首届天津室内乐音乐节即将闭幕

首届天津室内乐音乐节自11月6日开幕以来，已经在天津大剧院献上了7场精彩的音乐会和3场深受观众和乐迷朋友喜欢的公开彩排和大师课。就在明日，大家持续关注与热情参与的首届天津室内乐音乐节即将画上句号。

由天津茱莉亚学院杰出教师团队组成的天津茱莉亚室内乐团，将在闭幕式演出上为观众朋友们带来一场精彩演出,为音乐节奏响最后一个音符。

天津茱莉亚室内乐团

明日的演出都有哪些值得期待的作品？还有哪些精彩环节？小天在“不剧透”的原则下跟您透露几句~在正式演出之前，他们将举办一次免费的公开彩排。我们在之前的推文中公布了公开彩排观摩的报名渠道，不出两天名额就基本报满了！（详情：免费观摩招募丨首届天津室内乐音乐节闭幕式公开彩排报名啦！）

彩排、演出地点：

天津大剧院 音乐厅

彩排观摩时间：

11月17日 周日 15:00-16:30

请提前15分钟入场

演出时间：

11月17日 周日 19:30

温馨提示：

成功提交表单的观众，即视为报名成功。演出当日请凭报名姓名、电话前往天津大剧院十号票台换取纸质入场券。

11月14日晚，天津茱莉亚室内乐团与茱莉亚弦乐四重奏演出剧照，摄影：段超

作为天津大剧院的老朋友，天津茱莉亚室内乐团既是实力不俗的古典音乐艺术家，又是天津茱莉亚学院一流的常驻教师团队，汇集了国内外优秀的古典音乐艺术家。他们为在中国乃至世界各地推广室内乐艺术而奔走，也以严格的艺术准则为学生们树立起了具有国际水准的舞台标杆。在明日的首届天津室内乐音乐节闭幕式音乐会上，观众们将听到不同类型室内乐编制带来的多样化曲目编排，让您体验一次不一样的“室内乐之旅”。

在首届天津室内乐音乐节即将闭幕之际，我们邀请您来天津大剧院观看这场闭幕演出，共同见证首届天津室内乐音乐节的完美收官，亦是作为我们最深情的道别。

不忍再见，精彩继续，我们将一如既往的为您献上更多优质、丰富、多样化的演出，我们的微信平台将持续推送首届天津室内乐音乐节回顾内容，请您持续关注！

演出曲目单

约翰·塞巴斯蒂安·巴赫

1685-1750

降E大调管风琴奏鸣曲，BWV 525

（由盖尔盖伊·伊采什移植为G大调长笛、双簧管、大管三重奏）

I. 适中的快板

II. 慢板

III. 快板

盖尔盖伊·伊采什，长笛

斯科特·贝尔，双簧管

小山昭雄，大管

劳伦·伯尔尼奥夫斯基

1967-

铜管三重奏 (2002)

I. 果决的快板

II. 摇篮曲

III. 活泼地

韩小光，圆号

乔尔·布伦南，小号

李·艾伦，长号

保罗·勋菲尔德 1947-

三重奏——为单簧管、小提琴与钢琴而作 (1990)

I. 弗莱勒舞曲

II. 进行曲

III. 尼贡曲

IV. 科萨克舞曲

周相宇，单簧管

朱莉娅·格伦，小提琴

朱傲文，钢琴

——中场休息——

琼·塔娃 1938-

黑色托帕石 (1976)

盖尔盖伊·伊采什，长笛

周相宇，单簧管

乔尔·布伦南，小号

李·艾伦，长号

韩文卿，打击乐

金恩惠，打击乐

朱傲文，钢琴

沈逸文，指挥

弗朗西斯·普朗克 1899-1963

六重奏

I. 活泼的快板

II. 幕间舞：小行板

III. 终曲：最急板

朱傲文，钢琴

盖尔盖伊·伊采什，长笛

斯科特·贝尔，双簧管

周相宇，单簧管

小山昭雄，大管

韩小光，圆号

Johann Sebastian BACH

1685-1750

Organ Sonata No. 1 in E-flat Major, BWV 525

(Transcribed by Gergely Ittzés for Flute, Oboe, and Bassoon in G Major)

I. Allegro moderato

II. Adagio

III. Allegro

Gergely Ittzés, Flute

Scott Bell, Oboe

Akio Koyama, Bassoon

Lauren BERNOFSKY

1967-

Trio for Brass (2002)

