天津茱莉亚室内乐团 2019-2020乐季系列音乐会开幕音乐会

演出信息

天津茱莉亚室内乐团

2019-2020乐季系列音乐会

开幕音乐会

演出时间：10月11日 周五 19:30

演出地点：天津大剧院 音乐厅

演出团体：天津茱莉亚室内乐团

演出时长：约100分钟

曲目单

沃尔夫冈·阿马德乌斯·莫扎特  1756-1791

降B大调钢琴四手联弹奏鸣曲，K. 358

I. 快板

II. 慢板

III. 极急速地

奥黛丽·阿克辛，钢琴

朱傲文，钢琴

克劳德·德彪西  1862-1918

奏鸣曲——为长笛，中提琴和竖琴而作

I. 田园曲：亲切、自由的缓板

II. 间奏曲：小步舞曲

III. 终曲：适度、愉快但坚定的急板

盖尔盖伊·伊采什，长笛

希拉·布朗，中提琴

金庆熙-苏特，竖琴

谢尔盖·普罗科菲耶夫  1897-1953

G小调五重奏，作品39号

I. 主题与变奏

II. 精力充沛的行板

III. 和缓但有活力的快板

IV. 沉重的慢板

V. 急促的快板、不太过分的急板

VI. 小行板

斯科特·贝尔，双簧管

周相宇，单簧管

纪尧姆·苏特，小提琴

希拉·布朗，中提琴

张达寻，低音提琴

——中场休息——

艾略特·卡特  1908-2012

双重三重奏（2011）

朱莉娅·格伦，小提琴

韩文卿，打击乐

李·艾伦，长号

乔尔·布伦南，小号

金兗珍，大提琴

苏宇莹，钢琴

沈逸文，指挥

罗伯特·舒曼  1810-1856

降E大调钢琴五重奏，作品44号

I. 辉煌的快板

II. 进行曲的律动：略广阔地

III. 谐谑曲：非常活泼地

IV. 不太过分的快板

何为，小提琴

近藤智美-布伦南，小提琴

希拉·布朗，中提琴

金兗珍，大提琴

王笑寒，钢琴

Wolfgang Amadeus Mozart  1756-1791

Sonata for Piano Four-Hands in B-flat Major, K. 358

I. Allegro

II. Adagio

III. Molto presto

Audrey Axinn, Piano

Alvin Zhu, Piano

Claude Debussy  1862-1918

Sonata for Flute, Viola and Harp

I. Pastorale. Lento, dolce rubato

II. Interlude. Tempo di minuetto

III. Final. Allegro moderato ma risoluto

Gergely Ittzés, Flute

Sheila Browne, Viola

Kyunghee Kim-Sutre, Harp

Sergei Prokofiev   1897-1953

Quintet in G Minor, Op. 39

I. Tema con variazioni

II. Andante energico

III. Allegro sostenuto, ma con brio

IV. Adagio pesante

V. Allegro precipitato, ma non troppo presto

VI. Andantino

Scott Bell, Oboe

Xiangyu Zhou, Clarinet

Guillaume Sutre, Violin

Sheila Browne, Viola

DaXun Zhang, Double Bass

——Intermission——

Elliott Carter  1908-2012

Double Trio (2011)

