如果說貝多芬是鬥士，舒伯特就是一位吟遊詩人。舒伯特在創作器樂曲時，也不忘用樂器來歌唱，明快而優美的風格，為浪漫樂派樹立了全新的典範。英年早逝的舒伯特，在三十一年短促的生命裡，共寫下九首交響曲，結構龐大的第九號交響曲《偉大》，可謂其中的傑作。舒曼曾讚賞《偉大》：「這是一首通往天國的交響曲，洋溢著美麗的浪漫精神。不熟悉這首交響曲的人，等於不認識舒伯特的真正面目。」也就因為第九號交響曲《偉大》，舒伯特足以留名交響曲音樂史。

俄國指揮家魯道夫•巴夏在莫斯科音樂院就讀期間，學習小提琴及中提琴，曾以小提琴獨奏家身份與蕭斯塔可維奇合作演出，並與李斯特、羅斯托波維奇、曼紐因等名家同台演出室內樂。從俄國移民西方後，巴夏開始指揮生涯，由於擅長絃樂，巴夏對於偏重絃樂的曲目，有其獨特的詮釋手法。這場音樂會，魯道夫•巴夏將以其細膩心思，剖析貝多芬這位鬥士內在的柔情，以及吟遊詩人舒伯特內心的奔放不羈，請你拭目以待。

Ludwig van Beethoven wrote his Violin Concerto during the happiest period in his life brought on by success in both career and love. Beethoven lets the orchestra and the violin sing out the beautiful melody. The piece approaching symphonic music in fervor transcends the concerto form. The extremely sweet music composition requires violin virtuosity. If Beethoven is a knight, then Franz Schubert is a troubadour. The latter never forgets to make an instrument sing in a romantic style. In his short life -- Schubert lived to be only 31 -- he wrote nine symphonies. One of the most outstanding was Symphony No. 9.

Of this "great symphony filled beautifully with romantic spirit," Schumann said: "Those who are unfamiliar with it do not know the true Schubert." It is because of this composition that Schubert makes symphony history.

As a violin and viola student at the Moscow Conservatory, Russian conductor Rudolf Barshai played as solo violinist with Shostakovich. He also performed chamber music with Liszt, Rostropovich and Menuhin. On moving to the West, Barshai picked up the baton, focusing a lot on string music.


烈焰寒冬
《第八號絃樂四重奏》是蕭斯塔可維奇於一九六○年所作的曲子，當時他正在德勒斯登為電影《五天五夜》創作電影配樂，受到電影的感動，短短三天就譜出這曲絃樂四重奏，並將此曲題獻為「回憶法西斯主義和戰爭的犧牲者」。曲中多處引用舊作，新舊交錯融合，也讓蕭斯塔可維奇過往的生命經驗，體現在這首充滿濃郁自傳性色彩的作品中。蕭斯塔可維奇的《第五號交響曲》，始於苦惱內省，歷經內在纏鬥，終以歡樂總結全曲。對於炫耀奪目的最終樂章，蕭斯塔可維奇的說法是：「試圖解答前幾個樂章的疑問，引導出光明的人生觀」。從《第五號交響曲》可清楚看見蕭斯塔可維奇冷中帶熱的風格。《阿波羅的禮讚》為斯特拉溫斯基新古典主義時期的作品，在風格上呈現此一時期著重對位風格和現代和聲處理的特色，但斯特拉溫斯基難馴的野性，仍不時從樂曲中奔竄而出。

曾師事蕭斯塔可維奇學習作曲的指揮家魯道夫•巴夏，除了詮釋別人的作品，也一再尋求作曲、管絃樂配器與改編的機會，改編自《第八號絃樂四重奏》的《室內交響曲》，是巴夏最為人熟知的作品之一。本場音樂會帶來的三首樂曲，分別呈現蕭斯塔可維奇理性中帶激情，以及斯特拉溫斯基狂放中見溫柔的特質，來自俄國的魯道夫•巴夏，將如何處理音樂中冰火相激的熱情，值得你的期待。

D. Shostakovich wrote String Quartet No. 8 for the movie titled Five Days, Five Nights in Dresden in record three days in 1960. Deeply moved by the film, he dedicated the soundtrack to the memory of the victims of Fascism and war. He lifted music from his old works and interspersed these with new composition to create something that said a lot about his colorful life. Shostakovich's Symphony No. 5 had him embroiled in mental torment and struggle before bringing it to a happy conclusion. Of the final movement, Shostakovich said that he attempted to resolve all earlier doubts and show the way to an honest view about life. Apollon Musagete from Shostakovich's neo-classic period indicates a striking harmonic and rhythmic flavoring of his modern music with room for his primitive side.

Maestro Rudolf Barshai, who studied conducting with Shostakovich, likes to master great compositions, even rearranging them. Chamber Symphony is his arrangement of String Quartet No. 8.

第一樂章，莊重的序奏，逐漸發展的高潮，氣勢強大而華麗。第二樂章，進行曲性格的夜曲，時而愉悅，時而平靜。第三樂章詼諧曲，時而明朗，時而詭異，難以捉摸的迷離。第四樂章的夜曲，深情款款，溫暖而朦朧。第五樂章，曲式雄壯威武，節奏明朗快樂，以輝煌的結束表現大開大闔的氣魄。全曲明快且戲劇化的表現方式，仍符合馬勒的創作性格。

根據指揮家Willem Mengelberg的紀錄，馬勒曾以「希望」及「人類的苦難」解釋這首樂曲，足見全曲仍呈現馬勒一貫「樂觀中看見絕望，悲劇中預見勝利」的矛盾本質。透過馬勒犀利的雙眼，我們似乎也能凝視時間中流轉的希望與苦難。

來自日本的井上道義，在詮釋馬勒的作品上，有其獨到手法。本次來台，井上為你獻上這場台灣樂壇難得一見的馬勒作品，撥開《夜之曲》的朦朧面紗，看見馬勒的創作面貌。

Mahler The Symphony No.7, also called "night music," was the last symphonic writing in his second composing period. At that time, Mahler was spending his summer in Maiernigg in 1904. A magnificent instrumental setting demonstrated the composer’s powerful attempt at the time.

In the first movement, Langsam-Allegro risoluto, ma non troppo, the structure is gradually expanded into the apex with the strong and grand manner. In the second movement, Nachtmusik: Allegro moderato, the delightful and peaceful character appears occasionally. In the third movement, Scherzo Schattenhaft, the dazzling and stealthy character reveals somewhat untenable quality. In the fourth movement, Nachtmusik: Andante amoroso, the deep feeling produces a warm and hazy atmosphere. In the fifth movement, Rondo-Finale, the majestic form combines the vigorous rhythm throughout the entire music, then joins with the brilliant ending. With such a dramatic creation, it matches the composer’s distinct characteristic.

According to the conductor, Willem Mengelberg, Mahler attempted to interpret the work by using the contents of the hopefulness and the suffering of human beings. This is consistent with the composer’s contradictory nature, that is via to picture despair via optimism and to predict victory in tragedy. Throughout Mahler’s sharp eyes, we seem to visualize hope and suffering in the flow of times.

The Japanese conductor, Michiyoshi Inoue, has his distinct thoughts to interpret of Mahler’s work. In this concert, he will bring this rare performed symphony to the stage of Taiwan. To unmask the cover of this "night music," you’d discover Mahler’s creative composition.