啟蒙時代樂團 Orchestra of the Age of Enlightenment
指揮：伊凡．費沙爾 Conductor: Iván Fischer
封面照片Cover image © Alte Oper Frankfurt / Anna Meuer, and Eric Richmond / Liang and Carroll
啟蒙時代樂團 Orchestra of the Age of Enlightenment
伊凡．費沙爾
Iván Fischer
節目 Programme Details
3.3.2006 節目 Programme
露芙．齊薩克
Ruth Ziesak
樂曲介紹 Programme Notes
歌詞 Lyrics
4.3.2006 節目 Programme
伊麗莎伯．沃爾菲施
Elizabeth Wallfisch
樂曲介紹 Programme Notes
樂團成員 Orchestra Members
為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙 ，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
啟 蒙 時 代 樂 團
Orchestra of the Age of Enlightenment
1986年，英國一些最優秀的古樂器演奏家獻出自己的才幹與專長，創辦了一個由演奏家自 行管理的樂團：啟蒙時代樂團。樂團的卓越表現不久即獲認同；1992年，樂團說服法蘭斯． 布魯根和西門．歷圖爵士加盟，擔任該團首席客席指揮，使樂團的聲望更上一層樓。
啟蒙時代樂團擔任皇家藝術節音樂廳聯駐樂團至今已十三樂季，現在也是格蘭特堡歌劇院 的聯駐樂團。此外，樂團曾巡迴多國演出，包括 2000 年於南美洲和美國及 2003 年秋於東 南亞的演出，樂團發行唱片達五十餘張，曲目上起浦塞爾，下迄威爾第 。
1994 年，啟蒙時代樂團推出教育及外展計劃，鼓勵參加者發揮創意及積極參 與藝術活 動。2004/05 樂季最大型的教育計劃「夢想！」，靈感來自英國南岸藝術中心的孟德爾頌音 樂會系列。此外，啟蒙時代樂團也是惟一提供學徒計劃的古樂團 該計劃名為「捷爾活 特／啟蒙時代樂團年輕演奏家體驗計劃」。
In 1986 a group of the finest exponents of period instruments in the UK pooled their talents and expertise to found their own self-governing orchestra: the Orchestra of the Age of Enlightenment (OAE). The OAE was quickly recognised as exceptional and, in 1992, scored a further coup when it persuaded Frans Brüggen and Sir Simon Rattle, CBE, to put their names to the Orchestra as Principal Guest Conductors.
The OAE is in its 13th season as Associate of the Royal Festival Hall, and is also Associate Orchestra at Glyndebourne. The OAE has toured many countries, including South America and the US in 2002, and Southeast Asia in autumn 2003. The Orchestra’s discography covers over 50 recordings in music from Purcell to Verdi.
The OAE established an education and outreach programme in 1994 with the aim of encouraging creativity and active participation in the arts. The 2004/05 season’s flagship education project DREAM! was inspired by the Mendelssohn series at the South Bank. The OAE is the only period instrument orchestra to offer an apprenticeship scheme, the Jerwood / OAE Experience for Young Players.
© Eric Richmond/Laing and C arroll
v á n i s c h e r IF
伊凡．費沙爾
指揮 Conductor
「費沙爾控制演出的非凡力度，真是出類拔萃︙︙ 以聲音捕捉了澎湃的情感，光芒萬丈，氣勢如 虹。」
提姆．阿什利，英國《衛報》， 2004 年 2 月 2 日 伊凡．費沙爾既是布達佩斯節日樂團的創辦人之 一，也是其音樂總監。樂團辦得有聲有色，費沙 爾實在功不可沒。布達佩斯節日樂團有豐富的國 際巡迴演出經驗，足跡遍及世界各地所有頂尖演 奏廳及音樂節。此外，樂團灌錄多種唱片，其中 不少更贏得唱片獎項；最近灌錄的唱片則有拉赫 曼尼諾夫第二交響曲及柴可夫斯基第四交響曲。
費沙爾經常獲邀任客席指揮，合作過的樂團包括柏林愛樂樂團、阿姆斯 特丹皇家音樂廳樂團、紐約愛樂樂團、克里夫蘭管弦樂團、洛杉磯愛樂 樂團、巴黎樂團、慕尼黑愛樂樂團及巴伐利亞廣播交響樂團。近期大獲 好評的演出包括舞台版本的孟德爾頌《仲夏夜之夢》，於 2005 年 2 月在倫 敦、紐約及安娜堡市上演，由啟蒙時代樂團伴奏。 2006 年夏季與格蘭特 堡歌劇院合作演出《女人心》。
“The performances, astonishingly controlled by Fischer, were exceptional.... What we experienced was high voltage emotion captured in sound of often overwhelming glory.”
Tim Ashley, The Guardian, 2 February 2004
Co-founder and Music Director of the Budapest Festival Orchestra, Iván Fischer has been responsible for creating a vibrant orchestra with an enviable international touring profile which takes them to all the major venues and festivals of the world. The orchestra has made numerous award-winning CDs and has recently recorded Rachmaninov’s 2nd Symphony and Tchaikovsky’s 4th Symphony.
As a guest conductor Iván Fischer appears regularly with the Berlin Philharmonic, Royal Concertgebouw, New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, Orchestre de Paris, Munich Philharmonic and Symphonieorchester des Bayerischer Rundfunks. Recent successes have included a semi-staged production of Mendelssohn’s A Midsummer Night’s Dream with the Orchestra of the Age of Enlightenment in London, New York and Ann Arbor in February 2005. Highlights of this season will include a production of Così fan tutte with Glyndebourne Festival Opera in summer 2006.