Julia Glenn, Violin

June Moon Kyung Hahn, Percussion

Lee Allen, Trombone

Joel Brennan, Trumpet

Yeonjin Kim, Cello

Allie Su, Piano

Yiwen Shen, Conductor

Robert Schumann  1810-1856

Piano Quintet in E-flat Major, Op. 44

I. Allegro brillante

II. In modo d’una marcia: Un poco largamente

III. Scherzo: Molto vivace

IV. Allegro, ma non troppo

Wei He, Violin

Tomomi Kondo Brennan, Violin

Sheila Browne, Viola

Yeonjin Kim, Cello

Xiaohan Wang, Piano

*曲目及顺序以演出当日为准

曲目介绍

莫扎特 – 降B大调钢琴四手联弹奏鸣曲，K. 358

Mozart – Sonata for Piano Four-Hands in B-flat Major, K. 358

莫扎特 – 降B大调钢琴四手联弹奏鸣曲，K. 358

这首《钢琴四手联弹奏鸣曲》创作于1774年，当时莫扎特只有18岁，依旧生活在他的故乡萨尔茨堡。在整个18和19世纪，为钢琴四手联弹而创作或改编作品极为流行，这首莫扎特早年的作品非常适合这类体裁：作品规模适中，音乐情感始终宜人，是18世纪欧洲家庭音乐生活一个迷人而亲密的缩影。这三个乐章均以短小精炼的“奏鸣曲式”构成，几乎没有莫扎特在其他更具探索性的作品中会出现的出乎意料的曲式和和声走向。简短的开场快板建立在两个主题上：一个轻快、主要由音阶组成的齐奏，另一个以两个表演者之间风趣的对话形成。第二乐章构建在较为传统的下属调（降E大调），以一种漫长而雄辩的旋律开头，充满了柔和的优雅气质。这种气质可在许多莫扎特慢板乐章中找到。第三乐章“极急速地” 充满了节奏性的韵律和意大利式的典雅气息，为这部简短的作品提供了欢快的结尾。

Mozart – Sonata for Piano Four-Hands in B-flat Major, K. 358

This sonata for piano four hands was composed in 1774, when Mozart was eighteen years old and still living in his home city of Salzburg. Throughout the 18th and 19th centuries, works composed or arranged for two players on one piano (piano four-hands) were a popular vehicle for music making in private homes. This early sonata of Mozart fits comfortably into the genre: its scope is modest and the mood amiable throughout, a charming and intimate glimpse into the domestic musical life of 18th century Europe. All three movements are cast in tidy “sonata form” structure, with few of the surprising formal and harmonic twists typical of the composer’s more probing works. The brief opening allegro is built on two primary themes: a brisk unison consisting mostly of scales, and a lilting second subject which takes the form of a witty dialogue between the two performers. The middle adagio, in the usual subdominant key of Eb major, opens with a lengthy and eloquent melody full of tender grace of the sort which can be found in many Mozart slow movements. The final “molto presto” is bubbling with rhythmic verve and Italianate elegance throughout, providing a gratifying conclusion to this short work.

德彪西 – 奏鸣曲——为长笛，中提琴和竖琴而作

Debussy – Sonata for Flute, Viola and Harp

德彪西 – 奏鸣曲——为长笛，中提琴和竖琴而作

这首为长笛、中提琴和竖琴而作的《奏鸣曲》是六首系列奏鸣曲中的第二首，该系列的灵感来自于法国巴洛克时期的作曲家。遗憾的是，德彪西在去世前仅完成了三首。如果说，德彪西较为人熟悉的早期作品（如“月光”等）给人带来的是一种瞬间的感性吸引力，他的晚期作品则是以神秘的积蓄和新型曲式的严谨为特征，这首奏鸣曲正是如此。作品中，德彪西特有的丰富多彩的和声和调式语汇与巴洛克音乐中单一的曲式和音乐形态碰撞出了强烈的火花。

这首作品是为一个独特的乐器组合而创作。这三个乐器的结合创造了一个朦胧的声音世界。这个组合随后吸引了许多其他作曲家，并产生了为这三支乐器创作的20世纪室内乐的一支流派。第一乐章，“田园曲”，由这个历史流派里标志性的三等分节奏构成。曲式结构是由一连串不同的主题构成，时而抒情，时而像舞蹈风格，但始终既温柔又恬淡寡欲。当这些主题被重复时，会以一种不可预测的顺序出现，从而防止曲式结构的走向过于清晰，并与模糊朦胧的声音世界产生共鸣。第二乐章是一首小步舞曲（一种巴洛克时期三拍子的舞蹈）。这种舞曲长期以来一直是新古典主义作曲家的最爱。在情绪上，这首小步舞曲并没有偏离第一乐章中的忧郁；在结构上，该乐章运用了回旋曲式，开头忧伤的旋律与几段对比段落交替出现。终乐章里，随着一个新的节奏能量的注入，竖琴模仿着吉他般强劲的音型，伴随着长笛和中提琴的各种快速、花式的演奏。这个乐章的结构，尽管有别于传统曲式，但依旧清晰：开头的活力主题逐渐散布在各个变奏上，导向了一小段来自第一乐章“田园曲”主题的重复，然后回到了一个简短的尾声，为这首作品带来了一个令人措手不及的终止。

Debussy – Sonata for Flute, Viola and Harp

The Sonata for Flute, Viola and Harp was the second in a series of a projected six sonatas inspired by the composers of the French Baroque of which Debussy was only able to complete three before his death. In general, the works of Debussy’s later period lack the immediate sensuous appeal of his familiar earlier music (Clair de lune etc.), and are characterized instead by mysterious reserve and a new formal severity. This is certainly true of this sonata, in which Debussy’s characteristic lush harmonic and modal language collide with the dry forms and gestures of the distant musical past.

