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了個大玩笑般，這部「大作」完全背離初始計劃，不 但沒有人聲，樂團編制也較先前作品精簡許多，演奏 長度更僅只20多分鐘。 這首第九號交響曲比起宏偉的第七和第八號，顯 得小巧玲瓏，且挾帶濃厚的諷刺意味，由穆拉溫斯基 指揮列寧格勒愛樂於1945年11月3日首演。作品起初 還頗受歡迎，然而正如蕭氏所預期，不久隨即出現各 種嚴厲的批評。1948年蕭氏再次遭到批鬥，此曲亦被 禁演，直到1955年才解禁。 樂曲共五個樂章，後三個樂章為連續演奏。第一 樂章採用標準的奏鳴曲式，音樂語彙充分展現蕭氏的 個人風格，戲謔的第二主題尤其令人發噱；第二樂章 沉靜詭譎，兩個交錯出現的主題由木管與絃樂分別呈 現；第三樂章是速度飛快的詼諧曲，在緊湊的主部和 短小的中段之後，主部未完整再現便舒緩鬆解，轉進 氣氛凝重的第四樂章，隨後緊接著輪旋奏鳴曲式的第 五樂章，熱鬧地結束樂曲。
本中心表演藝術圖書館典藏相關節目資料， 詳見http://libserv.ntch.edu.tw/related_catalog/index.asp， 並歡迎親洽表演藝術圖書館(國家戲劇院地下層)借閱使用。 For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http://libserv.ntch.edu.tw/related_catalog/index.asp.
自信而精銳
國家交響樂團 教育部於1986 年為建立一個指標級交響樂團投 下的希望，2005年起成為國立中正文化中心駐國家音 樂廳團隊，目前已成為頂尖的亞洲樂團。樂團歷任音 樂總監 / 藝術顧問包括許常惠、張大勝、林望傑、簡文 彬以及赫比希，自2010年8月起，由呂紹嘉接任音樂總 監。20多年來與NSO合作過的知名指揮家有馬捷爾、 巴夏、潘德瑞茨基、史瓦茲、羅斯楚波維奇、柯米希 奧納、史拉特金等。除了精緻音樂會，NSO 也製作大 型歌劇，更以各種推廣講座音樂會、節慶或戶外音樂 會，使 NSO 的節目成為愛樂大眾樂於參與的活動，形 成華人地區古典音樂的新風貌。
5︱冰原烈焰
symphonies, indicates the scale of the movement, but not the intensive motivic interplay or confrontational mood of the development. The modified reprise sees the second theme now allotted to solo violin, before elegant exchanges for the woodwind usher in a coda which wraps up matters succinctly. The second movement, essentially a slow intermezzo, opens with a winsome melody for clarinet over discreet pizzicato strings. This is taken up by other woodwind in a plaintive discourse, whose wistful mood is deepened by the undulating theme for strings which follows. Three times this unfolds as a curve of intensifying emotion, abetted by plangent woodwind phrases, before trailing off into the resumption of the first theme on flute then horn. The strings' theme, now in a higher register, briefly resumes, but the poignant final word is allotted to the first theme on flute then piccolo over pizzicato strings. The third movement is a scherzo in which woodwind and strings trade animated gestures. The central episode features an incisive trumpet solo, building to a brief climax before the main theme resumes. This time, however, the energy dissipates rapidly on the way to an uncertain pause. The fourth movement is announced by stern fanfares on trombones and tuba, answered by a bassoon solo of notable pathos. A stark alternation is duly repeated, though this time the bassoon alights first on a resigned cadence then a wry descending gesture. The fifth movement begins with the bassoon outlining a capering theme that is belatedly taken up by the strings. The woodwind sounds an anxious note before taking it up, and then a more suave theme on upper strings offers a degree of contrast. Fragments of both these themes are bandied about before an upsurge of energy and the first theme's climactic return on full orchestra, with its successor heard mockingly on woodwind and trumpet. A pause, then a breathless coda combines elements from both themes in a sprint to the decisively inconclusive finish. © 2012 Naxos Digital Services Ltd.