Friday, 3 March 2006
演出長約1小時40分鐘，包括一節20分鐘中場休息
Running time: approximately 1 hour and 40 minutes with a 20 minute interval
莫扎特 (1756-1791)
《費加羅的婚禮》
序曲
《來吧！不要遲！》
《美好時光何處尋》
《牧羊人國王》
序曲
《我將永遠愛她》
《劇院經理》， K486
序曲
《唐．喬望尼》
《殘忍？我的愛，我不是！》
《別說，我的至愛》
女高音 露芙．齊薩克
－中場休息－
舒伯特 (1797-1828)
五首德國舞曲及七個三聲中段與 尾聲， D90
C 大調第一舞曲─三聲中段一 ─三聲中段二
G 大調第二舞曲─三聲中段一 ─三聲中段二
D 大調第三舞曲─三聲中段
F 大調第四舞曲
C 大調第五舞曲─三聲中段一 ─三聲中段二—尾聲
海頓 (1732-1809)
降 B 大調第一百零二交響曲 廣板─極快板
慢板
小步舞曲─三聲中段
急板
Wolfgang Amadeus Mozart (1756-1791)
Le nozze di Figaro (The Marriage of Figaro)
Overture
Deh vieni, non tardar
Dove sono i bei momenti
Il rè pastore (The Shepherd King)
Overture
L’amerò, sarò costante
Der Schauspieldirektor (The Impresario), K486
Overture
Don Giovanni
Crudele? Ah no, mio ben!
Non mi dir, bell’idol mio
Ruth Ziesak soprano
– Interval –
Franz Schubert (1797-1828)
Five German Dances and Seven Trios with Coda, D90
Dance No 1 in C major - Trio I - Trio II
Dance No 2 in G major - Trio I - Trio II
Dance No 3 in D major - Trio
Dance No 4 in F major
Dance No 5 in C major - Trio I - Trio II - Coda
Franz Joseph Haydn (1732-1809)
Symphony No 102 in B flat major
Largo - Vivace
Adagio
Menuetto - Trio
Presto
露芙．齊薩克 Ruth Ziesak 女高音（3月3日） Soprano (3 March)
1991 年，露芙 ．
齊薩克在薩爾茨堡音樂節，演出由蘇提爵士指揮 的《魔笛》，憑彭米娜一角一舉成名，隨即活躍於國際樂壇，穿梭 於歌劇、音樂會及唱片灌錄之間。1992 至1995 年間，齊薩克繼續 飾演彭米娜，並首次在史卡拉歌劇院、巴伐利亞國家歌劇院、柏 林德意志國家歌劇院及維也納國家歌劇院演出。
齊薩克生於德國，就讀於法蘭克福音樂學院， 1988 年展開其歌唱 家事業。齊薩克演出頻繁，常與巴黎、米蘭、維也納、萊比錫、 阿姆斯特丹及倫敦等地的著名樂團，以及美國多個主要樂團合 作。她曾應邀在薩爾茨堡、柏林及琉森的音樂節，以及在英國廣 播公司逍遙音樂節中亮相。齊薩克將參與多場音樂會，合作音樂 家包括：庫特．馬素爾、穆狄、赫伯特．布隆斯泰特、丹尼勒． 格提及長野健。
Ruth Ziesak rose immediately to international prominence by singing Pamina in Die Zauberflote (The Magic Flute) with Sir Georg Solti at the 1991 Salzburg Festival and was subsequently launched on a career that now encompasses opera, concert, recital and recording engagements. Between 1992 and 1995 as Pamina, Ziesak made her debut at La Scala, the Bayerische Staatsoper, Deutsche Staatsoper Berlin and at the Vienna State Opera. German-born Ziesak studied at the Frankfurt Conservatory and started her professional career in 1988. She enjoys a busy concert schedule working regularly with orchestras in Paris, Milan, Vienna, Leipzig, Amsterdam and London as well as with many of the major American orchestras.
Ziesak has been a guest at the festivals of Salzburg, Berlin and Lucerne, and at the BBC Proms. Her future concert engagements bring her together with Kurt Masur, Riccardo Muti, Herbert Blomstedt, Daniele Gatti and Kent Nagano.
莫扎特 Wolfgang Amadeus Mozart
《費加羅的婚禮》
序曲
《來吧！不要遲！》 《美好時光何處尋》
《費加羅的婚禮》劇情講述艾瑪維法伯 爵千方百計引誘侍女蘇珊娜，卻遭蘇 珊娜、費加羅（蘇珊娜的未婚夫）及他 夫人阻撓，引出一連串爾虞我詐、張 冠李戴、錯綜複雜的故事，最後眾人 重修舊好，和氣收場。
劇情節奏之緊湊，在序曲已經表露無 遺：不少評論家都指出序曲開始時的 弦樂齊奏好比急步疾跑，恰好捕捉了 劇中人扭盡六壬、鬥智鬥力的滑稽模 樣。
然而，儘管劇中情節滑稽惹笑，卻也 有多首詠嘆調表達角色思考自身內心 情感，充滿沉思、反省的意味。蘇珊 娜唱的《來吧！不要遲！》無疑屬於此 類。當劇情發展至尾聲，連費加羅也 開始懷疑蘇珊娜不忠；蘇珊娜知道費 加羅匿藏在附近，聽她說話，於是唱 出一首情歌捉弄費加羅。
費加羅以為情歌是蘇珊娜為伯爵而唱 的，但那些情意綿綿的歌詞，其實是 對費加羅唱的。蘇珊娜向疑神疑鬼的 丈夫表明心跡，而莫扎特則為歌詞譜 上田園曲，以田園曲柔和的節奏，表 達天真無邪的情意，恰與歌詞內容配 合得天衣無縫。
《美好時光何處尋》是伯爵夫人的詠嘆 調，跟蘇珊娜充滿鄉村氣息的詠嘆調 截然不同。伯爵夫人獨自思量，緬懷 昔日丈夫用情專一，不會拈花惹草的 日子。莫扎特在此曲運用了 1780 年代
Le nozze di Figaro
(The Marriage of Figaro)
Overture
Deh vieni, non tardar
Dove sono i bei momenti
The plot of The Marriage of Figaro centres on Count Almaviva’s efforts to seduce his servant Susanna and the resistance he encounters from Susanna, Figaro (her fiancé), and the Count’s wife. On this foundation, a complex tale of deception, mistaken identity and reconciliation emerges.
