus est.
(Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die secundum scripturas, et ascendit in coelum, sedet ad desteram Patris. Et iterum venturus est cum gloria, judicare vivos et mortuos, cuius regni non erit finis.
Et in Spiritum Sanctum, Dominum et vivificantem: Qui ex Patre Filioque procedit. Qui cum Patre et Filio simul adoratur et conglorificatur: Qui locutus est per prophetas. Et in unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionern peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.)
信經
我信惟獨上帝。
全能的聖父，
天地萬物，
無論有形無形 都是祂所創造的。
我信耶穌基督， 天主的獨生子。
祂在萬世之前，由聖父所生。
祂是出自天主的天主， 出自光明的光明， 出自真神的真神。
祂是聖父所生，而非聖父所造，
與聖父同性同體， 萬物是藉着祂創造。
祂為了我們人類， 並為了我們得拯救， 從天國降臨。
因聖靈感孕， 由童貞瑪利亞取得肉軀， 而成為人。
（在本丟比拉多手下受難， 為我們被釘於十字架、埋葬。
祂正如聖經所載， 第三日復活； 升天，
坐在聖父的右邊。
將來必從那裏光榮地降臨， 審判活人死人， 祂的國度自有永有。
我信聖靈， 祂是主及賦予生命者， 由聖父、聖子所共發。
祂和聖父、聖子， 同得欽崇，同享光榮， 祂曾藉先知們發言。
我信惟一、聖而公、 從宗徒傳下來的教會。
我承認赦罪的聖洗，只有一個。
我期待死人復活。
及永生。阿們。）
Credo
I believe in one God, the Father almighty, maker of heaven and earth, and of all things visible and invisible.
I believe in Jesus Christ, the only begotten Son of God, born of the Father before all ages.
God of God, light of light, True God of true God. Begotten not made, consubstantial with the Father, and by Whom all things were made. Who for us men and for our salvation came down from heaven.
And was incarnate of the Holy Ghost of the Virgin Mary: And was made man.
(He was also crucified for us, suffered under Pontius Pilate and was burried. And on the third day He rose again according to the scriptures, and ascended in heaven, seated at the right hand of the Father. And He shall come again in glory, to judge the living and the dead, His Kingdom shall have no end. And in the Holy Ghost, the Lord and giver of life: Who proceedeth from the Father and the Son, who together with the Father and the Son, is adored and glorified: Who spoke through the prophets. And in one, holy, Catholic and Apostolic Church. I confess one baptism for the forgiveness of sins. And I await the resurrection of the dead and the life of the world to come. Amen)
Sanctus
Sanctus, Sanctus, Sanctus: Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Benedictus
Benedictus qui venit in nomine Domini. Osanna in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis.
Agnus Dei
Agnus Dei, qui tollis peccata mundi: Miserere nobis.
Agnus Dei, qui tollis peccata mundi: Dona nobis pacem.
哈莉特．威廉斯 Harriet Williams
女中音 Mezzo-soprano
哈莉特．威廉斯於英國國立音樂與戲劇學院畢業。曾經演出的歌劇角色包括《波 佩阿的加冕》的奧塔維亞和命運女神，《費加羅的婚禮》的凱魯比諾，《茶花女》 的弗洛亞以及《蝴蝶夫人》的鈴木。威廉斯合作過的指揮家包括奧特賴赫特、哥 連．戴維斯爵士、海廷克爵士等；合作演出的樂團包括聖馬丁室內樂團，皇家利 物浦愛樂樂團，以及皇家蘇格蘭國立樂團等。
Harriet Williams studied at the Guildhall School of Music and Drama and took part in masterclasses with Barbara Bonney and Sir Thomas Allen at the Linbury Studio Theatre and with Brigitte Fassbaender at Wigmore Hall. Williams’s operatic roles include Ottavia and Fortuna (L’incoronazione di Poppea), Cherubino (The Marriage of Figaro), Flora (La traviata) and Suzuki (Madama Butterfly). Williams has performed under the baton of Petr Altrichter, Sir Colin Davis, Sir Bernard Haitink, Owain Arwel Hughes, Sir Neville Marriner, Christopher Moulds, Wolfgang Seeliger and Carlo Rizzi and with the Academy of St Martin in the Fields, the Royal Liverpool Philharmonic and the Royal Scottish National Orchestra.
米高．科文 Michael Colvin
男高音 Tenor
男高音米高．科文廣受讚譽，足跡遍及美加和歐洲等地。歌劇演出包括《唐．喬 望尼》的奧塔維歐、《湖上女郎》的羅德里戈，以及在英國國家歌劇院首演唐尼 采第的《拉美莫爾的露西亞》。演唱會方面，科文最近演出曼德爾頌的《傑羅修 斯之夢》，韓德爾的《彌賽亞》，以及威爾第的《安魂曲》。在2008/09樂季，科 文的演出包括在明尼蘇達歌劇院首演《後宮誘逃》（飾演貝爾蒙特），與英國國家 歌劇院演出《彼得．格林姆斯》（飾演鮑勃．鮑勒斯）和《蝴蝶夫人》（飾演五郎），與北部交響樂 團合作在蓋茲海德薩茨藝術中心演出海頓的《創世紀》和貝多芬的《第九交響曲》。
Michael Colvin has appeared to critical acclaim throughout Canada, the US and Europe. Recent operatic roles include Don Ottavio in Don Giovanni, Rodrigo di Dhu in La Donna del Lago and Donzetti’s Lucia di Lammermoor for his English National Opera debut. Colvin’s concerts include Mendelssohn’s Dream of Gerontius, Handel’s Messiah and Verdi’s Requiem. Engagements for the 2008/09 season include Belmonte in Die Entführung aus dem Serail for the Minnesota Opera, Haydn’s Creation with the Rochester Philharmonic, Bob Boles’s Peter Grimes and Goro in Madame Butterfly for English National Opera, Arbace in Idomeneo for the Canadian Opera Company and Haydn’s Creation and Beethoven’s Ninth Symphony with the Northern Sinfonia at The Sage Gateshead.
史蒂芬．洛傑斯 Stephan Loges
男中音 Baritone
史蒂芬．洛傑斯在柏林藝術大學及倫敦市政廳音樂及戲劇學校受訓。1999年在威 格摩爾音樂廳國際歌唱比賽中勝出。曾合作的指揮家包括賈納第爵士、特雷沃． 平諾克、加布里埃里．康索特及保羅．麥克里希，而演唱作品則有韓德爾《彌賽 亞》、海頓《創世記》、艾爾加《傑隆休斯之夢》、孟德爾頌《以利亞》、布列頓 《戰爭安魂曲》及莎莉雅荷《暴風雨歌集》等。歌劇演出包括《歡樂人間》、《費 加羅的婚禮》、《波希米亞生涯》、《羅密歐與茱麗葉》、《仲夏夜之夢》及《馬哈代尼城興亡記》。
Stephan Loges trained at the Hochschule der Künste, Berlin and the Guildhall School of Music and Drama, London. In 1999 he won the Wigmore Hall International Song Competition. His recitals, under the direction of Sir John Eliot Gardiner, Trevor Pinnock, Gabrieli Consort and Paul McCreesh, include Handel’s Messiah, Joseph Haydn’s Creation, Elgar’s Dream of Gerontius, Mendelssohn’s Elijah, Britten’s War Requiem and Kaija Saariaho’s The Tempest Songbook. His opera experience includes Ariadne auf Naxos, Le Nozze di Figaro, La Bohème, Romeo et Juliette, A Midsummer Night’s Dream and The Rise and Fall of the City of Mahagonny.
英國北部交響樂團