The work is sui generis, right down to its instrumentation. The combination of these three instruments creates a veiled, shadowy sound world, which has subsequently appealed to many other composers, giving rise to a minor genre of 20th century chamber music written for this same trio of instruments. The first movement, pastorale, is cast throughout in the triple subdivision of the beat that is characteristic of this historical genre. The form is episodic, consisting of a succession of different ideas which are variously lyrical and dance-like, but all unfailingly stoic and gentle in manner. These different ideas are then repeated, but in an unpredictably altered sequence, preventing the form from coming into too clear a focus, and thus mirroring the shadowy sound-world of the sonata as a whole. The second movement is a minuet – a triple meter baroque dance which has long been a favorite point of reference for modern composers operating in the neo-classical mode. In mood, the minuet does not stray far too far from the melancholy reserve of the opening pastorale. Its form is a kind of rondo, with contrasting sections in quadruple time repeatedly returning to the wistful opening melody. The finale injects a new element of rhythmic energy into the piece, and sets the harp to work with vigorous guitar-like gestures which accompany rapid arabesques in the flute and viola. The shape of this movement, while resistant to traditional analysis, is nonetheless clear: the spirited energy of the opening gradually dissipates over many variations of the main theme, eventually leading to a short reprise of the music of the pastorale, which is answered in turn by a brief coda, bringing the work to its brusquely abrupt conclusion.

普罗科菲耶夫 – G小调五重奏，作品39号

Prokofiev – Quintet in G Minor, Op. 39

普罗科菲耶夫 – G小调五重奏，作品39号

1924年，在他职业生涯的中期，普罗科菲耶夫为这个不寻常的五重奏（双簧管、单簧管、小提琴、中提琴和低音提琴）创作了一部作品。当时的他旅居国外，与同样境况的斯特拉文斯基争夺“俄国最主要的外籍作曲家”的称号，但一直处于下风。这首《G小调五重奏》有六个乐章，每个乐章都相对简短，赋予作品类似组曲风格的特征，而不是传统室内乐多乐章庞大的构架，不过鉴于这首作品起源于一部芭蕾舞剧，这就不足为奇了。芭蕾舞剧的交响乐套曲非常常见，但是在室内乐中，芭蕾舞剧的选段却很鲜有。

第一乐章是一个非典型的“主题与变奏”。G小调的主题篇幅较长，本身更多像是一个独立的作品，仅给这个乐章留下了两个变奏的空间。变奏后，最初主题的再现，充满了作曲家代表性的辛辣、不和谐的和声，使该乐章完美结束。普罗科菲耶夫为第二乐章标注了一个矛盾的速度，“精力充沛的行板”，这个乐章中的讽刺和不和谐元素远远超过了第一乐章，贯穿整个乐章的是浓重却又刺耳的和声和规整的进行曲节奏。乐章以一个出人意外的C大调和弦，伴随着低声部的“长音衬腔”结束。第三乐章不断变化的节奏律动要归功于斯特拉文斯基的诸多作品，而推动音乐前进的不可预测的快速转调都是普罗科菲耶夫独有的风格。简短的第四乐章也是带着一个矛盾的速度标记“沉重的慢板”，这也许是普罗科菲耶夫最奇特的一个乐章，整个乐章由少数几个极不和谐的和声构成，通过在低音提琴上演奏双音来增强其阴暗的效果。在这个基础上，一条扭曲的、半音化的、以八分音符为主导的旋律逐渐展开，从双簧管到单簧管和小提琴，逐步将乐章推向高潮。微小的第五乐章转向了较为愉悦的音调，但仍然充满了尖锐的讽刺意味。终乐章“小行板”构建在两个乐思上：一个G小调主题，让人回想起第一乐章的忧伤和不安定的旋律；另一个是构建在五度低音长音和不和谐和声的6/8拍民谣般的插曲。在两个主题以缩影的方式再次出现时，一个简短的尾声将这首五重奏引向一个出乎意料的突然终止，这与整个作品中音乐的讽刺基调达成一致。

