wiener symphoniker concert by appulife

WIENER SYMPHONIKER CONCERT 维也纳交响乐团广州音乐会

2014.06.02 指挥：西蒙娜·扬 Conductor: Simone Young 星海音乐厅交响乐演奏大厅 Symphony Hall of Xinghai Concert Hall

主办：星海音乐厅聚橙网 Organizer: Xinghai Concert Hall AC Orange Corporation 指挥：西蒙娜·扬 Conductor: Simone Young 演奏：维也纳交响乐团 Performed by Wiener Symphoniker 时间：2014.06.02 地点：星海音乐厅交响乐演奏大厅 Time: June 2nd , 2014 Venue: Symphony Hall of Xinghai Concert Hall

指定接待酒店：

Appointed Hotel: China Hotel

鸣谢:

节目单 PRO GR A M

贝多芬降 E 大调第三交响曲“英雄” Ludwig van Beethoven Symphony No. 3 "Eroica" in E-flat Major I. 朝气蓬勃的快板 Allegro con brio II. 葬礼进行曲，非常慢的柔板 Marcia funebre: Adagio assai III. 谐谑曲，活泼的快板 Scherzo: Allegro vivace IV. 终曲，稍快板 Finale: Allegro molto 中场休息 Intermission 贝多芬 A 大调第七交响曲 Ludwig van Beethoven Symphony No. 7 in A Major I. 稍慢速，活泼的 Poco sostenuto – Vivace II. 小快板 Allegretto III. 谐谑曲，急板 Presto – Assai meno presto IV. 朝气蓬勃的快板 Allegro con brio

