線上音樂廳｜施波爾《F大調九重奏，作品31號》

本期《跟著天津茱莉亞聽音樂｜線上音樂廳》，為大家呈現德國作曲家路易·施波爾《F大調九重奏，作品31號》的第三和第四樂章。天津茱莉亞學院音樂理論教師尼科洛·安森（Niccolo Athens）撰寫了曲目介紹，並特約青年樂評人高建在北京音樂會後撰寫的樂評，希望可以幫助大家更好的欣賞這部難得一聽的「輝煌九重奏」。

演 出 曲 目

路易·施波爾（1784-1859）

F大調九重奏，作品31號

III.慢板

IV.終曲：活潑地

天津茱莉亞室內樂團

蓋爾蓋伊·伊採什，長笛斯科特·貝爾，雙簧管周相宇，單簧管謝非，大管（客座藝術家）韓小光，圓號紀堯姆·蘇特，小提琴希拉·布朗，中提琴金兗珍，大提琴張達尋，低音提琴

——

Louis SPOHR (1784-1859)

Nonet in F Major, Op. 31

III.Adagio

IV.Finale: Vivace

Tianjin Juilliard Ensemble

Gergely Ittzés, FluteScott Bell, OboeXiangyu Zhou, ClarinetFei Xie, Bassoon (Guest Artist)Chang Chou Han, HornGuillaume Sutre, ViolinSheila Browne, ViolaYeonjin Kim, CelloDaXun Zhang, Double Bass

曲 目 介 紹

施波爾：F大調九重奏，作品第31號

Spohr: Nonet in F Major, Op. 31

德國人路德維希·施波爾不但是一位多產的作曲家，還是一位優秀的小提琴家。他的職業生涯漫長，經歷十分豐富。如今，除了單簧管協奏曲等少數幾首作品之外，施波爾的作品已經很少有人演出，但這部《大九重奏》絕對值得重視。他被人們遺忘的一個重要原因可能在於，他漫長的職業生涯剛好跨越了從古典主義時期向浪漫主義時期轉變的歷史階段，而從歷史分期上來說，基本上整個十九世紀都處在這個轉變的過程當中。施波爾的音樂深深植根於古典主義時期的風格之中（在這方面可能只有貝多芬能夠與他相提並論）。他活得比孟德爾頌、舒曼和蕭邦都要久，但他的作品卻沒有受到這些人的任何影響。

施波爾作於1813年的這部《大九重奏》顯然名副其實——它非常宏大，使用的樂器數量很多，而且音樂本身也寬廣而豐富。這首作品的演奏陣容介於室內樂與交響樂之間，全奏的聲音效果不遜於交響樂團，而在作品不同部分出現的各個樂器的獨奏段落又保留了室內樂的私密感。施波爾在作品中反覆使用的一種效果是四件樂器的弦樂組與五件樂器的管樂組之間形成的對比。

作品的第一樂章很長，一開頭就能聽到這種弦樂組與管樂組的對比。第一段旋律的前半部分由弦樂組的四件樂器演奏，而後半段由管樂組的五件樂器進行應答。接下來的過渡段取材於第一主題的開頭四個音符，結構十分緊湊。這一樂章的第二主題採用屬音調式，更具歌唱性。它輕快可人，調式靈活，很像舒伯特的風格。展開部也很長，精巧的復調和豐富而充分的調式演進都彰顯了作曲家的能力。第二樂章是D小調諧謔曲，由兩段三重奏組成，而不是常見的一段。這一樂章讓人想起莫扎特大帕蒂塔的那種宏大開闊。音樂主體克制內斂，但也不乏貝多芬式的節奏錯置。樂章的第一段結構簡單，採用平行大調，以小提琴為主奏樂器，而第二部分則更倚重管樂器，音樂曲折，色彩豐富。施波爾在諧謔曲的最後一次再現之後加上了一個頗具創造性的尾聲，讓第三次的再現不至於顯得冗餘。

九重奏的第三樂章為柔板，又是以弦樂組和管樂組的對比開頭，主題呈現出一種冥想式的平靜。音樂隨後轉入節奏感較強的下一段落，轉入屬調，並使用的強有力的終止式。簡短的展開部和第一樂章的展開部一樣，一開始就突然轉入了降中音調式。它轉回原調的方式卻頗不尋常。和聲上極富創造性，可與貝多芬媲美。施波爾用D大調中常用的音導入主音大調（降B大調），是音樂突然變得舒緩靜謐。之後的再現部運用了豐富的裝飾音，與莫扎特的柔板樂章頗有幾分相似。最後一個樂章充滿義大利式的浮誇和機智，讓人想起羅西尼。尤其是樂章中的第二主題，色彩上顯得十分「頑皮」，精神抖擻。整個樂章氣氛輕鬆，結構勻稱，全曲在這裡得到了充分的解決。作品堪稱這位被遺忘的作曲家的一部重量級作品。

——

The prolific German composer Ludwig Spohr was widely regarded both for his compositions and for his work as a violinist during a long and varied career. Today, with the exception of a few works such as his clarinet concertos, his music has fallen to the fringes of the repertory. If the quality of this 「Grand Nonet」 is anything to go by, however, his work certainly merits renewed attention. Perhaps part of the reason for this neglect is that his long career awkwardly straddled the Classical and Romantic 「periods」 that are a staple of the historiography of 19th century music: while his musical style is firmly rooted in the 「Classical」 period (Beethoven is probably the closest equivalent) Spohr outlived Mendelssohn, Schumann, and Chopin. None of this, however, has any bearing on the quality of his work.