The Overture conveys a good sense of the frenetic pace that characterises this drama. Many critics have pointed out the scurrying quality of the opening string unison and have suggested that it neatly captures the antics of the characters as they plot and scheme to outwit one another. Yet despite the wealth of comic action that characterises the opera, many of the arias in Figaro offer moments of thoughtful reflection when an individual contemplates more intimate emotions.
This is certainly true of Susanna’s Deh vieni, non tardar, which she sings near the end of the opera at a moment when Figaro has begun to doubt her fidelity. Knowing that Figaro is concealed and listening to her, she performs a love song with the intention of teasing him. Figaro believes that this aria is addressed to Count Almaviva; when in reality, the song’s amorous lyrics are directed at him. Mozart set these words as a pastorale, a genre whose gentle rhythms were closely associated with innocent tenderness and thus were perfectly matched to Susanna’s expression of devotion to her suspicious husband.
The Countess Almaviva’s Dove sono i bei momenti differs from the bucolic simplicity of Susanna’s aria. Alone with her thoughts, the
日趨流行的「雙速度結構」，這種結構 一般在前半首用中庸速度，適合表達 沉思的氣氛；旋律漸漸開展，慵懶、 幽怨的旋律表達出伯爵帶給妻子的尷 尬與痛苦；樂曲後半則用上較快的速 度，聲音也較尖銳，伯爵夫人唱出自 己從一而終、對不忠的丈夫堅定不移 的愛情。
《牧羊人國王》
序曲
《我將永遠愛她》
《牧羊人國王》是一齣十八世紀短歌 劇，形式類似清唱劇，一般是作曲家 接受委約，為生辰、週年紀念等特殊 場合誌慶而作。 1775 年，馬斯米立 安．法蘭茲大公爵造訪薩爾茨堡，時 年十九歲的莫扎特為此創作《牧羊人國 王》。劇情講述牧羊人艾敏塔竟然是希 頓王國儲君，並集中刻劃艾敏塔與年 輕貴族伊莉莎幾經磨難、終成眷屬的 愛情故事。
序曲運用了 1770 年代典型的管弦樂寫 法：弦樂是主幹，從頭至尾處於領導 地位，交代重要的戲劇主題；圓號和 小號則吹奏像號角的重複音或悠長的 持續音，以加強某些段落；同樣，雙 簧管則用來加強某些和弦，或用於旋 律轉折處，增添色彩變化。可是，這 齣「歌劇」並非處處運用這種頗傳統的 配器法，尤其在第二幕，莫扎特運用 了較創新的樂器組合，色彩新穎。
Countess longs for days past when her husband only desired her and did not chase other women. For this aria, Mozart used a two-tempo structure that had become increasingly popular in the 1780s. The first half, as is typical of this form, uses a moderate tempo well-suited to pensive moods. The melody unfolds with a languid melancholy that parallels the embarrassment and pain the Count has caused his wife. With the change to the second, faster tempo, however, the atmosphere becomes more strident as the Countess sings of her own constancy and steadfast love for an erring spouse.
Il rè pastore (The Shepherd King)
Overture
L’amerò, sarò costante
Il rè pastore is a serenata, a semi-staged dramatic genre that was typically commissioned for special occasions like birthdays or anniversaries. Mozart wrote this serenata at the age of 19 in honour of the 1775 visit by the Archduke Maximilian Franz to Salzburg. The work tells the story of a shepherd, Aminta, who turns out to be the heir to the kingdom of Sidon. Much of the drama focuses on Aminta’s love for the young noblewoman Elisa, the troubles they face, and their final betrothal at the end.
The Overture is typical of orchestral works written in the 1770s. The strings provide the musical backbone, playing continuously from beginning to end and presenting the main thematic material. The horns and trumpets are reserved for reinforcing particular passages through fanfare-like repeated notes or long held pedal tones. The oboes are similarly employed to strengthen certain chords, but are also used to vary the colour of brief melodic turns. This rather conventional approach to orchestration, however, is not representative of the opera as a whole.
其中一個好例子，就是艾敏塔的詠嘆 調《我將永遠愛她》，糅合了長笛、英 國管、巴松管、圓號和獨奏小提琴的 音色。這首詠嘆調採用了迴旋曲式， 樂曲首段的副歌多次重現，以分開在 音樂上對比鮮明的片段。溫婉的副歌 重複出現，強調艾敏塔的愛情宣言； 使音樂表現出細心體貼、溫柔真摯的 情感和力量。
《劇院經理》， K486
序曲
莫扎特的《劇院經理》講述劇院的歌手 和演員爭吵不停，劇院經理法蘭克先 生幾經艱苦，才能找到歌手和演員演 出。此劇由奧地利皇帝約瑟夫二世委 約創作，是歡迎奧地利荷蘭總督到訪 維也納的連串活動之一。
其實，這齣獨幕鬧劇的序曲，跟內容 更充實的戲劇作品更加匹配：開始 時，完整的管弦樂與純弦樂交替出 現，雖然這種對比接着被較抒情、以 小提琴與木管樂器為主的段落取代， 但隨後激情的發展部重新引入對比， 並把開始時的動機轉至不同的調，直 至重新確立本曲的主調 C大調 為止。
Especially in the second act, Mozart employs a more inventive instrumental palette. Aminta’s aria L’amerò, sarò costante , with its blend of flutes, English horns, bassoons, French horns and solo violin, is a good example of this. The aria takes the form of a rondeau (or rondo) in which a refrain heard at the beginning returns repeatedly, separating episodes that exploit contrasting musical material. The reappearances of the gentle, measured refrain reinforce Aminta’s unfaltering declarations of love. In this way, the music embodies a passion that is no less strong for being thoughtful, tender and true.