曲目以演出当晚为准

WIENER SYMPHONIKER 维也纳交响乐团

乐团简介 About the Orchestra

维也纳交响乐团成立于19 0 0 年的维也纳交响乐团

将乐团带入了超凡的音乐境界。此后，

（Wiener Sy mphoniker）不仅与同城

约瑟夫·克里普斯、玛丽亚·卡罗·朱里

的维也纳爱乐乐团代表了奥地利古典音

尼、吉纳迪·罗日杰斯特文斯基等人相

乐演奏领域的最高水准，同时也是欧洲

继担任乐团首席指挥。19 8 6 年至19 91

乐坛最具声望和光荣传统的顶尖交响乐

年，法国指挥家乔治·普雷特尔执掌乐

团之一。作为维也纳的艺术使者和音乐

团。此后，包括拉斐尔·弗吕贝克·伯格

演出团体，维也纳交响乐团始终在城市

斯、弗拉基米尔·费达谢耶夫等也都在

音乐生活中扮演着重要角色，并把捍卫

乐团供职。20 05-0 6演出季，意大利指

维也纳历史悠久的交响乐文化传统作为

挥大师法比奥·路易西担任乐团音乐总

其核心的艺术理念。

监，他的继任者则是在2014-15演出季

19世纪末，正是在维也纳建立一支

就任乐团新任首席指挥的法国指挥家菲

全新乐团的呼声高涨的历史阶段，当时

利普·乔丹。

许多新作品需要通过一支新乐团登上

此外，在维也纳交响乐团担任客席

历史舞台，维也纳交响乐团恰恰在此时

指挥的还包括：伦纳德·伯恩斯坦、洛

应运而生。19 0 0 年10月指挥家费迪南

林·马泽尔、克劳迪奥·阿巴多和塞尔吉

德·吕维率领乐团在音乐之友协会金色

乌·切利比达克等人。

大厅举办了首场公开音乐会，此后首演

维也纳交响乐团在每个音乐季献上

了一大批载入史册的经典作品，包括布

15 0 场音乐会和歌剧演出，维也纳音乐

鲁克纳《第九交响曲》、勋伯格的《古列

之友协会金色大厅和维也纳音乐厅是乐

之歌》、拉威尔的《左手钢琴协奏曲》以

团的主要演出场所。

及弗兰茨·施密特的《第七封印》等。

自1946年以来，维也纳交响乐团一

在历史上，包括传奇指挥大师布鲁

直担任布雷根茨音乐节的常驻乐团，并

诺·瓦尔特、理查·施特劳斯、威廉·富

与该音乐节保持着密切的合作关系。从

特文格勒、奥斯瓦尔德·卡巴斯塔、乔

2 0 0 6 年起，乐团拓展了全新的音乐版

治·赛尔、汉斯·克纳佩尔茨布什等都

图，成为维也纳剧院的驻院管弦乐团，

在乐团的演奏风格中留下自己的印记。

担负着为该机构全部歌剧演出进行伴奏

而在那之后的 2 0 年中，赫伯特·冯·卡

的使命。

拉扬和沃尔夫冈·萨瓦利什两位大师则

Wiener Symphoniker

As Vienna’s cultural ambassador and premier concert orchestra, the Wiener Symphoniker handles the lion’s share of symphonic activity that makes up the musical life of the Austrian capital. The preservation of the traditional, Viennese orchestral sound occupies a central place in the orchestra’s various artistic pursuits.

Georges Prêtre was Chief Conductor from 1986 to 1991. Rafael Frühbeck de Burgos and Vladimir Fedoseyev then assumed leadership of the orchestra. Fabio Luisi assumed the position of Chief Conductor and Artistic Director at the start of the 2005-06 season, his successor in 2014-15 will be Philippe Jordan.

The end of the nineteenth century was precisely the right time to establish a new Viennese orchestra for the purpose of presenting orchestral concerts with broad appeal, on the one hand, and to meet the need for first performances and premieres of contemporary works, on the other. In October 1900, the newly formed Wiener Concertverein, as it was called back then, gave its first public performance at the Vienna Musikverein with Ferdinand Löwe on the podium. The Wiener Symphoniker has premiered works that are now undisputed staples of the orchestral repertoire, including Anton Bruckner’s Ninth Symphony , Arnold Schönberg’s Gurre-Lieder , Maurice Ravel’s Piano Concerto for the Left Hand, and Franz Schmidt’s The Book with Seven Seals .

Leading lights who have enjoyed notable success as guests on the podium of the Wiener Symphoniker include Leonard Bernstein, Lorin Maazel, Zubin Mehta, Claudio Abbado and Sergiu Celibidache.

Over the course of its history, conducting greats like Bruno Walter, Richard Strauss, Wilhelm Furtwängler, Oswald Kabasta, George Szell and Hans Knappertsbusch have left an indelible mark on the orchestra. In later decades, Herbert von Karajan (19501960) and Wolfgang Sawallisch (1960-1970) were the Chief Conductors who moulded the sound of the orchestra most significantly. After the brief return of Josef Krips, the position of Chief Conductor was filled by Carlo Maria Giulini and Gennadij Roshdestvensky.

The Wiener Symphoniker appears in more than 150 concerts and operatic performances per season, the vast majority of which take place in Vienna’s well-known concert venues, the Musikverein and the Konzerthaus. Added to that is a very busy and extensive touring schedule. Since 1946, the Wiener Symphoniker has been the orchestra in residence at the Bregenz Festival, where it also plays the majority of operatic and symphonic performances. The orchestra also took on a new challenge at the beginning of 2006: That’s when the Theater an der Wien became a functioning opera house again, and the orchestra has been responsible for a significant number of productions ever since.