National Symphony Orchestra Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became an artistic affiliate of the National Chiang Kai-Shek Cultural Center in 2005. The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, Tsang-Houei Hsu, Da-Shen Chang, Jahja Ling, WenPin Chien and Günther Herbig. Since August 2010, Maestro Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan. The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hog wood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong and Guangzhou.
音樂總監
呂紹嘉
桂冠指揮
根特‧赫比希
樂團首席
吳庭毓 李宜錦
樂團副首席
鄧皓敦
助理指揮
張尹芳
執行長
邱瑗
企劃製作經理
杜佳舫
公關專案經理
王承禹
企劃行銷 企劃/音樂總監特助 謝祥雯
第一小提琴
○ 陳逸群 郭昱麟 林基弘 侯勇光 梁坤豪
企劃專員
吳孟珊 劉子瑛 賴盈帆
陳逸農 卓曉青 方俊人■ 黃佳頎 李庭芳
整合行銷專員
陳卜湄
賴佳奇 林孟穎 李家豪 侯亨翰*
行銷組長
許匯真
行銷專員
鄭巧琪 林欣儀 陳偉馨
第二小提琴
● 陳怡茹 ◎ 孫正玫 吳怡慧 李京熹 黃衍繹
顧慈美 于爾恩 康信榮 李梅箋 鍾仁甫
蔡孟峰 洪章文 陳偉泓 王致翔
中 提 琴
● 黃瑞儀 ◎ 鄧啟全 ○ 呂昭瑩 黃雅琪 李靖宜
謝君玲 劉國蘭 呂孟珊 李思琪 陳猶白
蔡秉璋 袁繹晴*
大 提 琴
● 熊士蘭 ◎ 連亦先 ○ 韋智盈 呂明美 周幼雯
陳怡婷 林宜女閒 黃日昇 蘇酩惠 唐鶯綺
演出及行政 人事組長
林碧珠
舞台監督
陳世傑
譜務專員
高婉瑜
行政專員
溫慧雯 林和億
特約音樂諮詢
焦元溥
低 音 提 琴
● 傅永和 ○ 周春祥 王淑瑜 黃筱清 王淑宜
連珮致 蔡歆婕 林枝盈
長 笛
● 安德石 ◎ 宮崎千佳 李 浚
短 笛
鐘美川
雙 簧 管
● 王怡靜 ◎ 林麗玥 楊舒婷■ 胡子涵*
紀韋瑄 張暐姍 黃思瑋 駱思云
英 國 管
李明怡
賴思伃 藍胤萱 蘇品嘉
單 簧 管
● 朱玫玲 ◎ 張凱婷 朱偉誼 孫正茸
中 提 琴 朱品霖 袁繹晴 黃亞漢 劉詩珊
低 音 管
● 簡凱玉 ◎ 陳奕秀 高靈風
倍 低 音 管
簡恩義
大 提 琴 丁莉齡 呂函涓 李 茜 黃瓊毅
法 國 號
● 劉宜欣 ◎ 舒培特 ○ 黃任賢 國田朋宏 王婉如
低音提琴 陳美君 游婉婷
曹予勉
長 笛 洪佑寧 徐鈺甄
小 號
● 宇新樂 ◎ 陳長伯 張景民 吳建銘 黃貞綸*
雙 簧 管 胡子涵 鄭化欣
長 號
● 宋光清 ◎ 邵恆發 陳中昇
單 簧 管 李昱柔 楊曼君
低音長號
彭曉昀
低 音 管 林煜勛 簡瑜萱
低 音 號
● 宮西純
法 國 號 陳建維 廖培佑 劉佩穎 鄭瑞舜
定 音 鼓
● 連雅文 ◎ 陳廷銓
小 號 徐雲修 黃貞綸 黃書啟 羅 丹
打 擊 樂
● 陳哲輝 陳振馨 楊璧慈 王瓊燁 傅奕涵
長 號 田智升 楊錦龍 簡晟軒
豎 琴
● 解 瑄 劉馨澧*
低 音 號 高霆翰
鍵 盤
▲ 陳丹怡
打 擊 樂 林君庭 洪詩瑜
*NSO樂團學苑名錄 指 揮
張尹芳
小 提 琴 玉 珊 吳宛蓁 余琬婷 侯亨翰
羅培菁
豎 琴 劉馨澧
演出曲目 Program 塞爾基‧普羅科菲夫（1891-1953）：《三橘之戀》 SERGEI PROKOFIEV : The love for Three Oranges, op.33bis I. 〈可笑的傢伙〉'The Clowns' III. 〈進行曲〉'March' V. 〈王子與公主 〉'The Prince and Princess'
II. 〈魔術師與女巫 〉'The Magician and the Witch play cards' IV. 〈詼諧曲〉'Scherzo' VI. 〈事跡敗露 〉'The Flight'