Der Schauspieldirektor (The Impresario), K486
Overture
Mozart’s Der Schauspieldirektor narrates the travails of Herr Frank, an impresario or theatre manager who is struggling to assemble a cast of singers and actors, a feat made difficult by their incessant squabbling. The work was commissioned by the Austrian Emperor Joseph II as part of the festivities surrounding a visit by the Governor General of the Austrian Netherlands to Vienna. The Overture to this silly, one-act farce is worthy of a more substantial dramatic work. Mozart begins by alternating the sound of the full orchestra with passages for the strings alone. Although this textural contrast is succeeded by a more lyrical section in which the violins and woodwinds dominate, contrast returns in a stormy development where motives from the opening are reworked in a variety of keys prior to the reprise and a firm confirmation of C major, the key of this overture.
《唐．喬望尼》
《殘忍？我的愛，我不是！》
《別說，我的至愛》
莫扎特《唐．喬望尼》內容圍繞主人公 唐．喬望尼縱情享樂的一生，將他的 風流韻事娓娓道來。劇中出現的幾位 女角，都是他勾引得手，或幾乎得手 的女子。
這些女角中，態度嚴肅、舉止高尚的 安娜，尤其顯得別具一格。的確，安 娜這個角色在十八世紀意大利喜歌劇 况稱為「嚴肅角色」。有別於其他角 色，「嚴肅角色」鮮有滑稽可笑的舉 動；相反，安娜的一舉一動皆端莊得 體，透着傲氣。她的尊貴氣質，正表 現在這首帶伴奏宣敘調與詠嘆調况。
安娜既唱出對未婚夫奧塔維歐的情 意，但又以丁父憂為由，堅持押後婚
期。帶伴奏宣敘調與隨後的詠嘆調互 相緊扣，安娜唱句的旋律與器樂伴奏 的音樂素材互相參照。詠嘆調所運用 的大型雙速度結構，即使應用在嚴肅 歌劇也很合適。
在詠嘆調前半段，安娜再三安慰未婚
夫。此段以如歌風格寫成，旋律以級 進為主，伴以樸素的裝飾音。可是， 隨着她越來越激動，此段的結尾突然 開始加速；華麗的花腔樂段傾瀉而 出，是安娜懇求上天及她的如意郎君 體諒。
－中場休息－
Don Giovanni Crudele? Ah no, mio ben! Non mi dir, bell’idol mio
Mozart’s Don Giovanni recounts the amatory adventures of the title character, whose life revolves around sensual pleasures of all sorts. Over the course of the opera we meet a number of women whom Giovanni has or has tried to seduce.
Of these women, Donna Anna stands out by virtue of her serious and noble demeanour. Indeed, she belongs to what 18th century Italians would have called the parti serie or serious roles encountered within an opera buffa As such, she does not participate directly in the comic antics or clownish behaviour of other characters; pride and a sense of decorum distinguish her actions. Her sense of dignity is perhaps best exemplified by this accompanied recitative and aria. In it she expresses her love for her fiancé, Don Ottavio, but nevertheless insists on postponing their wedding out of respect for her dead father. The accompanied recitative is closely linked to the aria which follows by thematic references that are introduced in between the phrases of Donna Anna’s vocal line. The aria itself has a grand, two-tempo structure that would not be out of place in an opera seria.
Throughout the first half, Donna Anna reassures Don Ottavio, singing in a cantabile style marked by stepwise motion and modest ornamentation. At the end of this section, however, there is a sudden increase in tempo as emotion begins to overwhelm her. With eloquent outbursts of coloratura, she pleads for understanding, from heaven and the man she longs to marry.
– Interval –
舒伯特 Franz Schubert
五首德國舞曲及七個三聲中 段與尾聲， D90
舞蹈是十九世紀初流行的消遣，德國 南部和奧地利當時大量出版舞曲曲 集，而德國舞曲正是這些曲集的熱門 選擇。一般來說，德國舞曲以快速三 拍子、重音強勁為特色，採用簡單二 段體結構，每段重複一次。
舒伯特的德國舞曲 D90 是相當典型的 德國舞曲，但其中幾首加入了一個或 多個三聲中段。德國舞曲樂段會在兩 個三聲中段之間或一個三聲中段之後 重複，以加長篇幅。
雖然三聲中段也是三拍子、二段體， 但風格卻與德國舞曲樂段迥異：三聲 中段的節奏型較柔和，重音較弱，在 較活潑熱烈的德國舞曲樂段之間交替 出現，對比鮮明。
Five German Dances and Seven Trios with Coda, D90
Dancing was a popular pastime in the early 19th century, and many collections of dance pieces were published in Austria and southern Germany at that time. One of the most favoured dance types to be included in these sets was the Deutscher Tanz or German Dance. Generally, it was characterised by a quick triple meter with forceful accents and a simple binary form, each half repeated.
Schubert’s German Dances, D90, are quite typical of the genre, but he has joined some of them to one or more trios. The German dances are to be repeated between and after the trios in order to create more extended musical numbers. Although the trios also use triple meter and employ binary forms, their style differs markedly from the German dances that accompany them. These trios exhibit softer, less accented rhythmic patterns, offering a welcome alternative to the more vigorous Deutsche Tänze.