西蒙娜·扬 Simone Young

指挥简介 Conductor

指挥：西蒙娜·扬生于澳大利亚的西蒙娜·扬是国际知

利亚歌剧院及其芭蕾舞团的管弦乐团都

名指挥家，在同时代的指挥家中，她被誉

得到了长足发展，得到业界和公众的大

为最杰出的代表之一。2005年8月，她开

量好评。在此期间，她演出了歌剧《纽伦

始担任汉堡国家歌剧院总经理兼音乐总

堡的名歌手》、《奥赛罗》、《尤金·奥涅

监，同时出任汉堡国家爱乐乐团音乐总监

金》、《露露》、《拉美莫尔的露琪亚》、

一职。此后，她获得了许多突出的成就，

《特里斯坦与伊索尔德》、《唐豪塞》、

这其中包括在汉堡指挥全套《尼伯龙根的

《法斯塔夫》、《唐·卡洛》、《安德烈·谢

指环》、《西蒙·波卡涅拉》、《特里斯坦与

尼埃》、《波西米亚人》、《唐乔瓦尼》和

伊索尔德》、《画家马蒂斯》、《莎乐美》和

《费加罗的婚礼》等。

《达芙妮》。西蒙娜与汉堡的合同已续约

她最近的演出还包括：《麦克白》、

至2015年。

《法斯塔夫》、《莎乐美》、《达芙妮》、

2001年至2003年，她担任澳大利亚

《唐·乔瓦尼》、《莱茵的黄金》和《阿拉

歌剧院的音乐总监。1999年到2002年，

贝拉》等。

她出任卑尔根爱乐乐团的首席指挥，此

2007年西蒙娜入选汉堡艺术学院，

外，她曾经客座指挥过柏林爱乐乐团、维

并被汉堡音乐学院聘为教授。《歌剧世

也纳爱乐乐团、慕尼黑爱乐乐团、伦敦爱

界》也将她提名为年度指挥家。2 0 0 1

乐乐团和纽约爱乐乐团，还有维也纳交

年的《特里斯坦与伊索尔德》、2 0 03年

响乐团、德累斯顿国家管弦乐团和林茨

的《露露》获得“最佳古典音乐会奖”。

布鲁克纳乐团。

2002年，她因为《安德烈·谢尼埃》获得

扬是公认的瓦格纳和施特劳斯歌剧

最佳音乐执导奖和澳大利亚“年度古典

专家，她指挥过的作品包括《尼伯龙根的

音乐家”奖。2005年她与西澳大利亚交

指环》。她在柏林国家歌剧院和维也纳

响乐团的音乐会获“赫普曼年度古典音

国家歌剧院执棒的演出大获好评。与她

乐会奖”，此外，她还获颁了莫纳什大学

合作过的歌剧院包括巴伐利亚国家歌剧

和新南威尔士大学的名誉博士学位以及

院、纽约大都会歌剧院、巴黎巴士底歌剧

法国富安德高级骑士勋章。

院、伦敦皇家歌剧院、洛杉矶歌剧院和休

2004年她因为录制《朱迪亚》获得

斯敦歌剧院。

格莱美奖提名，同时在“澳大利亚日”获

2000年至2003年，扬的重点工作放

澳大利亚勋章名单提名。2005年，她获

在澳大利亚歌剧院，在她的努力下，澳大

得了著名的歌德学院奖章。

指挥简介 Conductor

Conductor: Simone Young

A u s t r a l i a n - b o r n S i m o n e Yo u n g i s internationally recognised as one of the leading conductors of her generation. In August 2005 she took up the post of General Manager and Music Director of the Hambu rg ische Staatsoper a nd Music Director of the Philharmonic State O rchestra Hambu rg a nd has a l ready celebrated many outstanding successes i n c lud i n g t he c om men c ement o f t he Hamburg Ring Cycle, Simon Boccanegra, Tristan und Isolde, Mathis der Maler, Salome and Daphne. This contract has been extended until 2015. She was Music Director of Opera Australia from 2001 to 2003, Chief Conductor of the Bergen Philharmonic Orchestra from 1999 to 2002 and among others has conducted the Berlin, Vienna, Munich, London and New York Philharmonic Orchestras, the Wiener Symphoniker, the Staatskapelle Dresden and the Bruckner Orchestra Linz.

She is an acknowledged interpreter of the operas of Wagner and Strauss including Der Ring des Nibelungen, which she has conducted most recently to great acclaim at the Staatsoper in Berlin, and the Vienna Staatsoper. Other compan ies she has worked with include Bayerische Staatsoper in Munich, Metropolitan Opera in New York, the Bastille in Paris, Royal Opera House Covent Garden, Los Angeles Opera and Houston Grand Opera. In Australia the focus of her work during 2000-2003 was Opera Australia, where her opera a nd concer t work w ith the Australian Opera and Ballet Orchestra, and her development of musical standards in the company received praise from the profession and the public alike. During th is time, productions she conducted included Die Meistersinger von Nürnberg, O t el lo , E u g ene O ne g i n , L u lu , L uc i a d i L a mmermo or, T r ista n u nd I solde,

Tannhäuser, Falstaff, Don Carlos, Andrea Chenier, La bohème, Don Giovanni and Le nozze di Figaro (from the fortepiano), Katya Kabanova, Un Ballo in Maschera, D er R osen k ava l ier a nd Cava l ler ia Rusticana/Pagliacci. R e c e nt p e r fo r m a n c e s h av e i n c lude d M acb et h , Fa l st a f f , S a lome , D aph ne , Die Frau ohne Schatten, Don Giovanni, Das Rheingold, Arabella, Dialogues des Carmelites, L'Upupa und der Triumph der Sohnesliebe at the Hamburg ische Staatsoper, and the Salzburg Festival with Klangform Wien. I n 2 0 07 Simone was elected t o the Akademie der Kuenste in Hamburg, was nominated as the Conductor of the Year by Opernwelt magazine and was awarded a Professorship at the Musikhochschule in Hamburg. Her awards include Green Room Awards for her 1996 performances of

