Symphony No. 6 (Tchaikovsky)

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Symphony No. 6 (Tchaikovsky)
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Excerpt from the fourth movement of Tchaikovsky's Pathétique Symphony.
The Symphony No. 6 in B minor, Pathétique, Op. 74 is Pyotr Ilyich Tchaikovsky's final symphony. It was premiered nine days before his death in 1893. Tchaikovsky said of it, "Without exaggeration, I have put my whole soul into this work."[1]
Contents
[hide]
• 1 Title
• 2 Instrumentation
• 3 Structure
• 4 Bibliography
• 5 References
• 6 External links

[edit] Title
The Russian title of the symphony, Патетическая (Patetičeskaja), means "passionate" or "emotional", not "arousing pity". Tchaikovsky considered calling it Программная (Programmnaja or "Programme Symphony") but realised that would encourage curiosity about the programme, which he did not want to reveal. His brother Modest suggested the Патетическая title, which was used in early editions of the symphony; although Tchaikovsky disliked the title and instructed the publisher to remove it, his publisher chose not to, and the title remained. Its French translation Pathétique, however, is generally used in French, English, German and other languages.[2]
[edit] Instrumentation
The symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 trumpets in B-flat and A, 3 trombones (2 tenors and a bass), tuba, timpani, bass drum, cymbals, tam-tam (ad libitum) and strings. A bass clarinet is sometimes used to play the bassoon solo marked pppppp in the first movement, to get the desired quietness.
[edit] Structure
The symphony contains four movements
1. Adagio - Allegro non troppo
2. Allegro con grazia
3. Allegro molto vivace
4. Finale: Adagio lamentoso
The first movement is cast in a modified Sonata-allegro form with an introduction (m.1-18), an exposition consisting of two theme groups (m.19-88 and m.89-160), a development section (m.161-304), a recapitulation in which only the second theme group is repeated (m.305-334), and a coda (m.335-354). The movement opens with a slow bassoon solo, stating a motif that will become the first theme, accompanied by low strings. A romantic theme occurs 89 bars in. After some development, it fades away in a bassoon passage marked pppppp, followed (at bar 161) by a sudden tutti fortissimo and an agitated passage. According to Simon Karlinsky,[3] in an oral tradition passed from Tchaikovsky, to his brother Modest, to the painter Pavel Tchelitchew, to a musician called Alex, to him in 1941, the secret programme of the symphony is about the love of two men—represented by the romantic theme—and the agitated passage represents the attacks of a hostile world. A brief trombone chorale based on an Orthodox hymn is heard after a climax represented by descending trumpet scales. The battle would continue through its development until a tragic eruption. A restatement of the romantic theme in B major is heard this time darker in mood. Lastly, a wind chorale plays over descending pizzicato B major scales.
The second movement takes the form of a lively dance. Its unusual 5/4 time signature is the subject of much speculation, most of which claims that the movement acts as a stretched or limping waltz. [1]
The third movement is again upbeat. In common time, it adheres to much more of a standard form than the rest of the work. The movement revolves around two themes, a nervous, jittery motif in the woodwinds and a majestic march originating in the brass. As a march, it is very un-military. Its harmonic structure is based on the tonic and subdominant rather than the more common tonic and dominant. Eventually, the orchestra launches into a full, triumphant chorus of the brass theme at the movement's end, often leading many people to believe that the symphony is over. For this reason, audiences sometimes mistakenly applaud after the movement.
The final movement immediately returns to the darkness of the first with its brooding tone and slow tempo. The opening is scored unusually, the first and second violins taking turns to play the notes of the main theme, and the same is done with the other parts. A slow crescendo builds up to a fortissimo of wailing strings accompanying a fanfare for the brass and drums. The bassoon theme reemerges and is built upon; after much development the movement, without ever quickening, again climaxes with a fff drumroll, brass knell, and a resurgence of the first string theme, then meanders off into a quiet ending. According to Karlinsky, it is an elegy for one or more of Tchaikovsky's deceased lovers.
Among the sketches for the "Pathétique" were found sketches of the projected Cello Concerto. It was debated whether or not the sketches were to belong to the finale of the symphony or a completely different work. After much discussion, experts agreed that the sketches belonged to the Cello Concerto.
[edit] Bibliography









Tchaikovsky - Charles Dutoit - Symphony No.6 Mvt.4


私人音乐珍藏十六：悲情的老柴
________________________________________
http://blog.sina.com.cn 2007年10月06日11:21 西叶
标签： 乐评
悲怆
柴科夫斯基