海頓
Franz Joseph Haydn
降 B 大調第一百零二交響曲
第一百零二交響曲是十二首「倫敦交響 曲」之一。那十二首交響曲，是海頓專 誠為倫敦兩系列音樂會而作的，規模 特別宏大，是海頓管弦樂曲的登峰造 極之作。
第一樂章由緩慢引子開始，這種手法 以十八世紀末的交響曲來說雖並非罕
Symphony No 102 in B flat major
Symphony No 102 is one of the 12 so-called London Symphonies that Haydn wrote for two concert series given in the British capital. These works were conceived on a particularly lavish scale and represent the pinnacle of the composer’s orchestral achievement. The first movement of No 102 opens with a slow introduction, which in itself was not unusual for a late 18th century symphony. Haydn, however,
見，可是海頓卻改良了這個習以為常 的交響曲寫法，將緩板與極快板以高 度的動機技巧聯繫起來。
這樣一來，樂曲不僅結構嚴密，更成 了十九世紀作曲家常用寫法的濫觴。
第一樂章效果豐富多姿，而第二樂章 則與第一樂章互相輝映。慢板圍繞一 個旋律樂思寫成，為保持新鮮感，樂 思每次重現都蘊含微妙變化，在在反 映出海頓作為配器大師的風範。
在十八世紀末，小步舞曲總令人想到 皇室貴冑，有着高貴典雅的氣派。可 是，這首交響曲的小步舞曲反傳統的 特色節奏、出奇不意的力度變化、突 如其來的音區轉變等，卻令人想起一 個笨拙舞者的生硬、吃力舞姿。這樣 的小步舞曲，完美地襯托着旋律平滑 流暢的三聲中段，海頓的睿智，在此 表露無遺。為全曲作結的終樂章，首 段充滿鄉土氣息、帶有天真瀾漫的幽 默感，與其他較厚重的樂段作對比， 副歌更顯得討人喜歡。
refined what was a standard symphonic device by relating the Largo to the Vivace section via some ingenious motivic links. The result is a tightly constructed movement that presages 19th century compositional practice. The exuberance of the first movement is complemented by the one that follows. This Adagio is built around a single melodic idea whose repetitions are kept fresh through subtle variations that testify to Haydn’s mastery of orchestration.
In the late 18th century, the minuet had courtly associations, giving it a cachet of elegance. The minuet of this symphony, however, is studded with unconventional rhythmic gestures, abrupt shifts of dynamics and sudden changes of register that bring to mind the awkward motion of an inept dancer. An example of Haydn’s wit, it serves as the perfect foil to the smooth melodic lines of the accompanying trio. To conclude the entire work, the finale introduces a rustic-sounding refrain that possesses a naive good humour which contrasts favourably with the more ponderous passages that alternate with it.
Programme Notes by Michael McClellan
Deh vieni, non tardar da Le nozze di Figaro
Giunse alfin il momento
Che godro senz’affanno
In braccio all’idol mio
Timide cure uscite dal mio petto!
A turbar non venite il mio diletto.
O come par che all’amoroso foco
L’amenita del loco,
La terra e il ciel risponda.
Come la notte i furti miei risponda
《來吧！不要遲！》
選自《費加羅的婚禮》
這個時刻終於來臨 可以不慌不忙享受我的愛人的懷抱︙︙ 可怕的焦慮，撤離我心！ 不要來打擾我的愉快時刻。 噢，這愛情之火 似乎感染了這安逸之地方， 天地動容， （噢，似乎天、地，還有這地方 都被我心中的愛火感動。） 黑夜也配合我的計策。
Deh vieni, non tardar, o gioja bella
Vieni ove amore per goder t’appella
Finche non splende in ciel notturna face
Finche l’aria e ancor bruna,
E il mondo tace.
Qui mormora il ruscel, qui scherza l’aura
Che col dolce susurro il cor ristaura
Qui ridono i fioretti e l’erba e fresca
Ai piaceri d’amor qui tutto adesca.
Vieni, ben mio, tra queste piante ascose.
Vieni, vieni!
Ti vo’ la fronte incoronar di rose.
Oh, come, don’t be late from The Marriage of Figaro
The moment finally arrives
When I’ll experience joy without haste
In the arms of my beloved...
Fearful anxieties, get out of my heart!
Do not come to disturb my delight.
Oh, how it seems that to amorous fires
The comfort of the place, Earth and heaven respond, [Oh, it seems that earth, heaven and this place answers my heart’s amorous fire.]
As the night responds to my ruses.
來吧，別遲疑，我美好的愛人， 愛情喚你來這况享受良辰美景， 直到夜之火炬不再照亮天空， 只要天色仍然黑暗， 只要世界仍然寂靜。
這况河水淙淙，光影灼灼， 美好的涓涓流水再現心中。
這况小花笑意盈盈，綠草油油， 這况的一切都給人情愛的喜悅。
來吧，親愛的，在這些隱蔽花草况， 來吧，來吧！ 我要用玫瑰為你加冕。
詞：達龐迪 英譯：瑙密．顧特．林德
Oh, come, don’t be late, my beautiful joy
Come where love calls you to enjoyment
Until night’s torches no longer shine in the sky
As long as the air is still dark
And the world quiet.
Here the river murmurs and the light plays
That restores the heart with sweet ripples
Here, little flowers laugh and the grass is fresh
Here, everything entices one to love’s pleasures
Come, my dear, among these hidden plants. Come, come!
I want to crown you with roses.
Text by Lorenzo da Ponte
Translation by Naomi Gurt Lind
Dove sono i bei momenti da Le nozze di Figaro
E Susanna non vien!
Sono ansiosa di saper
come il Conte accolse la proposta. Alquanto ardito il progetto mi par, E ad uno sposo si vivace e geloso!
Ma che mal c’è?
Cangiando i miei vestiti con quelli di Susanna,
E suoi co’miei al favor della notte.
Oh, cielo! a qual umil stato fatale io son ridotta da un consorte crudel!
Che dopo avermi con un misto inaudito d’infedeltà, di gelosia, di sdegno!
Prima amata, indi offesa, e alfin tradita, Fammi or cercar da una mia serva aita!
《美好時光何處尋》 選自《費加羅的婚禮》
蘇珊娜還沒來！
我很焦急，想知道 伯爵的反應怎麼樣。
計劃是有點輕率， 還要對付那性急的醋罐子丈夫！
但那有什麼不妥？ 我穿上蘇珊娜的衣服， 蘇珊娜又換上我的衣服。 趁夜况大家都看不清楚。
天啊！弄到如此田地 都是我狠心的丈夫一手造成！ 娶我為妻後， 真料不到
他竟是不忠、妒忌、暴躁的化身！ 最初被愛、繼而受辱、最後被背叛， 是你迫我向自己的侍女求助！
Dove sono i bei momenti
Di dolcezza e di piacer?
Dove andaro i giuramenti
Di quel labbro menzogner?
Perchè mai, se in pianti e in pene
Per me tutto si cangiò, La memoria di quel bene
Dal mio sen non trapassò?