I.Allegro deciso

II.Berceuse

III.Vivo

Chang Chou Han, Horn

Joel Brennan, Trumpet

Lee Allen, Trombone

Paul SCHOENFIELD 1947-

Trio for Clarinet, Violin and Piano (1990)

I. Freylakh

II. March

III. Niggun

IV. Kozatzke

Xiangyu Zhou, Clarinet

Julia Glenn, Violin

Alvin Zhu, Piano

——Intermission——

Joan TOWER   1938-

Black Topaz (1976)

Gergely Ittzés, Flute

Xiangyu Zhou, Clarinet

Joel Brennan, Trumpet

Lee Allen, Trombone

June Moon Kyung Hahn, Percussion

Eun Hye Kim, Percussion

Alvin Zhu, Piano

Yiwen Shen, Conductor

Francis POULENC  1899-1963

Sextet

I. Allegro vivace

II. Divertissement: Andantino

III. Finale: Prestissimo

Alvin Zhu, Piano

Gergely Ittzés, Flute

Scott Bell, Oboe

Xiangyu Zhou, Clarinet

Akio Koyama, Bassoon

Chang Chou Han, Horn

*曲目及顺序以演出当日为准

曲目简介

巴赫 – 降E大调管风琴奏鸣曲，BWV 525

Bach – Organ Sonata in Eb-Major, BWV 525

巴赫的六首管风琴奏鸣曲（编号BWV 525-530）非常独特，风格混搭，明显是为教学目的而创作的。尽管是为管风琴而作，但这六首作品都严格遵循三声部的“三重奏鸣曲”结构。在巴洛克时期，三重奏鸣曲是一种很常见的室内乐作品类型，由两件旋律性乐器（如，两把小提琴）和一个通奏低音来演奏。通奏低音声部由一件低音乐器（可能是大提琴）和一件和声乐器（希尔伯琴、管风琴或羽管键琴）组成。尽管这种配置实际上形成了四重奏的组合，但和声乐器和低音乐器要按同一行乐谱演奏，所以真正意义上来说，作品只有三个声部。三重奏鸣曲的特点是上面的两个声部不断地相互交织，彼此模仿。而在巴赫为管风琴独奏而作的这组三重奏鸣曲中，将上面的两个声部分别交由管风琴的左手和右手来演奏，而管风琴的脚踏板则负责演奏低音声部。由于上方两个声部可以用不同的键盘分别演奏，因此巴赫让这两个声部保持了大量互相重叠的特点，这是三重奏鸣曲的重要特征（如果在钢琴等单键盘的乐器上演奏这两个声部，那么演奏这的左右手会频繁的互相打架。）

由于这六首管风琴奏鸣曲采用的都是纯粹的三声部写法，它们都很容易改编成弦乐或木管乐器的室内乐作品，人们也经常使用不同的乐器演出这些曲目，而且录制了不少唱片。就连莫扎特都对其中的若干个乐章进行过改编，使其变成弦乐三重奏。今晚，我们将演出这六首作品中的第一首（移调为G大调）的木管版本，使用的乐器是长笛、双簧管和大管。作品的第一乐章以一个两小节的对位主题为基础，进行了充分的展开。第二和第三乐章是标准的两段体结构。大家可能经常在巴赫的为键盘独奏而作的舞曲组曲中听到。第二乐章是庄严的柔板，采用关系小调，第三乐章为快板，回到了主音大调，主题活泼跃动。在这两个乐章中，我们都可以看到巴赫在吉格舞曲中常用的一种创作手法——主题在二声部上出现的时候是反向的。

Bach’s six organ sonatas BWV 525-530 are unique, hybrid works that were apparently compiled for pedagogical use. Although written for the organ, they are composed in strict three-part “trio sonata” style. The Baroque trio sonata was a widespread variety of chamber music composed for two melodic instruments (two violins, for example) plus a basso continuo consisting of a bass instrument (perhaps cello) and a harmony instrument (theorbo, organ, or harpsichord). Although the resulting ensemble is in fact a quartet, the harmony and bass instruments read from the same part, so there are only three true parts in total. The trio sonata was characterized by extensive interweaving and imitation between the two upper parts. Bach’s version for solo organ splits the upper voices between the two hands, while the feet are responsible for the bass on the pedals. Because the upper parts can be played on two separate manuals, Bach manages to preserve their extensive overlapping, a marker of the trio sonata style (the two hands would consistently collide if these parts were to be played on a single-keyboard instrument like the piano).