对柴科夫斯基，通常有两种极端的评价。一种说法认为他的音乐肤浅，没有任何真正的思想深度，所表达的也只是个人的痛苦，比如《悲怆》，大体言之无物，并有造作斧凿之痕，以乐评家萧伯纳为主。
另一种说法的顶级代言人是余华。我无意看到他与一《爱乐》杂志记者的谈话，便喜欢上了这种表达：在柴科夫斯基的音乐中，充满他自己生命的声音。感伤的怀旧，纤弱的内心情感，强烈的与外在世界的冲突，病态的内心分裂，都表现得十分真诚。柴科夫斯基一层一层地把自己穿的衣服全部脱光。他剥光自己的衣服，不是要你们看到他的裸体，而是要你们看到他的灵魂……
我想，能走近老柴的人都喜欢他完善且深入的自我表达。他用个人的心灵感应，从自己出发进入社会，来表述对人生的理解。他予现实世界，是一种独特的情感符号，单纯、真实、用彻底的拜伦式悲剧性格，让命运之鼓隆隆敲响，而孤独的长号手，在老柴情感式的呻吟里，吹出如墓穴般阴森的命运之声。
我不赞成有的人把老柴作品归入“轻音乐”之列，就因为他真实倾诉了自己的情感而使人掉泪？20世纪末至今，我们太容易一挥手就随便否定一个大师，这是不公平的。不过对大多人来说，喜欢柴科夫斯基确实比喜欢巴赫更容易一些。巴赫是睿智的，而柴科夫斯基是多情的。他一生共写了七部交响曲，《第六（悲怆）交响曲》应该是柴科夫斯基总结性的代表作。
《第六（悲怆）交响曲》完成于1893年夏，同年11月6日老柴逝于彼得堡。虽不是标题音乐，但标题性仍然很鲜明，现实生活中的痛苦，对幸福世界的幻想与渴望，在音乐创作和生活领域感到的孤独，对情感生活的失落与绝望的情绪贯穿作品始终。可以说《悲怆》完整体现了柴科夫斯基的美学观。
于是有人问，它是他的安魂曲吗？
在他死后很久都是一个谜。
后来在老柴的传记里，看到他弟弟莫德斯特的一封信，信是写给普雷斯堡城市档案馆负责人约翰•巴特卡的。信中，莫德斯特写下了他根据老柴表述整理成的作品解释，大意是：《悲怆》第一部分像老柴的一生，一个由痛苦、忧患和对伟大与崇高不可抗拒的渴望构成的混合体，一方面展示了抗争与对死亡的恐惧，另一方面也展示了神一样的快乐和对所有向我们预示天之仁慈的真、善、美世界的无限的爱。二乐章是他生命短暂的喜悦，但与别人寻常的快乐无法相比，因此是4/5拍。他音乐的发展史集中体现在三乐章，乐曲最后一乐章，几乎是柴科夫斯基生命最后几年的精神状态——“辛酸的失望和深深的痛苦。因为他不得不认识到，即便艺术也是攸忽而逝，不能减轻他对永恒的虚无的畏惧。这虚无即将把他的所爱、他一生都视为永恒和持久的东西无情并永远地吞没。”
我们承认，每个非音乐的说明都有其可笑的一面，但这些内容，无可厚非的帮我们由音乐进而进入老柴的生命之思。
PHILIPS重新出版VAN Kempen完成于二战期间的指挥录音，充分诠释了老柴的率性与悲情，也无不彰显出指挥家尽责勤勉、敏锐的音乐个性。应该说肯彭从来都是不容忽视的，几乎所有作品都有很高的艺术价值，是许多爱乐人喜欢和珍藏的版本。
不过也有人说“柴六——悲怆”不能随便听，因为老柴是为自己而写，为那些与他有相似情感经历的人而写，为世上所有盼望获得真正幸福的人而写。尽管我们知道以“悲怆”为标题的作品不止这一部，但只有柴科夫斯基，完成了对自己悲剧人生的最后总结和对人类命运与灵魂的动容思考。那所有隐匿海底之下的暗流，都会随令人窒息的音乐，驱动出异常的苦痛之力。



肖邦、柴科夫斯基、德沃夏克是最被人们看好的古典入门作曲家，
当然，巴赫、贝多芬、莫扎特的很多作品也是很好的入门选择，
那麽，还有没有别人呢？......

1. chopin: nocturnes

肖邦的21首夜曲旋律优美，构思精巧，曲曲都让人爱不释手，适合夜深人静的时候细细聆听。

2. bach: brandenberg concertos

巴赫的布兰登堡协奏曲配器丰富，韵律活泼，是休闲消遣时的好伙伴。

3. bach: orchestral suites

与布兰登堡协奏曲的风格类似，只是规模稍显宏大，著名的《G弦上的咏叹调》就出自于此。

4. bach: goldberg variations

纯钢琴作品，一个优美纯朴的主题演绎出30个丰富多彩的变奏，绝不会让你感觉单调的长篇大作。《英国病人》里多次使用了它的主题。

5. vivaldi: violin concerto "the four seasons"

维瓦尔第的小提琴协奏曲"四季"是写景状物的音乐中的极品，形象逼真，曲式工整。温婉与粗犷同在，柔情与幽默兼备。

6. corelli: concertos grosso

不知名的音乐不一定不好听。科莱里的大协奏曲充满浓郁的乡野气息，让人仿佛置身在阳光明媚的亚平宁乡村午后。

7. handel: music for royal fireworks, water music

韩德尔的皇家焰火音乐和水上音乐是专门为皇室成员的娱乐而写的，富丽堂皇，没有一丝一毫的苦闷和哀怨，让人身心愉悦。

8. haydn: cello concertos, piano concertos, symphonies, etc.

