幻想交響曲
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幻想交響曲(法文：Symphonie Fantastique,作品14)乃埃克托·柏遼茲(又譯白遼士)於1830年間所作的交響曲作品。該作品在浪漫主義音樂當中被推崇為最重要及最具代表性的交響曲，在今時今日，亦廣受全球各地的音樂演奏會聽眾歡迎。
[编辑] 梗概本交響曲是一首標題音樂，描繪一個具奔放想像力的藝術家，由於對渺茫的愛情深刻感到絕望，吞食鴉片自殺的故事。雖然在當時交響曲普遍以四個樂章組成，本曲卻含有以下五個具有獨立標題的樂章。
[编辑] 第一樂章：夢與熱情(Rêveries - Passions)此段樂章以和諧的引子作為激烈點，並建立巨大的主線，此舉亦跟古典樂法當中之奏鳴曲式相類似；並以此線進入巴黎式風格之開端。 [编辑] 第二樂章：一場舞會(Un bal)The second movement takes a rather plain waltz theme, again, derived from the idée fixe at first, and then transforming it. It is filled with running ascending and descending figures . While one critic called it "vulgar"[citation needed], the intent was to portray a single lonely soul amidst gaiety, as Berlioz wrote while composing it. [编辑] 第三樂章：園林美景(Scène aux champs)The third movement opens with the English horn and offstage oboe tossing back and forth a characteristic melody meant to evoke the horns in the mountains. The English horn represents the artist and the oboe his beloved. The melodies of these instruments represent the artist and his beloved calling back-and-forth. This intent, to evoke a spirit of the country side inhabited by, not mere rustics, but people who were one with their place is part of Romanticism and can be traced back to the ideas of such writers as Goethe. The idée fixe comes back. The movement swells to a peak, as if the artist is pushing away the idea of his beloved, the dramatic sounds fall away. The sound of distant thunder comes, in an innovative passage for four timpani players on two sets of timpani: it ends without resolution. [编辑] 第四樂章：斷頭台進行曲(Marche au supplice)The fourth movement, which Berlioz claimed to have written in a single night (but which he actually took from an unfinished project, the opera Les Francs-juges), is filled with blaring horns and rushing passages, and scurrying figures which would later show up again in the last movement. The movement describes a dream, in which the artist is executed for killing the love of his life. It uses a grotesque version of the theme by Berlioz's extraordinary technique of orchestration, mixing string pizzicato, woodwind staccato, brass chords and a single loud stroke of percussion, forming a highly unusual series of tone colors. The scene ends with a single short fortissimo G-minor chord that represents the fatal blow: the dropping of the trap door, or perhaps the guillotine blade; the series of pizzicato notes following can be seen to represent the rolling of the severed head into the basket. Immediately prior to the musical depiction of the beheading, there is a brief, nostalgic recollection of the idée fixe in a solo clarinet, as though representing the last conscious thought of the executed man; after his death, the final nine bars of the movement contain a victorious series of tutti G major chords, seemingly intended to convey the cheering of the onlooking throng. [编辑] 第五樂章：沙柏特的夜夢(Songe d'une nuit de sabbat)The last movement, often played as a tone poem by itself, has a brooding opening, the sound of spirits marching through the grave yard. It consists of a famous E-flat clarinet solo presenting the idée fixe as a vulgar dance tune; the call of church bells; a burlesque of a famous plainchant, the Dies Irae; and a fugue meant to represent, as Berlioz privately admitted, a giant orgy. There are a host of effects (including col legno playing in the strings), from the bubbling of the witches cauldron to the blasts of wind. The ending is also unique in that Berlioz combines the sombre Dies Irae melody with the wild fugue of the Ronde du Sabbat (Sabbath Round). [编辑] 重要性Berlioz wrote in his essay "On Imitation in Music": The aim of the second kind of imitation, as we have said before, is to reproduce the intonations of the passions and the emotions, and even to trace a musical image, or metaphor, of objects that can only be seen. He later adds: emotional (imitation) is designed to arouse in us by means of sound the notion of the several passions of the heart, and to awaken solely through the sense of hearing the impressions that human beings experience only through the other senses. Such is the goal of expression, depiction or musical metaphors. As part of this he uses an example of cyclical structure in music, which was an idea drawn from Beethoven's use of similar rhythmic structures or shapes, and the idea of musical "cycles", such as a "song cycle". Berlioz did not know of Mendelssohn's Octet, which uses this device as well. Berlioz called this repeating melody an idée fixe (fixed idea). Carl Maria von Weber had previously used similar recurring fragments to represent characters or objects in his operas, though the Symphonie Fantastique is a dramatic example that opens the way for many others in the symphonic genre. Later examples would be composed by Robert Schumann and César Franck. The idea of melodies representing specific characters would be part of Richard Wagner's elaborate system of leitmotifs. Also important is Berlioz' aggressive use of instruments, which even his enemies admitted was genius, both in terms of the size and scope, but also in the specificity of instructions—when to use mallets of different heads for drums, when to place and remove mutes, all notated on the score. This too would become an aspect of the work which would receive careful study, all the way into the 20th Century. Leonard Bernstein called this symphony the first musical expedition into psychedelia because of its hallucinatory and dream-like nature, and because history suggests Berlioz composed at least a portion of it under the influence of opium. In 1831, Berlioz wrote a much less well known sequel to the work, Lelio, for narrator and orchestra. [编辑] 配器這部交響曲需要一個包含以下樂器的管弦樂團：兩隻長笛（第二長笛兼短笛）、兩隻雙簧管（第二雙簧管兼英國管）、兩隻豎笛（第一豎笛兼高音豎笛）、四隻低音管、四隻法國號、兩隻小號、兩隻短號、三隻長號、兩隻低音大號（近代改用低音號取代）、兩組定音鼓、小鼓、鈸、大鼓、音高各為C與G的鈴、兩架豎琴以及弦樂群。 |
