d大调协奏曲长笛曲式分析图（施波尔F大调九重奏）

本期《跟着天津茱莉亚听音乐｜线上音乐厅》，为大家呈现德国作曲家路易·施波尔《F大调九重奏，作品31号》的第三和第四乐章。天津茱莉亚学院音乐理论教师尼科洛·安森（Niccolo Athens）撰写了曲目介绍，并特约青年乐评人高建在北京音乐会后撰写的乐评，希望可以帮助大家更好的欣赏这部难得一听的“辉煌九重奏”。

演 出 曲 目

路易·施波尔（1784-1859）

F大调九重奏，作品31号

III.慢板

IV.终曲：活泼地

天津茱莉亚室内乐团

盖尔盖伊·伊采什，长笛斯科特·贝尔，双簧管周相宇，单簧管谢非，大管（客座艺术家）韩小光，圆号纪尧姆·苏特，小提琴希拉·布朗，中提琴金兗珍，大提琴张达寻，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 绍

施波尔：F大调九重奏，作品第31号

Spohr: Nonet in F Major, Op. 31

德国人路德维希·施波尔不但是一位多产的作曲家，还是一位优秀的小提琴家。他的职业生涯漫长，经历十分丰富。如今，除了单簧管协奏曲等少数几首作品之外，施波尔的作品已经很少有人演出，但这部《大九重奏》绝对值得重视。他被人们遗忘的一个重要原因可能在于，他漫长的职业生涯刚好跨越了从古典主义时期向浪漫主义时期转变的历史阶段，而从历史分期上来说，基本上整个十九世纪都处在这个转变的过程当中。施波尔的音乐深深植根于古典主义时期的风格之中（在这方面可能只有贝多芬能够与他相提并论）。他活得比门德尔松、舒曼和肖邦都要久，但他的作品却没有受到这些人的任何影响。

施波尔作于1813年的这部《大九重奏》显然名副其实——它非常宏大，使用的乐器数量很多，而且音乐本身也宽广而丰富。这首作品的演奏阵容介于室内乐与交响乐之间，全奏的声音效果不逊于交响乐团，而在作品不同部分出现的各个乐器的独奏段落又保留了室内乐的私密感。施波尔在作品中反复使用的一种效果是四件乐器的弦乐组与五件乐器的管乐组之间形成的对比。

作品的第一乐章很长，一开头就能听到这种弦乐组与管乐组的对比。第一段旋律的前半部分由弦乐组的四件乐器演奏，而后半段由管乐组的五件乐器进行应答。接下来的过渡段取材于第一主题的开头四个音符，结构十分紧凑。这一乐章的第二主题采用属音调式，更具歌唱性。它轻快可人，调式灵活，很像舒伯特的风格。展开部也很长，精巧的复调和丰富而充分的调式演进都彰显了作曲家的能力。第二乐章是D小调谐谑曲，由两段三重奏组成，而不是常见的一段。这一乐章让人想起莫扎特大帕蒂塔的那种宏大开阔。音乐主体克制内敛，但也不乏贝多芬式的节奏错置。乐章的第一段结构简单，采用平行大调，以小提琴为主奏乐器，而第二部分则更倚重管乐器，音乐曲折，色彩丰富。施波尔在谐谑曲的最后一次再现之后加上了一个颇具创造性的尾声，让第三次的再现不至于显得冗余。

九重奏的第三乐章为柔板，又是以弦乐组和管乐组的对比开头，主题呈现出一种冥想式的平静。音乐随后转入节奏感较强的下一段落，转入属调，并使用的强有力的终止式。简短的展开部和第一乐章的展开部一样，一开始就突然转入了降中音调式。它转回原调的方式却颇不寻常。和声上极富创造性，可与贝多芬媲美。施波尔用D大调中常用的音导入主音大调（降B大调），是音乐突然变得舒缓静谧。之后的再现部运用了丰富的装饰音，与莫扎特的柔板乐章颇有几分相似。最后一个乐章充满意大利式的浮夸和机智，让人想起罗西尼。尤其是乐章中的第二主题，色彩上显得十分“顽皮”，精神抖擞。整个乐章气氛轻松，结构匀称，全曲在这里得到了充分的解决。作品堪称这位被遗忘的作曲家的一部重量级作品。

——

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.

曲目介绍由尼科洛·安森博士撰写Program Notes by Dr. Niccolo Athens

后排：盖尔盖伊·伊采什、斯科特·贝尔、周相宇、谢非、韩小光前排：纪尧姆·苏特、希拉·布朗、金兗珍、张达寻

现 场 回 声

……如果说上半场的三首作品属于光芒各异的宝石，那么下半场路易·施波尔的《F大调九重奏路》则完全可以独称皇冠。这位成长在贝多芬与舒伯特光环之下的德国作曲家极具想象力地为四件弦乐器和五件管乐器谱写了一部足可匹敌交响曲的巨作，将管乐和弦乐的特性对比置于整部作品的核心位置，从首乐章长笛跟进重复小提琴清新怡人的旋律、到第三乐章宁静而充满冥想的主题建构，全部都是“交响思维”指引下动机推进的体现。值得一提的是谐谑曲的第二乐章反而不像贝多芬作品中那般冲突激烈和棱角鲜明，舒展从容的舞曲气质从九位演奏家的指尖款款流淌，节奏上的细小延宕带来的弹性、乐句间短暂的停留唤起的呼吸感，达到了令人惊叹的自如程度。末乐章则转入了彻头彻尾的灵动愉悦，单音喋喋不休地重复使用不但像海顿或者莫扎特时代的写作风格，甚至可以把它和意大利美声歌剧中快速炫技的小品画上等号，在密集的声部轮转中，笔者不禁想象仅仅是把弦乐四重奏和木管五重奏的声部拆解开来，都会是两部华丽流畅的杰作，而当它们如榫卯般结合起来，散发出的那样的一种光芒可能会让所有听者疑惑——我们为何竟然会长时间的忽略这样一位顶级的音乐大师呢？而这种感慨恰恰就是天津茱莉亚室内乐团的成功所在以及它令人肃然起敬的缘由。在茫茫乐海中去寻觅这样的遗珠杰作，而且是以如此高的水准呈现，这种目光既是一种学术性的梳理和回望，同时也是艺术家们舞台经验和对于观众审美需求的契合把握。我相信这样一支由海内外的杰出青年音乐教师组成的队伍，无论在未来的舞台表演中还是在教学实践中，都会为中国乃至世界音乐的发展，注入非常值得期待的动力。

青年乐评人高建撰稿