塞爾基‧拉赫瑪尼諾夫（1873-1943）：第二號鋼琴協奏曲 SERGEI RACHMANINOFF : Piano Concerto No.2, op.18, C minor ∼中場休息 Intermission∼
摩德士特．穆梭斯基（1839-1881）：《死神歌舞》（蕭斯塔科維契改編） MODEST MUSSORGSKY : Songs and Dances of Death (orch. by D. Shostakovich) I.〈搖籃曲〉'Cradle Song' II.〈小夜曲〉'Serenade' III.〈特烈帕克舞〉'Trepak' IV.〈統帥〉'The Field Marshal'
德米特里．蕭斯科維契（1906-1975）：第九號交響曲 DMITRI SHOSTAKOVICH : Symphony No.9, op.70 I. 快板 Allego
II. 中板 Moderato
III. 急板 Presto
IV. 最緩板 Largo
演出時間│ 2012年10月19日（星期五）7:30 PM 演出地點│ 國家音樂廳 National Concert Hall, Taipei 演 出 者│ 指 揮│奧列格‧凱塔尼 Oleg CAETANI, conductor 鋼 琴│德傑‧拉錫克 Dejan LAZIC , piano
主辦單位│ 共同贊助│ 特別感謝│
男低音│阿斯卡‧亞德拉扎可夫 Askar ABDRAZAKOV, bass ●首席 ◎副首席 ○助理首席 ■留職停薪 ▲樂季合約 劃底線者為本場協演
國家交響樂團 National Symphony Orchestra (NSO) 指定住宿│ 演出長度│上半場約40分鐘，下半場約50分鐘
V. 稍快板 Allegretto
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演出者介紹
Profiles
指 揮│奧列格‧凱塔尼
Oleg Caetani, conductor Oleg Caetani is an opera and concert conductor. He considers these two aspects of his work equally important. At the Rome Conservatory of Santa Cecilia he attended Franco Ferrara's conducting class and studied composition with Irma Ravinale. He then went to the Moscow Conservatory to study conducting with Kyrill Kondrashin and musicology with Nadezhda Nikolaev. He graduated from the St. Petersburg Conservatory in conducting with Ilya Musin. Winner of the RAI Turin competition and Karajan Competition in Berlin, he started his career at the Berlin State Opera “Unter den Linden” as repetiteur and assistant of Otmar Suitner. Since then he has been Chief Conductor at the German National Theatre in Weimar, First Conductor at the Frankfurt Opera House, Music Director first at the Wiesbaden Opera House, later at the Chemnitz Opera House and of the Robert Schumann Philharmonic Orchestra. His three recordings of Tansman's Symphonies, released by Chandos, have won the Diapason d’Or in 2006 and 2008.