Prokofiev – Quintet in G Minor, Op. 39

Prokofiev composed this quintet for the unusual ensemble of oboe, clarinet, violin, viola, and double bass in 1924. It dates from his modernist “middle period,” when he lived abroad, vying unsuccessfully with Stravinsky for the position of Russia’s leading expatriate composer. Each of the quintet’s six movements is relatively brief, giving the work the character of a suite rather than a traditional piece of chamber music. This is unsurprising given that the music of the quintet had its origin in a ballet. Symphonic suites from ballets are common enough, but ballet extracts are rarely encountered in the context of chamber music.

The first movement of the quintet is a theme and variations, albeit a rather atypical one. The G-minor “theme” is actually quite lengthy, more of a self-contained little piece in itself, leaving time for only two variations. An exact reprise of the initial theme, full of the pungent dissonance characteristic of the composer, rounds out the movement. The second movement, which Prokofiev marked with the oxymoronic tempo indication “Andante energico,” raises the pitch of sarcasm and discord well beyond that of the opening movement. Thick, crashing harmonies and four-square march rhythms predominate throughout, and the movement ends with a droll resolution into an “unearned” sunny C-major chord. The constantly shifting metrical patterns of the quintet’s third movement surely owe much to the example of Stravinsky, but the unpredictable quicksilver modulations which drive the music along are all Prokofiev’s own. The brief fourth movement, which also carries a deliberately contradictory tempo marking (Adagio pesante), is perhaps one of Prokofiev’s most peculiar creations. The entire movement is built from a handful of highly dissonant harmonies whose murky effect is amplified through the addition of rarely-heard double stops played on the bass. Over this foundation, a wandering chromatic line in relentless plodding eighth-notes gradually unfolds, beginning in the oboe and later spreading to the clarinet and violin, doggedly carrying the movement to its climax. The tiny fifth movement takes a turn toward a more jocular tone, but is still full of biting irony. The quintet’s final “andante” is built on two main ideas. The first, in g minor, recalls the wistful but unsettled tone of the opening movement. The other is a strange folk-like episode in 6/8 time, replete with drone fifths and the usual penetrating dissonances. After both ideas are repeated in abbreviated form, a short coda leads the quintet to a surprisingly abrupt conclusion, consistent with the ironic tone of the music throughout the work.

艾略特·卡特 – 双重三重奏

Elliott Carter – Double Trio

艾略特·卡特 – 双重三重奏

艾略特·卡特在102岁的高龄，于2011年创作了这首《双重三重奏》。卡特不仅仅是20世纪后半叶美国最重要的作曲家之一，他惊人的长寿更使他的职业生涯经历了一系列引人入胜的音乐巨变。在1930年代，卡特在巴黎师从娜迪亚·布朗热，之后他回到美国，以同样的新古典主义风格创作了一系列卓著的作品。这些作品的风格特征与布朗热其他几位美国学生相似，他们包括亚伦·科普兰和瓦尔特·辟斯顿。然而，在前往法国之前，卡特发现了实验性美国先锋作曲家查尔斯·艾夫斯的音乐，后来这些前卫的倾向逐渐使他重新确立了自己的音乐风格。在他1950年代创作的作品中，卡特融入了越来越复杂却又相互关联的新颖节奏结构，这种趋势最终孕育了1960年代和1970年代多首极为复杂的作品，例如受斯特拉文斯基大为赞赏的《双重协奏曲——为羽键琴和钢琴与两室管弦乐队而作》。在达到音乐复杂性的巅峰后，卡特余下的岁月里主要致力于澄清和完善这些发展。尽管后期的作品使用相同的节奏技术，但它们通常在织体上更透明并且更易于被接受。