Die Frau ohne Schatten at the Melbourne Festival, 2001 performances of Tristan und Isolde and 2 0 03 per formances of Lulu, the 2005 Helpmann Award for Best Classical Concert with the West Australian Symphony Orchestra, the 2002 Helpmann Award for Best Musical Direction (Andrea Chenier) and the Australian Mo Award for “Classical Performer of the Year”.She has received Honorary Doctorates from Monash University and the University of New South Wales, and has been honoured with the Chevalier de l’Ordre des Arts et des Lettres from France. In 2004 she was nominated for a Grammy Award for her recording of La Juive and was appointed a Member of the Order of Australia in the Australia Day Honours List. In 2005 she received the prestigious Goethe Institute Medal.

曲目简介 Program Notes

贝多芬第三交响曲“英雄” 第三交响曲，作品55号，是贝多芬于

部（不算重复）更长，不仅仅是主题简单

18 03年至18 0 4年间创作的四乐章交响

的变化，还成为了戏剧性的核心。在一段

曲。该作品是交响曲历史上的里程碑式

狂暴、充满冲突的小高潮过后，突然安静

作品，规模宏大、充沛有力、情感丰富、

下来，并出现了一个看似新的主题。这个

结合了诗意和力量，极具独创性，在当时

新主题，在弦乐所演奏的连续属九和弦

不受观众接受和欢迎，但却是贝多芬最

音量逐渐减轻之时，顺畅地在e小调上出

为钟爱的作品之一。现在它被看作是贝

现，并且与第一主题互相交错，其后亦于

多芬的代表作之一，并时常被认为是浪

结束部分再次出现。

漫乐派的创始作品。原本贝多芬将该作

再现部开始之前的四小节，圆号提

品题献给他所钦佩的拿破仑，但因后者

早重申了主题，但此时调性还未回归到

称帝，愤而改为“纪念一位英雄人物”。

主调上，小提琴也还演奏着属调的和弦，

“英雄交响曲”之名亦由此得来。180 5

因而有不寻常的效果。再现部基本上纹

年4月7日在维也纳剧院举行首演，由作

丝不动地重复了主题，只是做了一般的

曲家亲自指挥。

转调。但尾声的规模变得仿佛第二个展开部，与全曲的规模相配。起初调性不明

作品共有四个乐章：

确，但渐渐增强，直到高潮中小号光芒万

第一乐章，没有传统的引子，而是以

丈地高鸣第一主题，令人热血沸腾。

两个雄壮的齐奏开头，然后立刻引入宽

第二乐章（葬礼进行曲），主题有两

广的分解和弦大提琴主题。主题结束于

个部分，都是木管乐器与弦乐器呼应：其

不合调的升C音上。小提琴发出重复的高

一是开头小提琴肃穆的c小调乐段，配有

音，使和声变得模糊，但在单簧管与双簧

鼓点般的低音，在新的调性中结束；其二

管奏出的第二主题中得到解决。第二主

是有着极大旋律性的一个短句。然后出

题相对和美、忧郁一些，但也有着庄严的

现了C大调的段落，较为明亮；但又进入

气概。

了阴暗的主题。接着出现了三声赋格段

呈示部已经很长,但最为新颖的是贝

落，音乐变得急促、悲恸，在咆哮声中转

多芬扩大了发展部的规模，使之比呈示

到属调。结尾主题重现，但却只剩下碎

片，由低音提琴的拨弦配合，尤其悲凉。

主题相近似之旋律；这对贝多芬支持者

木管乐器发出最后的叫喊，乐曲在弱奏

而言实在不陌生—贝氏早于1799年至

中淡出。

1801年负责作曲的舞剧《普罗米修斯》之

第三乐章充满能量，开头的弱奏突

终曲及1801年作曲之《十二首方阵舞曲》

然转成特强；作曲手法简洁细致，感情色

第七曲当中，即使用此曲为主调。上述两

彩也有所变化。主题在双簧管上出现。三

大主题亦曾在1802年之《十五段变奏曲

声中部有一个军号般的主题，由圆号奏

与赋格》（作品35，又称“英雄变奏曲”）

出。最后强有力地在鼓声中结束。

当中亮相。

第四乐章的主题采用贝多芬早年的

最后一个乐章以希腊神话故事中的

普罗米修斯主题，并以短的经过部和发

普罗米修斯精神为主题，把英雄的不屈

展部共同构成自由变奏曲形式。此乐章

不挠，发挥得淋漓尽致，使短暂的音符如

加入赋格曲及奏鸣曲式的特征，交融成

火花般激越。整个乐章声势浩大、隆重，

别具一格的新曲式，更因此表现出贝多

人们尽情地跳着各式各样的舞蹈，庆祝

芬之创作理念。该乐章包含两大主题：

英雄的胜利和凯旋。

首先是从乐章开始由弦乐拨奏呈示，接着双簧管及单簧管奏出轻快、及与第二

曲目简介 Program Notes

Beethoven's Symphony No.3

Beethoven's Symphony No. 3, Op. 55, also known as the Eroica (Italian for "heroic"), is a musical work marking the full arrival of the composer's "middle-period," a series of unprecedented large scale works of emotional depth and structural rigor. The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805. The first movement opens with two large E-f lat major chords played by the whole orchestra, firmly establishing the tonality. The first theme is introduced by the cellos, and by the fifth bar of the melody, a chromatic note (C#) is introduced, thus establishing the harmonic tension of the piece. The melody is finished by the first violins, with a syncopated series of G's (which forms a tritone with C# of the cellos). After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new theme in the development section, breaking the classical tradition that the development section works with existing material only. The development section leads back into the

recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that reintroduces the new theme of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work, who was initially intended to be Napoleon Bonaparte, a man Beethoven admired before he learned of Bonaparte's imperial intentions. The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals. The third movement is a lively scherzo. The trio features hunting calls from the three horns. The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14 (1800–02) and later as a set of piano variations, Op. 35. The theme's subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that the bass line of the theme makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.

