节目单｜今晚直播，天津茱莉亚室内乐团演绎斯特拉文斯基
导赏视频：2023汇聚音乐节：斯特拉文斯基及其传承
今晚7:00，天津茱莉亚室内乐团将呈现一场伊戈尔·斯特拉文斯基（Igor Stravinsky）专场音乐会。艺术家们将演出钢琴四手联弹版《春之祭》，以及《士兵的故事：组曲》，带领大家走进这位现代音乐巨匠的艺术世界。
天津茱莉亚学院2023汇聚音乐节将从3月24日持续至31日。学院师生将共同呈现四场音乐会，聚焦斯特拉文斯基及其传承，同时关注两位在世作曲家——中国作曲家郭文景和美国作曲家琼·塔娃（Joan Tower）——以及他们的创作。
本场音乐会将通过【TJS Live｜天津茱莉亚现场】在下列平台进行直播：天津茱莉亚学院【官网】【视频号】【微博】【bilibili】、北京音乐广播【视频号】【微博】【抖音】。其中，天津茱莉亚【官网】还将独家开通限时回放功能，观众可于演出结束后的24小时内观看回放。
演出曲目｜Program
伊戈尔·斯特拉文斯基（1882-1971）
春之祭（钢琴四手联弹）
第一部分：大地的崇拜
序曲
春天的征兆
劫持的游戏
春天的轮舞
敌对部落的角逐
祭祀登场
大地之舞
第二部分：献祭
序曲
少女的神秘环舞
赞美被选中者
召唤祖先
祭祖仪式
献祭的舞蹈
萧晴文，钢琴
康斯坦丁·瓦利安纳托斯，钢琴
IGOR STRAVINSKY (1882-1971)
Le Sacre du printemps for Four-hand Piano (The Rite of Spring)
Part Ⅰ: L'Adoration de la Terre (Adoration of the Earth)
Introduction
Les Augures printaniers (Augurs of Spring)
Jeu du rapt (Ritual of Abduction)
Rondes printanières (Spring Rounds)
Jeux des cités rivales (Ritual of the Rival Tribes)
Cortège du sage: Le Sage (Procession of the Sage)
Danse de la terre (Dance of the Earth)
Part Ⅱ: Le Sacrifice (The Sacrifice)
Introduction
Cercles mystérieux des adolescentes (Mystic Circles of the Young Girls)
Glorification de l'élue (Glorification of the Chosen One)
Evocation des ancêtres (Evocation of the Ancestors)
Action rituelle des ancêtres (Ritual Action of the Ancestors)
Danse sacrale (Sacrificial Dance)
Ching-Wen Hsiao, Piano
Konstantinos Valianatos, Piano
— 中场休息｜Intermission —
伊戈尔·斯特拉文斯基（1882-1971）
士兵的故事：组曲
士兵进行曲
溪边小曲
田园
皇家进行曲
小音乐会
三首舞曲（探戈—圆舞曲—拉格泰姆）
恶魔之舞
大圣咏曲
恶魔凯旋进行曲
周相宇，单簧管
祐川嵩雄，巴松管
谢尔盖·图特金，小号
李·艾伦，长号
韩文卿，打击乐
唐伟思，小提琴
张达寻，低音提琴
沈逸文，指挥
IGOR STRAVINSKY (1882-1971)
Suite – Histoire du soldat (The Soldier’s Tale)
Marche du Soldat
Petits Airs au Bord du Ruisseau
Pastorale
Marche Royale
Petit Concert
Trois Danses (Tango – Valse – Ragtime)
Danse du Diable
Grand Choral
Marche Triomphale du Diable
Xiangyu Zhou, Clarinet
Takao Sukegawa, Bassoon
Sergey Tyuteykin, Trumpet
Lee Allen, Trombone
June Hahn, Percussion
Tarn Travers, Violin
DaXun Zhang, Double Bass
Yiwen Shen, Conductor
伊戈尔·斯特拉文斯基
春之祭（钢琴四手联弹）
IGOR STRAVINSKY
Le Sacre du printemps for Four-hand Piano (The Rite of Spring)
在交响乐曲目中，很少有像斯特拉文斯基的芭蕾舞剧《春之祭》这样标志性的作品。其1913年首演的曲折不断被提起，以至成为音乐史学中的经典案例。起初，观众并不接受这部新锐作品，认为它的内容“侵略性”过强，但随后，《春之祭》却逐渐成为经典传世之作。事实上，在这部作品面世的第一个十年间，即使将它的戏剧背景分离出来而仅以音乐会形式演出，观众仍会被这部作品深深震撼。它错综复杂的音高和节奏形式以及大量使用的民歌素材（即使斯特拉文斯基否认了这点）等迷人之处，即使是被慢慢发掘的，但凭借着其原始的力量，它多年来仍是乐团的保留曲目之一。
《春之祭》最显著的特点是其对庞杂的管弦乐编曲的巧妙处理。但实际上，斯特拉文斯基在构思这部作品时，本打算将其以钢琴四手联弹的方式呈现，甚至在作曲时，他还邀请德彪西与他一起演奏，后来，他才改为管弦乐编曲。原因很简单——斯特拉文斯基是位颇有能力的钢琴家，即便称不上钢琴大师，但是他是在钢琴键盘上来作曲。他的钢琴演奏风格十分独特，节奏感强、棱角分明，与他的作曲风格一脉相承。由于《春之祭》的总谱有着极其密集的层次，似乎没有哪两场表演是完全一样的。欣赏这部作品的钢琴四手联弹版本，虽然没有了管弦乐团大气磅礴的力量，但却能够听到美妙清晰的音乐效果。音乐中的固定音型变得分外鲜明，听众和演奏者都更容易感知和声中所蕴含的传统内容，足以令人感到惊喜。
Few works in the symphonic repertoire are as iconic as Stravinsky’s ballet The Rite of Spring. The story of its tumultuous 1913 premiere has been so often retold as to become a cliché of music historiography, the paradigmatic example of a work of revolutionary newness that challenged and offended audiences only later to become accepted as a canonical masterpiece. In truth, once separated from its theatrical context and presented as a concert work, The Rite of Spring has long thrilled audiences, even in its first decade of existence. Although its fascinating intricacies of pitch and rhythmic organization, as well as its heavy reliance on folk-song materials (which the composer denied), have only slowly been uncovered, its visceral force and primal energy have ensured its continuing place in the repertory.
