德沃夏克: 第九(自新大陆)交响曲

Dvorak Symphony 9 "From The New World"

Dublin Philharmonic Orchestra, Derek Gleeson, Conductor





Symphony No. 9 (Dvořák)
From Wikipedia, the free encyclopedia

The Symphony No. 9, in E Minor "From the New World" (Op. 95), popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893 during his visit to the United States from 1892 to 1895. It is by far his most popular symphony, and one of the most popular symphonies in the modern repertory.

Instrumentation

This symphony is scored for an orchestra of the following:

2 flutes (one doubling piccolo)[1], 2 oboes (one doubling on cor anglais), 2 clarinets in A, 2 bassoons, 4 horns in E and C, 2 trumpets in E, C and E flat, 2 tenor trombones, bass trombone, tuba(second movement only)[2], timpani, triangle, cymbals, and strings.

Movements
 
The piece has four movements:

I. Adagio — Allegro molto
II. Largo
III. Scherzo: Molto Vivace — Poco sostenuto
IV. Allegro con fuoco

Influences
 
Dvořák was interested in the native American music and African-American spirituals he heard in America. Upon his arrival in America, he stated:

"I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them." [3]
The symphony's premiere was on December 16, 1893 by the New York Philharmonic at Carnegie Hall (which was the home of the Philharmonic until 1962), conducted by Anton Seidl. A day earlier, in an article published in the New York Herald on December 15, 1893, Dvořák further explained how Native American music had been an influence on this symphony:

"I have not actually used any of the [Native American] melodies. I have simply written original themes embodying the peculiarities of the Indian music, and, using these themes as subjects, have developed them with all the resources of modern rhythms, counterpoint, and orchestral color."
In the same article, Dvořák stated that he regarded the symphony's second movement as a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's [The Song of] Hiawatha" (he never actually wrote such a piece). He also wrote that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance".

Curiously enough, passages which modern ears perceive as the musical idiom of African-American spirituals may have been intended by Dvořák to evoke a Native American atmosphere. In 1893, a newspaper interview quoted Dvořák as saying "I found that the music of the negroes and of the Indians was practically identical", and that "the music of the two races bore a remarkable similarity to the music of Scotland".[4][5] Most historians agree that Dvořák is referring to the pentatonic scale, which is typical of each of these musical traditions.[citation needed]

Despite all this, it is generally considered that, like other Dvořák pieces, the work has more in common with folk music of his native Bohemia than with that of the United States. Leonard Bernstein averred that the work was truly multinational in its foundations.[6] Nonetheless, many have proclaimed that the spirit of this symphony is quintessentially American, and the multiculturalism of the work has been cited as supporting this, in harmony with the nature of America as a melting pot.[citation needed]

Influence on other composers
 
The theme from the largo was adapted into a spiritual-like song "Goin’ Home," by black composer Harry Burleigh, whom Dvorak met during his American sojourn, and lyricist William Arms Fisher.[7]

Notes and references
 
1 The scoring of piccolo in this symphony is extremely unusual; although the English horn is brought in for the famous solo in the second movement, the piccolo plays only a short phrase in the first, and nothing else.
2 Tuba is only scored in the second movement. According to the full score book published by Dover, it indicates "Trombone basso e Tuba" in the second movement. The bass trombone is used in all four movements.
3 http://www.classicalnotes.net/columns/newworld.html
4 Kerkering, John D.; Albert Gelpi, Ross Posnock (2003). The Poetics of National and Racial Identity in Nineteenth-Century American Literature. Cambridge University Press, 133. ISBN 0521831148. 
5 Beckerman, Michael Brim (2003). New Worlds of Dvorak: Searching in America for the Composer's Inner Life. W. W. Norton & Company, 237. ISBN 0393047067. 
6 Leonard Bernstein - the 1953 American Decca recordings. DGG 477 0002. Comments on the 2nd compact disc.
7 Smith, Jane Stuart; Betty Carlson (1995). The Gift of Music: Great Composers and Their Influence. Crossway Books. ISBN 089107869X. , p. 157: "The largo of the second movement has a hauntingly beautiful melody played by the English horn. There is a sense of longing about it, and a spiritual has been adapted from it, 'Going Home.'"

Source: http://en.wikipedia.org/wiki/Symphony_No._9_(Dvo%C5%99%C3%A1k)

[YuGong]

德沃夏克第九交响曲
-- 百度百科

德沃夏克的e小调第九交响曲《自新大陆》。（也有的版本译为“新大陆”或“新世界”交响曲）

伟大的捷克作曲家德沃夏克所留下的九部交响曲，是他一生中最重要的作品，也是十九世纪民族乐派交响曲的代表作，在整个音乐史上也是不容忽视的杰作。由于德沃夏克的交响曲深受古典乐派的影响，所以他的作品结构坚实、牢固。另外，由于他具有天生的旋律才能和丰富、敏锐的旋律感， 因而他的作品充分发挥了旋律的魅力， 而不像传统的古典交响乐那样单纯地发挥技法。这就是德沃夏克交响曲的特殊之处。 德沃夏克的管弦乐法，并不反映当时的潮流， 虽然没有华丽绚烂的色彩，却显得十分朴实可爱。正是因为如此，他的管弦乐法遭到当时某些乐评家的误解。实际上，德沃夏克的交响曲不但能充分地发挥各种乐器的特性，而且在乐器的组合运用方面，更具有无穷的妙味。

1892年，美国纽约国家音乐学院聘请德沃夏克出任该院的院长，德沃夏克则应邀赴美。这部《第九交响曲》即是德沃夏克在美国停留的将近三年期间内，大约在1893年五月完成的作品。1893年12月16日由翟多尔指挥纽约爱乐乐团首演。