贝多芬 Beethoven

曲目简介 Program Notes 15

贝多芬第七交响曲《A大调第七交响曲》，作品92号，是

复调的手法，将几个动机用三声部赋格段

贝多芬于1812年创作的四乐章交响曲。全

结合在一起。该乐章优美、哀而不伤，固

曲欢快、明亮、积极，是贝多芬的代表作

定节奏时常有八度的跳跃，造出色彩上的

之一，被瓦格纳誉为“舞蹈的礼赞”(The

变化。结尾是一个没有得到解决的和弦，

Apotheosis of Dance)。其第二乐章多被

有着梦境般的气氛。

用于影视作品中，因而广为人知。

第三乐章，F大调，谐谑曲与三声中

1813年12月8日，该作品在维也纳首

部。在此，根据奥地利朝圣者的赞美诗所

演，贝多芬亲自指挥，首演大受好评，第二

做的三重奏被反复了一次。这种三重奏

乐章当场作为安可重复。

ABA形式扩充到ABABA的方式，在这个

第一乐章，开始是慢速的引子，以乐

时期相当常见于贝多芬的其它作品中，例

队齐奏和弦起头，双簧管奏出平和的旋

如他的《第四交响曲》以及《第八弦乐四重

律，然后是一长串上行音阶组成的庄严乐

奏》。该乐章的旋律来源于奥地利的民间

段。引子结束于属调E音上，并由木管乐器

音乐。贝多芬在这里用了不符合常规的调

的吹奏作为揭示节奏动机的桥梁，进入快

性转移，从F大调直接进入了A大调。三声

板部分。之后进入了奏鸣曲的形式，以及

中部中，小提琴占主导地位，单簧管和双簧

跳舞般的轻快节奏。该乐章有着民众欢庆

管分别演奏一个明亮的、乡土味的旋律。

的性格，还包含富有特色的固定节奏和淳

圆号在此处有一个由主旋律衍生出的乐

厚的和声。以E音为根音的和弦，前后共出

句。节奏上的不稳定也给听众带来耳目一

现了不下六十次。发展部是同类作品中的

新的感受。

典范，各主题进行了奇妙的变化。结尾处

末乐章，奏鸣曲式。这个乐章是“酒

有低音提琴在低音区反复演奏半音的乐

神的愤怒”。该乐章的尾声含有贝多芬作

段，属贝多芬的独创。

品中少见的fff（特特强）标记。该乐章高

第二乐章，a小调，慢乐章，虽然速度

亢、充沛，有欢腾的气氛。其第二主题有

标式是小快板（Allegretto），但跟其它三

着匈牙利舞曲的特征。弦乐部分的震音和

乐章比较起来是算慢的。此乐章是非常受

出乎意料的休止都加重了快乐的意象。贝

欢迎的，且在首演时被要求再演一次。就

多芬在该乐章中，还用了极其先锋的七度

跟第一乐章一样，节奏以及旋律是很重要

和弦，并依然保持了稳定的效果。期间调

的特征。四分音符、两个八分音符和两个

性变化极具戏剧性；尾声则响亮、光彩逼

四分音符的固定节奏型一再出现。第一主

人。柴可夫斯基对该乐章评价道：一整套

题重复了四次（一次比一次强），第二主题

绮想的图画，充溢着不羁的欢乐、生命所

方渐渐显露。在该乐章中，贝多芬运用了

带来的福祉和愉悦的感受。

Beethoven's Symphony No.7

T he Symphony No. 7 in A major, Op. 92, is a symphony in four movements by Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries. At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the A llegretto resulted in its frequent performance separate from the complete symphony. The first movement starts with a long, ex pa nde d i nt r o duc t ion m a rke d Po c o s o s t e nut o t h at i s n o t e d f o r it s l o n g ascending scales and a cascading series of appl ied domi na nts that faci l itat es modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace is in sonata form, and is dominated by lively dance-like rhythms, sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a four octave deep Pedal point of an E. The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. T he ostinato ( repeated rhythmic figure) of a quarter note, two