Ah! se almen la mia costanza,
Nel languire amando ognor,
Mi portasse una speranza
Di cangiar l’ingrato cor!
那些甜蜜歡樂的日子 哪况去了 ?
那些山盟海誓、甜言蜜語 哪况去了？ 為什麼？要是一切於我 都化為淚水與苦楚， 為何這些美好回憶 仍在心中，沒有磨滅？ 啊！只盼，至少，我的忠誠， 縱在痛苦中仍堅定的愛情， 可以為我帶來希望， 令負心漢回心轉意！
詞：達龐特 英譯：珍妮．畢曉普
Where are the lovely moments from The Marriage of Figaro
And Susanna hasn’t come!
I’m anxious to know
How the Count took the proposition. The plan seems to me a little rash, And against such a quick and jealous husband!
But what harm is there in it?
To change my clothes with Susanna’s, And hers with mine
Under cover of night.
Oh, Heaven! What a fatal comedown
I’m reduced to by a cruel husband! Who, after he had me, give an
Unheard of mixture
Of infidelity, jealousy and rage!
First loved, then insulted, and at last betrayed, You force me to seek help from one of my maids!
L’amerò, sarò costante da Il rè pastore
Fido sposo, e fido amante Sol per lei sospirero.
《我將永遠愛她》
選自《牧羊人國王》
忠誠的丈夫、忠誠的愛人。
我的心况只有她
I shall love her, I shall be constant from The Shepherd King
Faithful husband and faithful lover. I shall long for her alone.
Where are the lovely moments
Of sweetness and pleasure? Where have the promises gone That came from those lying lips? Why, if all is changed for me Into tears and pain, Has the memory of that goodness Not vanished from my breast?
Ah! If only, at least, my faithfulness, Which still loves amidst its suffering, Could bring me the hope Of changing that ungrateful heart!
Text by Lorenzo da Ponte
Translation by Jane Bishop
In si caro e dolce oggetto La mia gioia, il mio diletto La mia pace io trovero.
她可愛柔美，在她身上 我將找到快樂、喜悅 和安寧
詞：米塔斯塔斯奧 英譯：斯圖爾特．斯潘塞
In so dear and sweet a creature I shall find my joy, my delight and my peace.
Text by Pietro Metastasio
Translation by Stuart Spencer
Crudele? Ah no, mio ben! Non mi dir, bell'idol mio da Don Giovanni
Crudele?
Ah no, giammai mio ben! Troppo mi spiace allontanarti un ben che lungamente la nostr’alma desia... Ma il mondo, o Dio! Non sedur la costanza del sensibil mio core; ahbastanza per te mi parla amore 《殘忍？我的愛，我不是！》 《別說，我的至愛》 選自《唐．喬望尼》
殘忍？
我的愛，我不是！ 將我倆同求的快樂推遲 我心况是說不出的難過。
怕的是，別人的閒言閒語！︙︙ 只求你，耐心再等待 別讓我這脆弱的心氣餒！
I cruel? Ah no, my dearest! Say not, my beloved from Don Giovanni
I cruel?
Ah no, my dearest! It grieves me much to postpone a bliss we have for long desired...
But what would the world say? Do not tempt the fortitude of my tender heart, which already pleads your loving cause.
Non mi dir, bell’idol mio, Che son io crudel con te. Tu ben sai quant’io t’amai, Tu conosci la mia fe’. Calma, calma il tuo tormento, Se di duol non vuoi ch’io mora. Forse un giorno il cielo ancora Sentirà pietà di me.
我的至愛， 別說我對你殘忍； 山盟海誓， 哪句話我沒藏在心窩。 你只管放開懷抱， 別教我憂心至死！ 總有一天， 上蒼會為我大發慈悲。
詞：達龐迪 英譯：嘉米娜．巴狄斯達
Say not, my beloved, that I am cruel to you: you must know how much I loved you, and you know that I am true. Calm your torments, if you would not have me die of grief. One day, perhaps, Heaven again will smile on me.
Text by Lorenzo da Ponte
Translation by Camila Argolo Freitas Batista
Lyrics provided by the Orchestra
2006 年 3 月 4 日（星期六）
Saturday, 4 March 2006
演出長約1小時30分鐘，包括一節20分鐘中場休息。
Running time: approximately 1 hour and 30 minutes with a 20 minute interval
薩里埃利 (1750-1825)
佛利亞變奏曲
海頓 (1732-1809)
C 大調小提琴協奏曲， Hob VIIa:1
中庸的快板
慢板
急板
－中場休息－
莫扎特 (1756-1791)
三首進行曲， K408
C 大調第一進行曲
D 大調第二進行曲
C 大調第三進行曲
C 大調第三十四交響曲， K338
活潑的快板
極快的行板
小步舞曲
終曲（活潑的快板）
小提琴 伊麗莎伯．沃爾菲施
Antonio Salieri (1750-1825)
Variations on La Follia
Franz Joseph Haydn (1732-1809)
Violin Concerto in C major, Hob VIIa: 1
Allegro moderato
Adagio
Presto
– Interval –
Wolfgang Amadeus Mozart (1756-1791)
Three Marches, K408
March No 1 in C major
March No 2 in D major
March No 3 in C major
Symphony No 34 in C major, K338
Allegro vivace
Andante di molto
Minuet
Finale (Allegro vivace)
Elizabeth Wallfisch violin
伊麗莎伯．沃爾菲施 Elizabeth Wallfisch 小提琴（3月4日） Violin (4 March)
伊麗莎伯．沃爾菲施是天生具權威的藝術家，她能身兼小提琴及 指揮兩職，並以與時代相應的小提琴演奏巴羅克、古典、浪漫及 現代風格樂曲。她把總譜放在譜架上、以樂器指揮的專長無人能 及，對古典作品的演繹尤佳；此外，憑着超卓的演奏功力，高超 的音樂修養、個性，她跟樂團所有樂器的交流都無與倫比。
沃爾菲施有超過二十年指揮世界各地樂團的經驗，指揮過的樂團 包括啟蒙時代樂團、以色列室樂團及美國巴赫獨奏家；在家鄉澳 洲，沃爾菲施指揮過澳洲室樂團、昆士蘭愛樂樂團及墨爾本室樂 團。
沃爾菲施的曲目廣泛，涵蓋海頓、莫扎特、貝多芬、舒伯特和孟 德爾頌；後至帕格尼尼、史博及韋奧蒂；前至巴赫、韓德爾、泰 利曼、浦賽爾、比伯，以及同期意大利作曲家柯里尼、佩爾戈萊 西、謝明尼亞尼、洛卡泰利等；二十世紀作品則以演繹李察．史 特勞斯、史達拉汶斯基及蕭斯達高維契為主，並包括當代澳洲作 曲家彼得．斯卡索普及艾斯特．洛菲；以及強納森．杜夫廿一世 紀新作的世界首演。
A naturally authoritative artist, Elizabeth Wallfisch directs orchestras in Baroque, Classical, Romantic or Modern styles from the violin, using an appropriate period instrument. Her expertise in directing music particularly of the classical period from the instrument, score on stand, is unrivalled as is her communication with all sections of the orchestra due to her demonstrable abilities as a superb instrumentalist, her personality and her matching musicianship.