凱塔尼身兼歌劇與音樂 會指揮家，他對於這兩種領域 的指揮工作皆投注了相同的關 注力。在羅馬聖西利亞音樂院 時，追隨法蘭科．費拉拉學習 指揮，並向厄爾馬．拉維那勒 學習作曲。其後轉赴莫斯科音樂院跟隨奇瑞爾． 孔德拉辛鑽研指揮，並隨娜潔絲達．尼可拉耶夫 學習音樂學；隨後投入伊利亞．慕辛門下攻讀指 揮，畢業於聖彼得堡音樂院。凱塔尼贏得杜林義 大利國家廣播電視指揮大賽，以及柏林卡拉揚指 揮大賽，他曾經擔任德國威瑪國家歌劇院首席指 揮、法蘭克福歌劇院資深指揮，並先後成為威斯 巴登歌劇院、開姆尼茨歌劇院與羅伯特．舒曼愛 樂管絃樂團的音樂總監。凱塔尼與墨爾本交響管 絃樂團錄製的湯斯曼交響曲作品，贏得了2006年 與2008年金音叉大獎。 鋼 琴 │德傑‧拉錫克
拉錫克出生於克羅埃西 亞的札格拉布，成長於薩爾茲 堡，曾就讀國立莫札特音樂暨 表演藝術大學。近年來迅速在 國際樂壇崛起，英國《留聲 機》雜誌盛讚他為一位「不 凡、才華橫溢的鋼琴家，以琴聲打動了群眾」； 而美國《紐約時報》曾為其精湛演出評論道： 「饒富詩意、優美的音色，熱烈且興味盎然的樂 音，如此真摯！」除了個人獨奏會，拉錫克也頻 繁受邀以獨奏家的身分與樂團合作演出，包括與 伊凡．費雪 布達佩斯節慶管絃樂團、彼得連科 倫敦愛樂、萊比錫中德廣播交響樂團、丹麥國 家交響樂團、巴西聖保羅交響樂團等。他在彼得 連科指揮下與倫敦愛樂管絃樂團共同演出的拉赫 瑪尼諾夫第二號鋼琴協奏曲音樂會實況錄音，則 榮獲2009年德國《古典迴聲》唱片大獎的肯定。 男低音 │阿斯卡‧亞德拉札可夫
生於烏法，亞德拉札可 夫在烏法國立音樂院取得音 樂學位，再於國立莫斯科音 樂院進修。除了在俄羅斯國 內獲獎無數外，他擁有贏得 卡拉斯聲樂大賽（ 1995 ）和 拉赫瑪尼諾夫國際聲樂大賽 （ 1998 ）首獎之輝煌紀錄。他在職業演唱生涯 曾經飾演過的著名歌劇男低音角色難以計數， 其中當以義大利歌劇（威爾第、浦契尼）和俄 羅斯民族歌劇曲目最具代表性。
Dejan Lazi , piano Born in Zagreb, Croatia, and grew up in Salzburg, Lazić studied at the Mozarteum. He has quickly established a reputation worldwide as “a brilliant pianist and a gifted musician full of ideas and able to project them persuasively” (Gramophone). The New York Times hailed his performance as “full of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassioned.” After a highly successful Edinburgh Festival recital, The Scotsman wrote recently: “Dejan Lazić shines like a new star.” As recitalist and soloist with orchestra, Dejan Lazić has often played with the Budapest Festival Orchestra, the London Philharmonic Orchestra, the City of Birmingham Symphony Orchestra, MDR Leipzig, Danish National Symphony Orchestra, Orquestra Sinfonica do Estado de Sao Paulo, B BC Philharmonic Orchestra, and many others. He records exclusively for Channel Classics. His live recording of Rachmaninoff's Piano Concerto No.2 with London Philharmonic Orchestra under Kirill Petrenko received the prestigious German Echo Klassik Award 2009. Askar Abdrazakov, bass Askar Abdrazakov was born in Ufa of the Republic of Bashkortostan, Russia. He received his music degree at the Ufa Institute of Arts and then studied at the Moscow Conservatory. In addition to numerous awards in Russia, he also won the first prizes of the Maria Callas Competition in 1995 and the International Sergei Rachmaninoff Competition in 1998. He has played countless bass roles in famous operas. The most representative ones are Italian operas (Verdi and Puccini) and Russian folk operas. His career highlights include Philip II of Verdi’s Don Carlo, Ramfis of Aida, Timur of Puccini’s Turandot, Boris of Mussorgsky’s Boris Godunov, the title role and Leporello of Mozart’s Don Giovanni, and Mephistophélès of Berlioz’s Faust.