这首《双重三重奏》正是运用了卡特后期作品的创作风格。它奇特的标题（双重三重奏而不是六重奏）已经暗示了卡特一直在构想的一个创作理念——将大型乐队组织成较小的、有内在逻辑的几个小组，然后小组之间形成对话。这在作品开始时就可以听到的：小提琴，打击乐器和长号这组三重奏演奏缓慢而宁静的音乐，而这种宁静被由小号、大提琴和钢琴组成的另一组三重奏通过快速爆发的音乐片段反复打断。这种不同速度中、乐器组之间的对话是卡特作品标志性的一种特征，更是被看作是卡特用音乐在诠释现代生活不断变化的狂热。在这个短小的作品中，更具侵略性的音乐以更快的速度逐渐开始控制音乐织体，最终融汇了这两个组合的所有乐器。作品最后回到了缓慢而持续的开场音乐，使整幅作品呈现出松散的三段体曲式。

Elliott Carter – Double Trio

Elliott Carter’s Double Trio was composed in 2011, when the composer was at the remarkable age of 102. In addition to being one of the most important American composers of the second half of the twentieth century, Carter was gifted with astounding longevity, and his long career saw him through a fascinating series of musical transformations. In the 1930’s, Carter studied with Nadia Boulanger in Paris, after which he returned to the United States to compose an accomplished series of works in the same neo-classical vein that was then characteristic of Boulanger’s previous American students, including many well-known composers such as Aaron Copland and Walter Piston. Before leaving for France, however, Carter had discovered the music of the pioneer experimental American composer Charles Ives, and these avant-garde leanings later gradually began to reassert themselves in his work. In his music of the 1950’s, Carter introduced novel rhythmic structures of ever-increasing complexity and interrelatedness. This trend culminated in the massively complex works of the 1960’s and 1970’s, such as the Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, which was admired by Stravinsky. Having reached this pinnacle of complexity, the works of Carter’s remaining years were mostly concerned with clarifying and refining these developments. While the works of this later period utilize the same rhythmic techniques, they are in general more transparent in texture and easier to absorb.

This is certainly true of the Double Trio. Its peculiar title (why not sextet?) is already a clue to one of Carter’s ongoing compositional preoccupations – the organization of large ensembles into smaller, discreet groups, which can then participate in a kind of dialogue. This can be heard at the outset of this work, where a trio of violin, percussion, and trombone plays slow, tranquil music which is interrupted repeatedly by aggressive outbursts of faster music from an opposing trio of trumpet, cello, and piano. This effect of multiple tempos in simultaneous conversation is one of the defining characteristics of Carter’s work, and has been interpreted as a musical response to the frenetic and constantly shifting pace of modern life. Throughout the progress of this short piece, the more aggressive music in a faster tempo gradually begins to dominate the texture, eventually absorbing all the instruments of the ensemble. A return of the slow, sustained music of the opening over the work’s final pages gives the entire piece a loose ternary shape.

舒曼 – 降E大调钢琴五重奏，作品44号

Schumann – Piano Quintet in E-flat Major, Op. 44

舒曼 – 降E大调钢琴五重奏，作品44号

舒曼的《钢琴五重奏》与他的《钢琴四重奏》都是以降E大调为核心，这首作品也是作曲家最受欢迎的室内乐作品之一。其中，很多朗朗上口、令人难忘的旋律，以及作品整体的刚劲有力和清晰的曲式结构，使其成为钢琴五重奏这一体裁中最耳熟能详的一首作品，也许只有勃拉姆斯的《F小调钢琴五重奏》能与之媲美。

舒曼五重奏的第一个乐章以宽广而跳跃的主题开始，该主题反复出现，展现出英勇和激情的乐境。紧接着是抒情的第二主题，由弦乐演奏，主要由热情的上行音型组成，其浪漫的音调使人联想到五重奏的题献对象——作曲家的妻子，克拉拉。展开部的发展复杂而漫长，但却逻辑严谨，其调性主要围绕在小调上。第二乐章是C小调、沉重的葬礼进行曲，向贝多芬的《第三交响曲》致敬。这个缓慢的进行曲与两个对比乐段交替出现，这样的曲式结构正是舒曼最为喜爱的。其中第一个是梦幻和渴望，而第二个是暴风雨，以大幅度的下行琶音为主导动机。这种动荡不安的音乐直接进入到一个令人惊叹的乐段，在该乐段中，这种新的主导动机被叠加到乐章开头的进行曲上，进行曲的旋律由声音浑厚的中提琴来演奏。第三乐章“谐谑曲”从葬礼进行曲的结束中突然爆发，它的主要段落构建在一串快速的上行音阶上。像第二乐章一样，这首“谐谑曲”也有两个对比乐段，其中第二段出人意料的变成了“二拍”律动。五重奏的终乐章以不同寻常的“离调”开始，并且为重新回到降E大调而进行的一系列发展，使该乐章的许多对比段中都充满了戏剧冲突。令人叹为观止的是，乐曲和戏剧的高潮处出现了“双重赋格”，第一乐章开场主题的意外出现被叠加在了终乐章的主要旋律上。此段落标志着降E大调的回归，并为作品画上完美的句号。