Spohr’s Grand Nonetto of 1813 certain lives up to its appellation – its dimensions are impressive, both in terms of the number of instruments employed and the breadth and richness of the music. The size of the ensemble blurs the boundaries between chamber music and orchestral writing. While the effect of the tutti is almost symphonic, soloistic writing for all of the instruments at various points also manages to preserve some of the intimacy of chamber music. One effect Spohr repeatedly returns to throughout the work is the contrasting use of the string and wind 「choirs」 of four and five instruments, respectively.

This effect can be heard at the very opening of the nonet’s large first movement, where the first half of the initial melodic statement is presented by the four strings, answered in turn by the five wind instruments. The transitional passage which follows is wound very tightly from the opening four notes of the initial theme. The movement’s second subject in the dominant key is more song-like, almost Schubertian both in its lilt and delicious tonal waywardness. The lengthy development section is convincing both in its contrapuntal deftness and rich and satisfying tonal trajectory. The second movement of the nonet is a scherzo in D-minor with a pair of trios, rather than the usual one, recalling the generous dimensions of Mozart’s Grand Partita. The music of the scherzo is for the most part subdued, but is not without an element of Beethovenian rhythmic displacement. The first of the trios is a lightweight affair in the parallel major featuring the violin, while the second relies more heavily on the wind instruments, and is full of winding chromaticism. Spohr appends an ingenious coda to the final restatement of the scherzo to prevent its third repetition from becoming redundant.

The nonet’s adagio third movement begins once again with the now familiar contrasting use of string and wind groups, presenting a theme of meditative calm. The more rhythmically active music which follows achieves the expected modulation to and strong cadence in the dominant. The movement’s short development section, just like that of the first movement, begins strikingly with a direct modulation to the flat mediant key. Its retransition, however, is unconventional: in a moment of harmonic ingenuity worthy of Beethoven, Spohr approaches the tonic key (B-flat major) via common tone from the key of D major, resulting in a sudden return of unexpected tenderness and repose. The recapitulation which follows is richly ornamented in the style familiar from the adagios of Mozart. The Italianate buoyancy and wit of the nonet’s final movement, on the other hand, bring to mind the music of Rossini, particularly the 「naughty」 chromaticism of its perky second theme. Lighthearted throughout, this well-proportioned finale provides a satisfying resolution to this major opus of a neglected master.

曲目介紹由尼科洛·安森博士撰寫Program Notes by Dr. Niccolo Athens

後排：蓋爾蓋伊·伊採什、斯科特·貝爾、周相宇、謝非、韓小光前排：紀堯姆·蘇特、希拉·布朗、金兗珍、張達尋

現 場 回 聲

……如果說上半場的三首作品屬於光芒各異的寶石，那麼下半場路易·施波爾的《F大調九重奏路》則完全可以獨稱皇冠。這位成長在貝多芬與舒伯特光環之下的德國作曲家極具想像力地為四件弦樂器和五件管樂器譜寫了一部足可匹敵交響曲的巨作，將管樂和弦樂的特性對比置於整部作品的核心位置，從首樂章長笛跟進重複小提琴清新怡人的旋律、到第三樂章寧靜而充滿冥想的主題建構，全部都是「交響思維」指引下動機推進的體現。值得一提的是諧謔曲的第二樂章反而不像貝多芬作品中那般衝突激烈和稜角鮮明，舒展從容的舞曲氣質從九位演奏家的指尖款款流淌，節奏上的細小延宕帶來的彈性、樂句間短暫的停留喚起的呼吸感，達到了令人驚嘆的自如程度。末樂章則轉入了徹頭徹尾的靈動愉悅，單音喋喋不休地重複使用不但像海頓或者莫扎特時代的寫作風格，甚至可以把它和義大利美聲歌劇中快速炫技的小品畫上等號，在密集的聲部輪轉中，筆者不禁想像僅僅是把弦樂四重奏和木管五重奏的聲部拆解開來，都會是兩部華麗流暢的傑作，而當它們如榫卯般結合起來，散發出的那樣的一種光芒可能會讓所有聽者疑惑——我們為何竟然會長時間的忽略這樣一位頂級的音樂大師呢？而這種感慨恰恰就是天津茱莉亞室內樂團的成功所在以及它令人肅然起敬的緣由。在茫茫樂海中去尋覓這樣的遺珠傑作，而且是以如此高的水準呈現，這種目光既是一種學術性的梳理和回望，同時也是藝術家們舞臺經驗和對於觀眾審美需求的契合把握。我相信這樣一支由海內外的傑出青年音樂教師組成的隊伍，無論在未來的舞臺表演中還是在教學實踐中，都會為中國乃至世界音樂的發展，注入非常值得期待的動力。

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