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3︱冰原烈焰
樂曲解說 Program Notes
了第二號鋼琴協奏曲，題獻給心理醫生達爾（Nikolay Dahl, 1860-1939），這首協奏曲也成為史上最受歡迎 的鋼琴協奏曲之一。 全曲分為三樂章，第一樂章為帶有俄式風情的 「中板」；第二樂章是甜美懷舊的「慢板」；第三樂 章為詼諧的「快板」。拉氏在1897年以前的作品偏向 沉重晦暗，狂暴的節奏與厚重的和聲展現出極端的俄 式熱情；經過三年的沉澱以及歌劇指揮的經驗累積， 這首復出之作除了光彩奪目的鋼琴炫技外，更擁有成 熟深刻的作曲思考。主題動機細密地穿梭在三個樂章 間，豐富的和弦變化襯托出抒情旖旎的旋律，在依舊 深沉的風格中，呈現出更為細緻的交響織度。這首協 奏曲的成功也更確立了拉氏的作品性格，在其後的創 作中，都可看到本曲的後續影響。
「古典」與「傳統」衝擊下的俄式旋風 撰文│黃于真（國立臺灣師範大學音樂系音樂學博士候選人）
1862 年安東•魯賓斯坦成立聖彼得堡音樂院，開始有系統地培育音樂人才，其弟尼可萊隨後於 1866年成立莫斯科音樂院，俄國近代著名音樂家幾乎皆出自這兩間學校。在聖彼得堡音樂院成立之時， 巴拉基烈夫正組成「強力五人組」，極力推動俄國傳統音樂，並成立免費音樂學校，與恪遵德奧音樂體 系的音樂院針鋒相對。然在民族主義的浪潮下，德奧古典體系開始受到衝擊，連身為聖彼得堡音樂院第 一屆學生的柴科夫斯基，亦支持巴拉基烈夫的理念，與其相交。古典音樂的結構體系，遇上熱情豪邁俄 式性格的衝擊，匯聚成一股勢不可檔的俄羅斯旋風，時為猛烈澎湃的舞曲節奏，或為深沉浪漫的異國情 懷，亦或是冷峻嘲諷的怪異表情，在當代俄國音樂家的作品中各具姿態，成為影響古典音樂發展的重要 能量。這股別具特色的俄式風潮，至今仍持續受到許多聽眾的喜愛。 塞爾基‧普羅科菲夫（1891-1953）：《三橘之戀》
撰文│黃于真
1919年，普羅科菲夫來到美國未滿一年，即 獲得芝加哥歌劇協會委託創作歌劇。為能在這個 新世界一鳴驚人，普氏挑選18世紀義大利劇作家 戈齊 （Carlo Gozzi, 1720-1802） 的「劇場童話」 （Fiaba teatrale）《三橘之戀》（L'amore delle tre melarance），寫成同名法文歌劇，劇情描述被詛 咒的王子找尋橘子公主的故事。普氏考量當時美 國音樂環境的狀態，刻意減少半音及不和諧音程 的使用，以簡化音樂語言，但主題動機仍在不同 樂段中各自發展，編織出緊密的結構網絡；普氏 擅長的嘲諷戲謔風格，則為這齣劇情結構奇特的 歌劇，添加了怪異可笑的效果。 歌劇在 1921 年首演，可惜未獲得好評，今 日則不時在各大歌劇院上演。1924年，普氏自劇 中選取六個樂段改編為組曲：〈可笑的傢伙〉、 〈魔術師與女巫〉、〈進行曲〉、〈詼諧曲〉、 〈王子與公主〉、〈事跡敗露〉。其中〈進行 曲〉是最受歡迎的樂曲，在明亮的節奏中，半音 與滑音的使用顯得誇張滑稽，普氏亦將本曲連同 〈詼諧曲〉改編為鋼琴版，兩種版本至今都是音 樂會中常見的曲目。 塞爾基‧拉赫瑪尼諾夫（1873-1943）：第二號鋼琴 協奏曲
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1897年，以許多鋼琴作品在俄國獲得斐赫名 聲的青年拉赫瑪尼諾夫，因首部大規模創作第一 號交響曲首演失敗，陷入長達三年的作曲障礙。 在這期間，拉赫瑪尼諾夫僅接受演奏邀約，並在 莫斯科私人劇院擔任指揮。為克服持續的作曲障 礙，拉氏並向心理醫生求助。 1899 年，他受邀 至歐洲演出，獲得佳評，也終於使他逐漸恢復信 心。1901年，他自最熟悉的鋼琴重新出發，完成
Sergei Prokofiev (1891—1953) : The Love for Three Oranges, op. 33bis Sergei Prokofiev's opera The Love for Three Oranges is based on a play by the 18th century Venetian writer Carlo Gozzi, originally designed as a riposte to his rival Goldoni. Prokofiev wrote his own libretto, based on a Russian version given him by its co-author Vsevolod Meyerhold in Petrograd, and completed the work in 1919. It was first staged, after some two years delay, at the Chicago Opera in 1921. The story is of an opera in which initial attempts to induce the melancholy Prince to laugh are thwarted by Fata Morgana. His first sign of mirth, when the wicked fairy stumbles, leads to her curse, condemning him to search for three oranges, guarded by a bass giantess. The oranges are found in a kitchen, taken to the desert and opened to reveal inside a beautiful maiden. The first two die of thirst, but the third is saved by timely intervention of the stage