In over 20 years experience she has directed orchestras all over the world, including the Orchestra of the Age of Enlightenment, the Israel Chamber Orchestra and the American Bach Soloists. In her native Australia she has directed the Australian Chamber Orchestra, Queensland Philharmonic and Melbourne Chamber Orchestra.
Wallfisch’s repertoire encompasses Haydn, Mozart, Beethoven, Schubert and Mendelssohn. Her repertoire moves forward to Paganini, Spohr and Viotti, but stretches back to encompass works by J S Bach, Handel and Telemann and to include composers like Purcell, Biber and the Italians Corelli, Pergolesi, Geminiani and Locatelli. The 20th century is represented by Richard Strauss, Stravinsky and Shostakovich with the inclusion of the contemporary Australian composers Peter Sculthorpe and Esther Rofe and in this century she will direct a world premiere by Jonathan Dove.
薩里埃利 Antonio Salieri
佛利亞變奏曲
雖然今天已幾近被遺忘，《佛利亞》可 是十七世紀末及十八世紀時最膾炙人 口的舞曲曲調。表面上，《佛利亞》無 論旋律和伴奏和聲都相當簡單，但巴 赫及其兒子、柯里尼和韋華第等作曲 家，都得承認這曲調引人入勝的「潛 質」，並熱中於發掘其可塑性。於是， 這首曲子很快就風行歐洲，成為各地 多首「主題與變奏」的「主題」了。甚至 在十九、二十世紀的音樂况，依然見 到《佛利亞》的蹤影 連李斯特和拉 赫曼尼諾夫也在作品引用了。
薩里埃利（莫扎特的同僚和對頭，這一 點大概最廣為人知）的《佛利亞》二十六 首變奏曲寫於 1815 年，寫作背景資料 不詳，但明顯地是為討好廣大聽眾而 寫的。
這些佛利亞變奏曲經過薩里埃利重新 編寫後，色彩豐富，每對變奏之間對 比鮮明，並經常突顯樂團况的樂器獨
奏，如第四及第十四變奏以豎琴獨 奏，第十五及第十九變奏則以小提琴 獨奏為主；另外也有一段專為單簧管 和雙簧管二重奏而寫的（第二十二變 奏）。這幾個變奏跟其他變奏截然不 同：其他的變奏運用了不同的樂器組 合，織體層次深淺不一、清濁不一。
整體來說，薩里埃利強調變化，保持 聽眾的興致不減。
Variations on La Follia
Little known today, La Follia was one of the most popular dance tunes of the late 17th and 18th centuries. Composers like J S Bach, his son C P E Bach, Corelli and Vivaldi recognised the seductive potential of this deceptively simple melody and its supporting harmonies. They eagerly took advantage of its compositional possibilities, and it quickly became the ‘theme’ in a great number of Themes and Variations throughout Europe. La Follia even managed to survive into the 19th and 20th centuries, making appearances in works by Liszt and Rachmaninoff.
Salieri who is perhaps best known as a colleague and rival of Mozart — wrote his 26 Variations on La Follia in 1815. Little is known about the circumstances surrounding their composition, but they were clearly written to appeal to a broad audience. These colourful reworkings of the theme are designed to contrast sharply with one another, and often show off soloists drawn from within the orchestra. For example, Variations 4 and 14 feature a solo harp, while Nos 15 and 19 are dominated by a solo violinist. There is also a duet for oboe and clarinet (No 22). These variations stand apart from others in which different orchestral combinations are used to create textures of varying thicknesses and clarity. Yet throughout, Salieri’s emphasis is always on variety and keeping the listener entertained.
海頓 Franz Joseph Haydn
C 大調小提琴協奏曲， Hob VIIa:1
C 大調小提琴協奏曲應寫於 1760 年代 初，其時海頓剛在富甲一方的艾斯特 赫斯家族工作不久。此曲大概在艾斯 特赫斯家族的私人音樂會上演出娛 賓，由作曲家本人在鍵盤前指揮。第 一樂章由樂團開始，奏出重要的主 題，但當獨奏小提琴加入後，情況就 截然不同了。
獨奏小提琴以各色各樣的變化，包括 跑音、顫音、雙弦音及切分音等，牽 領樂團的意念；與此同時，樂團「退居 幕後」，換以輕柔的伴奏，或偶然奏出 一個過渡句。小提琴在第二樂章繼續 處於領導地位，小提琴家可盡情發揮 如歌風格，很有歌劇的影子。
樂章以簡單的上行F 大調音階開始，再 引入以簡單的撥奏弦樂器伴奏的旋 律，感覺舒展。第三樂章跟古典時期 初的協奏曲很相似，不但以舞曲節奏 為主幹，營造輕鬆愉快的氣氛結束全 曲，更將獨奏小提琴炫技樂段穿插於 樂團果敢堅定的樂段之間。
－中場休息－
Violin Concerto in C major,
Hob VIIa:1
The Violin Concerto in C major was most likely written in the early 1760s, shortly after the wealthy Esterházy family retained the services of Joseph Haydn. This concerto most likely would have been performed at private concerts organised for the pleasure of the Esterházys and their guests with the composer conducting from the keyboard.