Because of their pure three-part writing, these organ sonatas are easily adaptable for various ensembles of string and wind instruments, and have often been performed and recorded in different arrangements. Even Mozart adapted various movements from the sonatas for string trio. Tonight, the first sonata of the set will be performed (transposed to G-major) in a version for woodwind trio of flute, oboe, and bassoon. This sonata’s first movement is a through-composed treatment of a single, two-bar contrapuntal subject. The second and third movements are, on the other hand, cast in the standard binary (two-part) form, probably most well-known to listeners through Bach’s dance suites for solo keyboard. The second movement is a rather solemn adagio in the relative minor, while the third is an allegro back in the tonic major, based on an energetic leaping subject. Both movements utilize a device familiar from Bach’s gigues: their subjects are presented in inversion at the outset of the second part.

劳伦·贝尔诺夫斯基 – 《铜管三重奏》

Lauren Bernofsky – Trio for Brass

高产的当代美国作曲家劳伦·伯尔尼奥夫斯基创作过各种体裁的音乐，也有不少为了教学而写的作品。她的作品中，很多是为各种铜管乐器的组合而写的。例如这首作品，就是为小号、圆号和长号而创作的，写于2002年。在很大程度上，它遵循的是上世纪中叶美国新古典主义的风格（其典型代表是科普兰的音乐），贝尔诺夫斯基的老师卢卡斯·福斯也是这种风格的代表人物。尽管有不谐和的成分，但作品节奏上动感十足，其音乐语汇也仍是有调性的，不难被接受。

这首三重奏的第一乐章明显保留了古典音乐的概念，以两个主要主题作为基础，一个是以节奏为主的嘹亮号角声，另一个是歌唱性的，第一次出现时由长号演奏。展开部的节拍颇为有趣，随后是两个主题的再现。第二乐章是降E大调摇篮曲，采用简单的三段体结构。圆号奏出一段略带摇滚意味的八分音符，贯穿整个乐章，构成一种从一而终的氛围。第三乐章在形式上与第一乐章一样，也符合古典音乐的特征，结构近似传统的“奏鸣曲式”。第一主题以强有力的重复音符为特征，这是铜管乐器所擅长的。旋律性的第二主题以三全音音程为主。接下来的展开部将第一主题充分发展，并以令人满意方式过渡到开头部分的再现。但这个再现部很短，省去了抒情性的第二主题。不过，在最后的终止式里，可以听到三全音的动机。

The prolific contemporary American composer Lauren Bernofsky has written music in a wide variety of mediums, including many works for pedagogical use. Pieces for various combinations of brass instruments also make up an unusually large proportion of her output. This trio for trumpet, horn, and trombone, composed in 2002, is very much in the mid-century American neo-classical idiom (most familiar from the music of Copland) of whom Bernofsky’s teacher Lukas Foss was also a primary exemplar. While dissonant, the musical language is nonetheless tonal and accessible, and full of rhythmic energy.

The trio’s first movement is eminently classical in conception, built on two main ideas, one a rhythmic fanfare and the other song-like, first heard in the trombone. A developmental passage full of metrical interest leads to a restatement of both main ideas. The second movement is a berceuse (lullaby) in Eb-major, laid out in simple ternary design. The gently rocking eighth notes which are first heard in the horn, however, wind their way throughout the entirety of the movement, producing a unified affect. Like the first movement, the trio’s third is classical in form, and its layout closely resembles that of a traditional “sonata” structure. Its initial idea is characterized by vigorous repeated notes, a specialty of the brass instrument family, while the more lyrical second idea is anchored by the interval of the tritone. The developmental section which follows provides a thorough working out of the initial idea and a satisfying retransition into a reprise of the opening. This recapitulation is abbreviated, however, omitting the lyrical second idea, but the tritone motion of the final cadence nonetheless makes its presence felt.