audience with a bucket of water. She becomes the Prince's bride, although momentarily turned into a rat, before the happy conclusion of the piece. © 2012 Naxos Digital Services Ltd. Sergei Rachmaninoff (1873-1943) : Piano Concerto No.2, op.18, C minor Rachmaninoff wrote his Piano Concerto No. 2 in C minor in 1900 and 1901, dedicating it to Dr. Nikolay Dahl. The second and third movements of this most popular of all romantic concertos were completed in the summer of 1900 and the first movement in the following year. In November 1901 it was performed in Moscow under the direction of Siloti, with the composer as soloist, and was received with the greatest enthusiasm. The work has retained its position in concert repertoire, although it has at the same time had a less fortunate influence on lesser works that have nothing of the innovative inspiration of their model. The first movement of the concerto opens with a series of dramatic chords from the soloist, an introduction to the first theme, proposed by the strings, accompanied by piano arpeggios. The second subject, quite properly in E flat major,
摩德士特．穆梭斯基（1839-1881）：《死神歌舞》（蕭 斯塔科維契改編）
撰文│蔡永凱（國立臺灣師範大學音樂系音樂學博士候選人） 俄國「強力五人組」之一的穆梭斯基，在俄國以 外的地區，以《展覽會之畫》、《荒山之夜》等標題 音樂作品最為人熟知；然而在俄國，他最重要的貢獻 卻在聲樂作品上。在1875至1877年間譜寫的《死神歌 舞》即是此中的經典之作。 這一部歌曲集採用四首果倫尼切夫．庫土佐夫 的詩作，〈特烈帕克舞〉、〈搖籃曲〉、〈小夜曲〉 以及〈統帥〉，內容分別描寫「醉漢」、「嬰孩」、 「女子」和「軍官」之死。由歌詞內容可以看到，穆 索斯基深深地同情在帝國下受壓迫的人民。對於平 民生活型態的推崇，讓他致力開發歌曲中旋律與語言 的關係，讓俄語的音韻在旋律的音高和節奏中自然展 現。曲中出現大量的對白，鮮少詠歎調的成分，情節 在音樂搭建的場景中上演，充滿戲劇張力。在聲樂表 現上延續了德語藝術歌曲如《魔王》裡多重角色的敘 述，卻又走出了自己的路。 《死神歌舞》原為獨唱與鋼琴所寫，1962年由 蕭斯塔科維契將鋼琴改編為管絃樂，成為現在常被演 出的版本。蕭氏的改編不以豔麗的管絃樂法為訴求， 而強調樂曲的原本結構。稍晚，在其第十三號交響曲 中，蕭氏也採用了獨唱加上管絃樂團的「樂團歌曲」 型態寫作，可以看到改編《死神歌舞》的工作對他的 啟發。 德米特里．蕭斯塔科維契﹝1906-1975﹞：第九號交響曲
撰文│張皓閔﹝國立臺灣師範大學音樂系音樂碩士生﹞
1943年底東線戰場上，蘇聯紅軍捷報頻傳，蕭 斯塔科維契宣布他將創作一首包含合唱與獨唱的大 型交響曲，以慶祝祖國即將到臨的勝利。在寫出激勵 民族士氣的第七號和帶有悲劇性格的第八號之後，這 部作品將是他在大戰期間寫作的第三部交響曲（也很 可能是最後一部），舉國上下無不引頸期盼他的「大 作」。樂曲終於於1945年8月30日完成。然而像是開
is introduced by a phrase on the viola, before its statement by the soloist, rhapsodic in style, to be further developed in a central section, before a great dynamic climax and the return of the first subject, now marked Maestoso. Calm returns for the orchestra to return to the second subject, now with an air of intense nostalgia, before the final coda. In the slow movement the orchestra moves from C minor to the remoter key of E major, to be joined by the soloist in music of characteristic figuration, with the principal theme introduced by flute and clarinet before being taken up by the soloist. There is a central