The orchestra begins the first movement, stating the main thematic material, but once the solo violin enters the situation changes. The soloist manipulates the orchestral ideas by means of runs, trills, double stops, syncopation, and other forces. The orchestra, meanwhile, retreats from view, providing an unobtrusive accompaniment and occasional transitions. The violin also dominates the second movement in which the violinist has an opportunity to explore a cantabile, or singing style that seems operatic in conception. The opening gesture, a simple ascending scale in F major, leads to an expansive melody that is supported by a simple pizzicato string accompaniment. The finale is typical of many concertos from the early Classical era in using dance rhythms as the basis of its light-hearted conclusion, juxtaposing the soloist’s virtuosity with the more emphatic assertions of the full orchestra.
– Interval –
莫扎特 Wolfgang Amadeus Mozart
三首進行曲， K408
古往今來，軍隊進行曲一直都有實際 用途 幫助士兵協調動作。可是在 十八世紀，專為音樂會創作的、格式 化的進行曲漸趨流行，莫扎特 K408 這 三首進行曲正是其中例子。這三首進 行曲寫於 1782 年，適逢莫扎特移居維 也納不久，曲子大概都是為該市的音 樂會而寫的。當然，節拍強勁、節奏 簡單，是所有進行曲的共通點；但這 三首進行曲經過開始時響亮流麗的樂 段後，均進入較抒情的樂段，音區、 色彩轉瞬間的變化，十分引人入勝； 這些進行曲的神采，為一般平凡乏味 的進行曲所無。
Three Marches, K408
Military marches have served a practical purpose throughout history by helping soldiers coordinate their movements. In the 18th century, however, stylised marches intended for performance in concert settings became increasingly popular. The Three Marches, K408, by Mozart are good examples of this phenomenon. Composed in 1782 shortly after the composer moved to Vienna, they were most likely written for one of that city's concert series. Of course, these pieces exhibit the forceful strong beats and simple rhythmic patterns common to all marches. However, following the flourishes that open each of them, we encounter more lyrical moments as well as arresting shifts of register and colour that give them a lustre more prosaic marches lack.
C大調第三十四交響曲，
K338
第三十四交響曲寫於 1780 年夏；尤其
與別不同的是，這是莫扎特在家鄉薩 爾茨堡寫的最後一首交響曲。此曲演 奏的次數雖然不及維也納時期的最後 幾首交響曲，但也是出色作品，應當 更受重視才對。除了圓號，莫扎特也 選用了小號，為這首交響曲的開端添 上輝煌嘹亮的聲音，並突出了第一樂 章第一主題的進行曲特色。
可是不久後，這個主題就被蜿蜒的變 化音旋律及短切分音取代。雖然第一 主題經常輕柔地在第一樂章出現，但 莫扎特把這個主題的能量留待最後才 全數釋放，結果更宏偉、更澎湃。第
二樂章最大特色是莫扎特運用了分部 中提琴，於是聲音異常圓潤溫暖。第
Symphony No 34 in C major, K338
Composed in the summer of 1780, Mozart’s Symphony No 34 has the distinction of being the last symphony he wrote in his hometown of Salzburg. Although not performed as often as the late Viennese symphonies, it is an exceptionally well-crafted work, deserving of greater attention than it has received. The presence of trumpets in addition to horns imparts brilliance to the opening measures of the symphony and highlights the march-like quality of the principle theme of the first movement. Before long however, these martial flourishes give way to new material that combines a sinuous chromaticism with short syncopations. Although the principle theme makes attenuated appearances throughout the movement, Mozart reserves its full force for the very end, creating a much grander dramatic effect. The second movement is notable for
三樂章以最簡單的樂思 C 大調音 階 開始，但結合了精力充沛的基 格舞曲節奏後，營造出強烈的動感與 前進感，即使在最精緻、最細微的樂 段，也毫不例外。
樂曲介紹：麥嘉倫
場刊中譯：鄭曉彤
Mozart’s use of divided violas. The result is an exceptionally rich and warm sound that particularly distinguishes this Andante . The finale takes as its starting point the simplest of ideas, a C major scale, but by combining it with the spirited rhythms of a gigue , Mozart generates a sense momentum that drives the music forward even in the most delicately wrought passages.
Programme Notes by Michael McClellan
啟蒙時代樂團
Orchestra of the Age of Enlightenment
小提琴
Violins
Elizabeth Wallfisch
Ken Aiso
Alison Bury
Susan Carpenter-Jacobs
Debbie Diamond
Catherine Ford
Jane Gillie
Claire Holden
Catherine Mackintosh
Roy Mowatt
Andrew Roberts
Jill Samuel
Claire Sansom
Henrietta Wayne
Catherine Weiss
Nadja Zwiener
中提琴
Violas
Nicholas Logie
Jan Schlapp
Martin Kelly
Annette Isserlis
Katharine Hart
Colin Kitching
大提琴 Cellos
Richard Lester
Jonathan Cohen
Jennifer Bullock
Helen Verney
低音大提琴 Double basses
Chi-chi Nwanoku MBE
Cecelia Bruggemeyer
Andrew Durban
長 笛 Flutes
Lisa Beznosiuk
Neil McLaren
雙簧管 Oboes
Anthony Robson
Richard Earle
單簧管 Clarinets
Antony Pay
Jane Booth
巴松管 Bassoons
Katrina Russell
Zoe Shevlin
圓 號 Horns
Andrew Clark
Martin Lawrence
小 號 Trumpets
David Blackadder
Phillip Bainbridge
定音鼓 Timpani
Charles Fullbrook