保罗·勋菲尔德 – 《三重奏————为单簧管、小提琴和钢琴而作》

Paul Schoenfield – Trio for Clarinet Violin and Piano

保罗·勋菲尔德是一位犹太裔美国作曲家和钢琴家，目前在密歇根大学任教。十九、二十世纪的音乐界不乏犹太人作曲家，但他们大多秉持同化主义的音乐追求，很少有人力求在音乐中彰显自己的犹太人身份（布洛赫和伯恩斯坦是为数不多的例外，马勒和科普兰也偶尔会强调一下犹太人身份）。而勋菲尔德却以探索自己的犹太人身份作为核心艺术追求，他甚至还是一位犹太法律的专家。这首三重奏与勋菲尔德的很多作品一样，取材于十分“接地气”的犹太音乐体裁“克莱兹默”，这种音乐稍稍借鉴了以东欧犹太人的婚礼音乐为基础的一种风格。单簧管在这类作品中占有突出位置。而在演奏技法上，与通常所说的古典音乐相比，单簧管颤音和滑音的使用大大增加。作品中，克莱兹默特有的调性和特点被作曲家用自己的现代音乐手法进行了处理。这首作品毋庸置疑有调性音乐，但几乎从始至终都保持着不谐和的因素，让人想起巴托克的作品。其实，勋菲尔德经常以钢琴家的身份与巴托克合作。

这首三重奏的第一乐章题为“Freylakh”，这个词与德语中的fröhlich一词同源，在意第绪语中意为“快乐”，是一种欢快的舞曲。勋菲尔德的这首“快乐舞曲”可能有些疯癫，它以近乎鲁莽的方式迅速铺展开来，只有一个终止音型被拉长，拉得奇形怪状，又不断重复，一次次打断音乐的快速推进。第二乐章是G小调慢速进行曲，这样的调性就具有鲜明的克莱兹默的特征，而且还转入了关系大调，从而是这种色彩更加明显。不过，这里对音乐的处理手法却让人想起普罗科菲耶夫，尤其是钢琴声部蓬勃发展的不谐和音。这首三重奏的慢乐章是一首“随心曲”（nigun），这是一种犹太人的祷歌。开头部分的旋律色彩丰富，调式上很像犹太教唱诗，但实际上却未真正运用那样的调式。乐章以即兴的方式向前推进，无处不在的静止感让人想起巴托克作品中夜曲式的慢乐章。三重奏的最后一个乐章是一曲充满活力的科萨克舞曲，采用回旋曲式。动感十足的主部主题采取“弗里吉亚”调式，而在各对比段落中则尝试了不同的其他调式，特别是有一个对比段采用了特别激烈的7/8拍。最后一个新乐段以较慢的速度结束，留下很大的空间让其后的音乐逐渐加快，直到在结束前的最后几小节回到了最初的速度。

Paul Schoenfield is a Jewish-American composer and pianist who is currently on the faculty of the University of Michigan. While there have been many well-known Jewish composers throughout the 19th and 20th centuries, they were for the most part assimilationist in their musical aims, rarely seeking to make their work a reflection of their Jewish identity (Bloch and Bernstein were major exceptions in this regard, and Mahler and Copland were occasional ones.) Schoenfield, on the other hand, has made the exploration of his Jewish identity central to his artistic aims. He is even an expert on Jewish law. This trio, along with many of Schoenfield’s other compositions, mines for inspiration the particularly “earthy” genre of Jewish music which has become known as “Klezmer,” loosely referring to a style which has its roots in Eastern European Jewish wedding music. The clarinet plays a particularly prominent role in this music, and it is played with more vibrato and sliding tones than are generally found in the “classical” school of clarinet playing. In this work, the characteristic modes and gestures of Klezmer are filtered through Schoenfield’s own modernist musical language. The music is solidly tonal, but with a dissonant edge that hardly ever lets up, recalling the work of Bartók, a composer whose music Schoenfield has frequently engaged with as a pianist.

The trio’s opening movement is titled “Freylakh,” a Yiddish word (cognate of the German fröhlich meaning “happy”), referring to a kind of joyful dance music. Schoenfield’s freylakh is perhaps a bit more on the frenetic side, and unfolds at a madcap pace, with a grotesquely extended repeated cadential figure providing the only interruptions to the musical onrush. The second movement is a slow march in G-minor whose modal quality and interior modulation to the relative major give it a distinct Klezmer character. Its treatment however, recalls Prokofiev, particularly the dissonant flourishes in the piano part. The trio’s slow movement is a “nigun” – a Jewish prayer. Its chromatic opening melody manages to evoke the characteristic intervals of the cantorial modes without actually adhering to any of them. The movement unfolds in an improvisatory fashion, and the pervading stillness recalls the nocturnal slow-movements found in Bartók. The trio’s finale is a vigorous Kozatske (Cossack dance). The movement is structured as a kind of rondo. Its energetic main theme is cast in the “freygish” mode, although other modal flavors are explored in the various contrasting sections, including one particularly boisterous episode in 7/8 time. A final new section ends up in a slower tempo, giving the music room for a long acceleration, through which it regains the original tempo over its spirited closing bars.