这部交响乐实际上是作者对于美国所在的“新大陆”所产生的印象的体现，曲中虽然有类似“黑人灵歌”与美洲“印第安民谣”的旋律出现，但德沃夏克并不是原封不动地将这些民谣歌曲作为主题题材，而是在自己的创作乐思中揉进这些民谣的精神而加以表现。将此交响曲命名为“自新大陆”者，正是作曲者德沃夏克本人

全曲共分为四个乐章：

第一乐章 序奏，慢板，e小调，4/8拍子。 此序奏部分颇为宏大，其主题与相继的主部快板部分有极其微妙的关系，担负一种连贯全曲的特殊任务，甚至可称之为全曲精神的中心旋律。乐章的引子部分由弦乐器、定音鼓和管乐器竞相奏出强烈而热情的节奏，暗喻了美国那种紧张、忙碌的快节奏生活 ； 乐章的主部主题贯穿了全曲的四个乐章，这个主题被认为和黑人灵歌《流吧，约旦河》有连带关系，也有人认为，切分音与五声音阶的进行与居住于匈牙利和波西米亚境内的马札儿民族固有的民俗音乐具有共通的性质。这一特殊主题靠着巧妙发展，转达了不同于以往音乐世界的“新世界”的消息， 具有强烈的震撼效果。 德沃夏克当时背井离乡，乡愁蕴积，故而引用了他少年时期耳熟能详的民俗歌曲特质，以遣思乡念国的情怀。乐章中另一段优美的旋律透露出浓浓的乡愁,恰是作者这种心情的体现。

第二乐章 最缓板，降D大调，4/4拍子，复合三段体。 这个乐章原有《传奇》的标题，一连串庄严的和弦引出《回家》的旋律。这一乐章是整部交响曲中最为有名的乐章，经常被提出来单独演奏，其浓烈的乡愁之情，恰恰是德沃夏克本人身处他乡时，对祖国无限眷恋之情的体现。整个乐队的木管部分在低音区合奏出充满哀伤气氛的几个和弦之后，由英国管独奏出充满奇异美感和神妙情趣的慢板主题，弦乐以简单的和弦作为伴奏，这就是本乐章的第一主题,此部分被誉为所有交响曲中最为动人的慢板乐章。 事实上，也正因为有了这段旋律，这首交响曲才博得全世界人民的由衷喜爱。这充满无限乡愁的美丽旋律，曾被后人填上歌词，而改编成为一首名叫《恋故乡》的歌曲，并在美国广泛流传、家喻户晓。本乐章的第二主题由长笛和双簧管交替奏出， 旋律优美绝伦， 在忽高忽低的情绪中流露出了一种无言的凄凉，仍是作者思乡之情的反映。 本乐章的第三主题转为明快而活泼的旋律，具有一些捷克民间舞蹈音乐的风格。

第三乐章 谐谑曲，从“海华沙的婚宴”中的印第安舞蹈中得到启发,舞蹈由快而慢地不停旋转。音乐有两个主题，第一主题轻快而活泼，带有跳跃的情绪；第二主题清丽、明快,富有五声音阶特色；两个主题彼此应和、模仿。 乐章的中间部分主题悠长而婉转，是典型的捷克民间音乐风格。

第四乐章 终曲，快板，奏鸣曲式。 气势宏大而雄伟，这个总结性的乐章将前面乐章的主要主题一一再现，同时孕育出新的主题，彼此交织成一股感情的洪流，抒发了作者想象中和家人聚首时的欢乐情景。乐章的主部主题由圆号和小号共同奏出，威武而雄壮；副部主题则是柔美、抒情性旋律,由单簧管奏出。这一切经过发展之后，形成辉煌的结尾。


这首交响曲的版本可选:

1.库贝利克指挥柏林爱乐乐团版，DG, CD编号447 412-2(第八、第九交响曲)，《企鹅》评介三星。

2.克尔特斯指挥伦敦交响乐团版，Decca, CD编号417 724--2(+德沃夏克的《随想谐谑曲》、《狂欢节序曲》）。

3.卡拉扬指挥维也纳爱乐乐团版，DG, CD编号439009-2(十斯美塔那的《沃尔塔瓦河》)(金版)，《企鹅》评介三星保留一星。
卡拉扬指挥柏林爱乐乐团版，DG, CD编号435 590-2 （画廊，+德沃夏克的《斯拉夫舞曲》选)，《企鹅》评介三星。

4.夏伊里指挥阿姆斯特丹音乐厅乐团版，Decca, CD编号421 016-2（+德沃夏克的《狂欢节序曲》)。

5.莱文指挥德累斯顿交响乐团版，DG, CD编号447754-2(第八、第九交响曲)。

6.康德拉辛指挥维也纳爱乐乐团版，Decca, CD编号430 702-2(+德沃夏克的《美国组曲》)，《企鹅》评介三星。

7.帕雷指挥底特律交响乐团版，Mercury, CD编号434317-2(+西贝柳斯的《第二交响曲》)，《企鹅》评介三星。

8.贾维指挥苏格兰国家交响乐团版，Chandos,CD编号CHAN8510(+德沃夏克的《我的家》)，《企鹅》评介三星。

9.纽曼指挥捷克爱乐乐团版，SUPR,CD编号C37-7002。

这首交响曲，托斯卡尼尼指挥NBC交响乐团有1953年录音，RCA, CD编号GD 60279 （+科达伊的《哈莱·雅诺斯组曲》、斯美塔那的《沃尔塔瓦河》，《企鹅》评介历史录音三星。

Source: http://baike.baidu.com/view/179006.html