海顿的为人老实敦厚，又会时不时的幽默一下儿。他的音乐也是如此，初听中规中距，平淡无奇，细品才越有味道。

9. mozart: clarinet concerto

莫扎特的单簧管协奏曲，是他临终前的天鹅之作，楚楚可怜，份外动人。

10. mozart: piano concertos no.20 & 21

莫扎特天使般的纯真和烂漫在这两首钢琴协奏曲里尽显无遗。

60;
11. beethoven: violin sonata "spring"

贝多芬的小提琴奏鸣曲"春天"是铁汉柔情的充分体现。

12. beethoven: symphony no.5 & 6

交响曲"命运"与"田园"，一个是英雄的奋力抗争，一个是巨人的乡间小憩。

13. brahms: violin sonata "raindrop"

勃拉姆斯的小提琴奏鸣曲"雨滴"，小提琴与钢琴奏出一曲清丽的诗歌。

14. brahms: clarinet trio

勃拉姆斯的单簧管三重奏，仿佛一杯浓浓的咖啡，苦涩中透着浓香。

15. shubert: lyric lied "schwanengesang"

舒伯特的抒情曲集"天鹅之歌"，篇幅短小精悍，曲意简洁明了，荡漾着作者的柔情万千。第四首为著名的《小夜曲》。

16. dvorak: symphony no.9 "from the new world"

德沃夏克的"新世界"交响曲既描绘了新大陆的勃勃生机，又充满了作者的思乡情结。

17. smetana: symphonic poem "my country"

斯美塔纳的交响诗"我的祖国"辉煌壮丽，其中的第二乐章"伏尔塔瓦河"不仅意象逼真，而且真情浓郁，听一次感动一次。

18. debussy: "moonlight" (piano)

19. ravel: "bolero" (orchestral)

德彪西的"月光"和拉威尔的"波莱罗"同属印象派的佳作，前者朦胧缥缈，后者斑斓浓烈。

20. tchaikovsky: symphony no.6 "pathetique"

柴科夫斯基在写完"悲怆"交响曲后十多天即自杀，所以此曲不可多听，尤其是第四乐章，会让你不由自主地陷入作者的绝望之中。新版的《安娜•卡列尼娜》结尾处就使用了这首曲子。

60;
21. shubert: sonata for arpeggione and piano

arpeggione这种兼备吉他和大提琴特色的乐器如今已经失传，所以舒伯特此奏鸣曲现多采用大提琴演奏，但它的魅力依然不减，每一根弦都揉搓在听者心脏最柔软的角落。

22. rachmaninov: piano concertos no.2 & 3

拉赫曼尼诺夫被称为二十世纪最后的浪漫主义大师，而这两首钢琴协奏曲也证实了此称号，优美的曲调，跌宕的情感，加上恰到好处的煽情，感觉与好莱坞电影配乐的风格有点相似。

23. tchaikovsky: 1812 overture

说起《1812序曲》，就不得不提它里面的大炮声和教堂的钟声，也不得不提大多数发烧友都把它作为试音曲目的首选。如果单从曲子本身来讲，流畅的旋律，磅礴的气势，以及一气呵成的节奏，的确不失为一首节庆佳作。

24. debussy: the girl with the flaxen hair

德彪西的《亚麻色头发的少女》用精练的笔触描绘出一位天真无邪的少女的形象。它是如此如此短小，以至于每次听后都觉得意犹未尽。

25. satie: gymnopedie 3 pieces, gynossienne 6 pieces

萨蒂的这两组钢琴曲，不仅名字十分怪异，而且风格在当时也属特立独行。缓慢而从容的节奏，从始至终轻轻荡漾，颇能赢得现代人的青睐。其实它采用的是古希腊音乐的调性和节奏。

26. ravel: pavane for a dead princess

拉威尔的《为逝去的公主所写的孔雀舞曲》，凄美哀伤的情绪始终在压抑的节奏下潜行，间或出现的重音敲击，是这种情绪的偶然流露。

27. pachelbel: canon in D

简单的说，canon就是一个不断模仿并重复的音型，那麽这样的音乐有什麽好听吗？听完帕海贝尔的这首《卡农》之后，我不得不惊讶于作者的惊人才华。《我的野蛮女友》里，男主人公向女主人公送玫瑰的时候，女孩儿弹的钢琴音乐就是由它改编而成的。

28. devorak: humoresque

德沃夏克的《幽默曲》。起初差点儿被它的名字所迷惑，其实它不仅不幽默，而且是唯一一次让我落泪的曲子。温文尔雅，深情款款，总是让我想起故乡的亲人。

29. mascagni: intermezzo, from country cavalier

30. massenet: meditation, from thais

这是两首非常著名的歌剧配乐选断，非常好听，只是听多了便觉得有些无味。可能这就是匠人与大师之间的差距吧。