琼·塔娃 –《黑色托帕石》

Joan Tower – Black Topaz

琼·塔娃是当代老一辈美国作曲家中最著名的人物之一。她的作品广为流传，经常在音乐会上演奏，也大量出版，并录制了很多唱片。她的作品体裁各异，以器乐作品最为重要。此外，她还是颇受爱戴的作曲教师，从七十年代起在巴德音乐学院任教。她的早期作品主要是六十年代盛行的现代主义风格，那是她在哥伦比亚大学读博士时受到的影响。但后来，她逐渐发展出了十分个人化的风格。

这首作品的标题《黑色托帕石》是对她身为地质学家的父亲的一种致意，同时也体现了其音乐本身晶莹纯净，而又坚硬的特质。《黑色托帕石》以一种有机的方式铺陈开来，若干音乐线条紧密地交织在一起，使我们无法对这首作品进行段落划分，能够明确分辨的旋律性音型也很少。因此，感受这部作品的最佳方式就是将其作为一个不可分割的整体去聆听。作品中主要是短小的节奏型的展开，以及不同和声域的转换。和声是这个作品最重要的方面。几个反复出现的要素，从甜蜜到尖刻，各不相同，彼此交织，将作品串联起来。这种特点从作品的一开始就得到了明确的体现。尖锐的不谐和音型紧随着三度音程构成的甜蜜和声而来，作品一直采用单线条音乐，让人想起对塔娃产生了深刻影响的作曲家奥利维尔·梅西安。作品在乐器的运用上独具一格，形成一个令人惊叹的声音世界，其中包含着无数种可能的组合，表现出变幻莫测的色彩，时而坚硬，时而柔软。尤其值得注意是打击乐的配对使用，它让有音高和无音高的乐器都制造出令人惊艳的丰富效果。

Joan Tower is one of the most distinguished members of the senior generation of contemporary American composers, and her music has been widely performed, published, and recorded. Although she has worked in a wide variety of genres, instrumental music predominates. She has also been a much sought-after teacher of composition, and has taught on the faculty of the Bard College and Conservatory since the 1970’s. While her early music took its cues from the high modernism of the 1960’s which she absorbed while pursuing her doctorate at Columbia, in subsequent years she went on to develop a highly personal style.

The title of this particular work, a nod to the composer’s geologist father, is an apt evocation of the music’s crystalline purity and hardness. Black Topaz unfolds organically, and its seamless weaving together of different strands makes it unproductive to parse the work into discreet sections. Recognizable melodic figures, too, are in short supply. Rather, the work is best experienced as an uninterrupted whole. The music is primarily concerned with the development of short rhythmic figures and the traversal of different harmonic regions. The harmonic aspect in particular is crucial, and several recurring elements, ranging from the sweet to the astringent, knit the work together. This is apparent from the opening moments, when a sweet-sounding harmony built in thirds is directly followed by a much more angular and dissonant figure. The music’s persistent monophony is reminiscent of the work of Olivier Messiaen, a composer whose influence on Tower has been profound. The work’s sui generis instrumentation provides for a fascinating sound world, allowing for numerous possible smaller combinations and a wide palette of colors both hard and soft-edged. Of particular interest is the use of percussion instruments in pairs, resulting in a surprisingly rich effect both for pitched and non-pitched instruments.

普朗克 – 《六重奏》

Poulenc – Sextet

弗朗西斯·普朗克在职业生涯之初是法国青年作曲家团体“六人团”的成员。六人团将音乐怪杰埃里克·萨蒂奉为精神领袖，而萨蒂的毕生追求就是让音乐回归装饰性地位。在六人团作为一个团体存在的那些年里，其成员作品的主要特征是讽刺、与新古典主义的疏离，以及频繁的运用流行体裁，这些都与萨蒂让音乐走下神坛的追求一脉相承。这种追求很好地诠释了普朗克青年时期的作品，它们极尽荒唐，又无忧无虑。然而，随着年龄增长，普朗克重新发现了他的天主教信仰，他对艺术的追求也随之变得严肃起来。他后来的成熟作品，主要特点是精妙细腻的和声，既可以称之为新浪漫主义，也可以简单地说成是保守派。不过，即使在那些作品中，也保留了一丝戏谑的讽刺意味，延续着他年轻时的那种轻松和昂扬。普朗克曾说，他最著名的宗教音乐作品《荣耀经》有部分灵感来自于某次看到修士们在踢足球，那个画面既是一种神圣，又是一种亵渎。