section of greater animation and mounting tension, leading to a powerful cadenza, followed by the return of the principal theme. With scarcely a pause the orchestra embarks on the final Allegro scherzando, providing the necessary modulation to the original key. A piano cadenza leads to the first theme, while a second theme, marked Moderato, is announced by the oboe and violas. Both are treated rhapsodically by the soloist, the second theme offering a romantic contrast to the more energetic rhythm of the first. In form the movement is a rondo, with the first theme largely keeping its original key and the second providing harmonic variety in different keys, the first making its second appearance in contrapuntal imitation. The concerto ends with a grandiose apotheosis of the second theme in a triumphant C major. © 2012 Naxos Digital Services Ltd. Modest Mussorgsky (1839-1881) : Songs and Dances of Death (orch. by D. Shostakovich) Pesni i piyaski smerti (Songs and Dances of Death), date from 1875, with the fourth song written in 1877. Based on a suggestion from Stasov and with texts by Arseny Golenischchev-Kutuzov, the songs reflect encounters with death. In the first, Kolïbel'naya (Lullaby), Death lulls to final sleep a child, dying in his mother's arms, and in the second, dedicated to Glinka's sister, Death serenades a dying girl, claiming her as his own. In Trepak, dedicated to the bass Osip Petrov, Death dances with a drunken peasant, lured to die in the ice and snow. The fourth song, Polkovodets (The Commander-in-Chief ), dedicated to Kutuzov, presents a scene of battle, after which Death surveys the field, having conquered all. © 2012 Naxos Digital Services Ltd Dmitri Shostakovich (1906-1975): Symphony No.9, op.70 The Ninth Symphony is scored for woodwind in pairsthough three flutes four horns, two trumpets, three trombones, tuba, timpani, percussion-three players and strings. Like its predecessor it has five movements, the final three again playing continuously, though their lay-out until the finale is closer to the Third String Quartet: indeed, the three works form a subsequence within Shostakovich's output that offers a likely more revealing commentary than the three symphonies from the first half of the 1940's on the wartime experience. The first movement is launched with a bustling theme on strings then woodwind, its lively wit complemented by a perky idea for the piccolo, offset by brazen trombone chords. The literal repeat of this exposition, the only such instance in Shostakovich's