eighth notes and two quarter notes is heard repeatedly. This movement is structured in a double variation form. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important melody, a melody described by George Grove as "a string of beauties hand-in-hand". Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato. The third movement is a scherzo in F major and trio in D major. Here, the trio (based on an Austrian pilgrims' hymn) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2. The last movement is in sonata form, the coda of which contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (c a l led for t e for t i ssi mo). D on a ld Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchic fury" and many other writers have commented on its whirling danceenergy: the main theme vaguely resembles Beethoven's arrangement of the Irish folksong "Save me from the grave and wise", No. 8 of his Twelve Irish Folk Songs, WoO 154.

乐团成员 Members of the Orchestra

DIE WIENER SYMPHONIKER

Designierter Chefdirigent 首席指挥 (ab 2014–15) Philippe Jordan

Ehrendirigenten 名誉指挥 Georges Prêtre Wolfgang Sawallisch †

Konzertmeister 乐团首席

Univ.-Prof. Jan Pospichal Univ.-Prof. Mag. Anton Sorokow Prof. Florian Zwiauer 1. Konzertmeister

–

Prof. Guillermo Büchler 3. Konzertmeister

–

Alexander Burggasser 4. Konzertmeister

1. Violine 第一小提琴

Stephan Achenbach Christian Birnbaum Maximilian Dobrovich Claire Dolby Roxana Dura Prof. Franz Michael Fischer Prof. Nicolas Geremus Prof. Peter-Michael Grosch Prof. Karl Höffinger Prof. Christian Kallinger Prof. Dorice Köstenberger Prof. Martin Lehnfeld Caroline Löffler Nikolay Orininskiy Edwin Prochart Eva-Maria Reisinger Mag. Ge Song Birgit Zalodek

2. Violine 第二小提琴

Prof. Thorwald Almassy PD MMag. Dominika Falger 1. Stimmführer

– Mag. Libor Meisl Mag. Elzbieta Szymanska-Čonka 2. Stimmführer – Ioanna Apostolakos Prof. Christian Blasl Mag. Oliver Breuer Mag. Matthias Honeck Christian Knaus Elena Kodin Alexandra Koll-Gaismeier Prof. Helmut Lackinger Mariam Margaryan-Petkova Prof. Wolfgang Schuchbaur Maiko Seyama

乐团成员 Members of the Orchestra

Agata Sikorska Renate Turon Gerald Wilfinger N. N.

Alexandra Ströcker Prof. Günter Thomasberger Romed Wieser N.N.