这首《六重奏》是普朗克在六人团时期创作的，采用的是木管五重奏加钢琴的独特组合。作品整体上风格轻快，但也不乏丰满的细节和些许阴霾。第一乐章大体上具有一个三段体的轮廓。第一部分十分简洁，凛冽的氛围与普罗科菲耶夫颇有几分相似。一段大管的华彩乐段之后，进入长长的、自成一体的中段。不同的木管乐器在这一段中彼此对话，形成一种未得解决的浪漫。随后，第一段简短重现，继而转入有些顽劣的进行曲，它是一个略长的尾声，第一乐章以此结束。作品的第二乐章较短，但也是三段体结构，前后两段较慢，中段速度快一些。这一乐章的开头段落舒缓如歌，双簧管奏出的旋律呈现出莫扎特式的优雅。接下来的中段又是一个类似进行曲的风格，但不带任何侵略性，只有单纯的快乐和华丽。第三部分依照常规，是第一段的再现，但却令人意外地以小调结束。作品的第三乐章，也是最后一个乐章就不太符合常规了。它有两个主题，一个节奏鲜明，另一个旋律感强。两个主题都频繁转调，乐句短小，是典型的普朗克风格。这个乐章没有继续采用三段体的结构，而是由相对独立的段落组成。最令人意想不到的是其中的最后一段。这段音乐速度很快，好像没有完结，实际上却在一个不谐和的和弦上突然结束了。普朗克并没有给它写出一段巧妙而充满活力的尾声，而是以一段既甜蜜又苦楚的摇篮曲，让作品结束在了一种不同寻常的紧张感当中。

Francis Poulenc began his career as a member of “Les Six,” a group of young French composers who took the droll Erik Satie, who had made a career of attempting to return music to its ornamental status, as their spiritual forefather. In as much as they ever truly cohered as a group, their work was characterized by irony, neo-classical detachment, and frequent references to popular genres, all related to the continuation of Satie’s de-sanctifying mission. This all describes very well the absurdist, carefree work of the young Poulenc. As he aged, however, Poulenc rediscovered his Catholic faith, and his artistic aims became more serious. His mature style is characterized by an exquisite harmonic refinement, and might be called neo-Romantic, or simply conservative. Nevertheless, an element of mischievous irony remained, echoes of the composer’s youthful high spirits. Poulenc once said that his Gloria, his most well-known sacred work, was in part inspired by the sight of Benedictine monks playing soccer, an image which suggestively combines the sacred and profane.

This sextet for the unique combination of woodwind quintet plus piano dates from the Les Six years, and is for the most part a lighter work, although rich in refined detail and not without touches of melancholy. Its first movement follows a roughly ternary outline. The terse opening section has a biting quality reminiscent of Prokofiev. A short bassoon cadenza leads into a lengthy central episode with its own compelling shape, a kind of unsettled romance with the different wind instruments in dialogue. An abbreviated reprise of the initial section is then followed by a cheeky march which serves as an extended coda. Although briefer, the second movement of the sextet also follows a ternary plan, this time with two slow outer sections surrounding a central episode in a faster tempo. Tender and song-like, the movement’s opening passage features a melody of almost Mozartian grace beginning in the oboe. The central section which follows is again a kind of march, but this time without any bite – the music is pure gaiety. The expected reprise of the initial section which follows concludes on a surprising minor tonality. The sextet’s final movement is more unpredictable. It’s two initial ideas, one rhythmic and one lyrical, are both characterized by rapid modulation and short phrases, signatures of the composer’s style. Instead of another ternary layout, however, the music is more episodic. It is the final episode that is the most unexpected of all: the fast music, seemingly unfinished, expires suddenly on a dissonant chord. In place of a witty and energetic coda, Poulenc instead appends a kind of bittersweet lullaby, ending the work on a wonderfully poignant note.

Program Notes by Dr. Niccolo Athens.

曲目介绍由尼科洛·安森博士撰写。

演出信息｜音乐会

首届天津室内乐音乐节闭幕式音乐会

暨天津茱莉亚室内乐团系列音乐会之二

演出时间：11月17日 周日 19:30

演出地点：天津大剧院 音乐厅

演出时长：约90分钟（含一次中场休息）

原价：100/220/330/450元

优惠价：80/180/280/380元

*1.2米以下儿童谢绝入场

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、澳大利亚及美国等地，并将于京津两地定期推出系列音乐会。