Schumann – Piano Quintet in E-flat Major, Op. 44

Schumann’s Piano Quintet, along with his Piano Quartet which shares its key of Eb major, is one of the composer’s most popular pieces of chamber music. Its many bold and memorable melodies, together with its strength and clarity of design, have made it one of the most popular works by any composer in the genre, perhaps rivaled only by the F-minor quintet of Brahms.

The first movement of Schumann’s quintet opens with repeated statements of a wide, leaping motif, by turns heroic and passionate. This is followed by a lyrical second subject played by the strings consisting largely of a passionate ascending sequence whose romantic ardor brings to mind the quintet’s dedication to the composer’s wife, Clara. This tightly-woven movement continues with a complex and lengthy development section, cast in a succession of exclusively minor keys. The second movement of the quintet is a somber funeral march in C minor, echoing Beethoven’s Third Symphony. This slow march alternates with two contrasting sections, rather than the usual one, a favorite form of Schumann. The first of these is dreamy and wistful, while the second is stormy, featuring an angular descending arpeggio motif. This unsettled music leads directly into a stunning passage in which this new angular motif is superimposed onto the original march, whose melody is now carried by the stalwart viola alone. The scherzo third movement bursts forth from the stoic conclusion of the funeral march in a rush of energy. Its main section is constructed almost entirely of a sequence of upwardly rushing scales. Like the second movement, this scherzo is accompanied by two contrasting “trio” sections, the second of which switches unexpectedly into duple time. The finale of the quintet commences with a surprising “off-tonic” opening, and the struggle to regain the home key of Eb major lends the movement an ongoing sense of drama throughout its many contrasting episodes. The culmination of this process of tonal drama is the astonishing double fugue in which the opening motif from the first movement is unexpectedly recalled in tandem with the finale’s primary melody. This passage also serves as a ringing affirmation of the home key of Eb major, leading the work into its satisfying final bars.

*曲目介绍由尼科洛·安森博士撰写，沈逸文博士翻译。

*Program Notes by Dr. Niccolo Athens; Chinese Translation by Dr. Yiwen Shen.

天津茱莉亚室内乐团

天津茱莉亚室内乐团由天津茱莉亚学院的杰出教师团队组成，是具有国际水准的室内乐团。作为天津茱莉亚学院的常驻乐团，天津茱莉亚室内乐团拥有一批世界上最优秀的古典音乐艺术家。他们是独奏艺术家，也是北美、欧洲和亚洲一些屡获殊荣的室内乐组合及顶级管弦乐团的前成员。这些成就斐然的音乐家们济济一堂，结合国际多元文化背景，呈现精彩纷呈且引人深思的曲目。其配置包含弦乐、木管、铜管、竖琴、打击乐及钢琴，满足不同类型室内乐编制的多样化曲目编排，以飨观众。这支备受期待的新生室内乐团即将开启首个演出季，其巡演足迹将遍及中国、亚洲、欧洲及美国等地，并将于京津两地定期推出系列音乐会。

The Tianjin Juilliard Ensemble is a world-class mixed instrument ensemble showcasing the distinguished faculty from The Tianjin Juilliard School. Resident faculty are soloists, orchestral musicians, chamber musicians, composers, artists, and former members of award-winning chamber groups and top orchestras from North America, Europe, and Asia. The ensemble will feature strings, winds, brass, harp, percussion, and piano, allowing for versatile programming including both small and large ensemble repertoire. Their aim is to promote chamber music in China and the world. As one of the most anticipated new ensembles in China, the Tianjin Juilliard Ensemble will kick off its inaugural season with performance tours in China, Asia, Europe, and the United States, in addition to regular concert series in the cities of Tianjin and Beijing.