Viola 中提琴

Kontrabass 低音提琴

– Roman Bernhart Mag. Vera Reigersberg 2. Solobratsche

– Hermann Eisterer 2. Solobass

Prof. Johannes Flieder Prof. Herbert Müller 1. Solobratsche

– Michael Buchmann Prof. Werner Frank Prof. Gerhard Kanzian Christian Kaufmann Karl-Heinz Krumpöck Mag. Christian Ladurner Prof. Franz Moschner Prof. Martin Ortner Wolfgang Prochaska Roland Roniger Prof. Ulrich Schönauer Mag. Isabella Stepanek

Violoncello 大提琴

Christoph Stradner Michael Vogt 1. Solocello – Attila Székely Erik Umenhoffer 2. Solocello

– Univ.-Prof. Wolfgang Aichinger György Bognár Michael Günther Prof. Andreas Pokorny Christian Schulz Prof. Peter Siakala

Ivan Kitanović Univ.-Prof. Ernst Weissensteiner 1. Solobass

– Prof. Werner Fleischmann Ivaylo Iordanov Martin Kabas Dragan Lončina Prof. Christian Roscheck Andreas Sohm Helmut Stockhammer Hans Joachim Tinnefeld

Flöte 长笛

Erwin Klambauer N. N. 1. Flöte

– Prof. Alexandra Uhlig stv. 1. Flöte – Esther Auch Prof. Rudolf Huber

Oboe 双簧管 Ines Galler Paul Kaiser 1. Oboe

– Stefanie Gansch stv. 1. Oboe

– Thomas Machtinger

MMag. Peter Schreiber

Klarinette 单簧管

Univ.-Prof. Gerald Pachinger Mag. Reinhard Wieser 1. Klarinette – Mag. Alexander Neubauer stv. 1. Klarinette – Manuel Gangl Martin Rainer

Fagott 巴松

Univ.-Prof. Richard Galler Prof. Patrick De Ritis 1. Fagott – Mag. Robert Gillinger stv. 1. Fagott

– Prof. Wolfgang Kuttner Prof. Peter Spitzl

Horn 圆号

Prof. Eric Kushner Univ.-Prof. Hector McDonald 1. Horn – Georg Sonnleitner Univ.-Prof. Gergely Sugár Josef Eder Markus Obmann Prof. Elmar Eisner Prof. Alois Schlor

Christian Löw stv. 1. Trompete

– Univ.-Prof. Karl Steininger

Posaune 长号

Univ.-Prof. Otmar Gaiswinkler Walter Voglmayr 1. Posaune – Prof. Johann Jeitler stv. 1. Posaune

– Mag. Reinhard Hofbauer Wolfgang Pfistermüller

Tuba 大号

Franz Winkler

Harfe 竖琴

Prof. Volker Kempf

Schlagwerk 打击乐 Dieter Seiler Prof. Michael Vladar Pauke – Thomas Schindl stv. Pauke

– Univ.-Prof. Mag. Martin Kerschbaum Friedrich Philipp-Pesendorfer

Trompete 小号

Mag. Andreas Gruber Rainer Küblb.ck 1. Trompete – Heinrich Bruckner

星海音乐厅 Xinghai Concert Hall 星海音乐厅是公认的“目前中国声场效果最好的音乐厅”及中国最具影响力的音乐文化品牌之一。自1998年举办首场公开演出以来，凭借国际一流的声场效果，历经16年精心培育，这里已成为汇聚众多世界名家名团的艺术殿堂：伦敦交响乐团、费城交响乐团、俄罗斯国家交响乐团、慕尼黑爱乐乐团、BBC交响乐团、鲍罗丁弦乐四重奏、林肯中心爵士乐团、艾森巴赫、阿什肯纳齐、帕尔曼、穆特、马泽尔、麦斯基、克莱默、马友友、余隆、谭盾、郎朗、李云迪……他们的到来、认可与赞扬奠定了星海音乐厅国内顶尖音乐厅的地位。星海音乐厅常年致力于让高雅艺术更广泛而深入地走进百姓的日常生活。广场音乐会、周日音乐下午茶、惠民普及演出、古典音乐赏析讲座等各类音乐会与艺术拓展活动，让更多市民接触音乐、理解音乐、爱上音乐。

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Symphony Hall with 1518 Seats

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461-Seat Chamber Hall with computer adjustable indoor acoustics

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100-Seat Art Salon Space and Music Culture Square to capacity of thousands of people

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