Although one of The Rite of Spring’s most notable features is its masterful handling of a mammoth orchestral completement, Stravinsky in fact first conceived the work in a version for piano 4 hands which he supposedly tried out together with Debussy while the work was still in progress, only later moving on to complete the orchestration. This was not an unusual state of affairs: Stravinsky was a competent pianist, if not exactly a virtuoso, and always composed at the keyboard. His own unique pianism, rhythmic and hard-edged, was intimately bound up with his compositional style. Because the full score is so densely layered, no two performances seem to draw the same material into the foreground. Hearing the work in its original version for piano four hands, while obviously lacking the force of the orchestral version, has a wonderfully clarifying effect. The music’s ostinato patterns come into sharp relief, and the surprisingly traditional content of many of its harmonic configurations is more readily perceived, both in the ear and under the hand.
伊戈尔·斯特拉文斯基
士兵的故事：组曲
IGOR STRAVINSKY
Suite – Histoire du soldat (The Soldier’s Tale)
第一次世界大战期间，迫于经济压力，斯特拉文斯基无法再像早期一样，制作大型管弦乐芭蕾舞剧，只能投身于小型剧场乐曲的创作中。这段时期，他最著名的作品要数1918年，他在中立国瑞士创作的《士兵的故事》。从表面上看，这部作品应归于斯特拉文斯基创作生涯的“俄国时期”，但实际上，其中的音乐充满了模仿与讽刺的超脱气质，强烈表达了他对埃里克·萨蒂、六人团等同时期法国作曲家在目标风格上的认同。如今，这部作品除了常以组曲的形式在音乐会上呈现外，也常由舞者和演员们在舞台上加以演绎。由于曲目中出现的人声都是念白而非演唱，将其翻译成其他语言并不困难。也正因如此，该曲的文字脚本偶尔会交由作家（比如，美国作家库尔特·冯内古特）二次创作，再与本来的音乐搭配。
这部风格糅杂的室内乐作品为剧情提供了音乐伴奏，其形式则是一部非专业配置的小型室内乐作品，这也增添了故事的讽刺意味。为了更好的叙事，作曲家突出了乐曲中的小提琴部分。与斯特拉文斯基大部分其他作品相似，《士兵的故事》的节奏相当复杂，因此尽管室内乐团的规模并不大，指挥仍必不可少。这部作品之所以如此受欢迎，或许应归功于这位作曲家最爱使用的节奏设计——固定音型。固定音型会在拍号变化时重复，它们在每个小节中的位置也各不相同。通过固定音型和其他类似的设计，各种音乐风格（比如，行军曲、华尔兹、拉格泰姆以及探戈等）会出其不意地突然响起，营造某种不祥的气氛，衬托当前旋律所叙述的剧情。特别是当斯特拉文斯基新古典主义风格的惯用手段——“不和谐”和弦出现时，这种气氛会变得尤为浓厚。作品结尾处通过一段说教式、严肃的仿赞歌旋律，用伴奏传达了这个故事的中心思想（普罗科菲耶夫曾评论好比“得了天花的巴赫”一般）。
During the first world war, when scarce financial resources made productions on the scale of Stravinsky’s earliest ballets with their huge orchestras impossible, he turned instead to theatrical works on a smaller scale. The most well-known of these is The Soldier’s Tale, composed in 1918 while Stravinsky was living in neutral Switzerland. While ostensibly belonging to the composer’s “Russian Period,” the music of this work, full of pastiche and ironic detachment, is in fact deeply in sympathy with the stylistic aims of some of his French contemporaries (Satie, Les Six, etc.) The music from this work is most often performed today in this concert suite, but revivals of the original version with its complement of dancers and actors are also relatively commonplace. Because its text is spoken and not sung, translations of the work into other languages are eminently feasible. For the same reason, new libretti are occasionally commissioned to fit the preexisting music (notably from the American writer Kurt Vonnegut).
The heterogeneous chamber ensemble that provides the musical accompaniment for the story is in effect a kind of rag-tag pit orchestra, contributing to the overall ironic impression. The violin part, for obvious narrative reasons, is particularly prominent. Like most of Stravinsky’s work, the music of The Soldier’s Tale is rhythmically complex – it is almost always performed with a conductor despite the small size of the ensemble. This work in particular is rife with one of the composer’s favorite rhythmic devices: ostinati are repeated throughout various changes of time signature, their relationship to the metrical structure constantly shifting. Through this and other similar devices, the various “genre pieces” which crop up throughout the score (march, waltz, ragtime, tango etc.) are rendered off-kilter and given a sinister edge appropriate to the subject matter at hand, especially when coupled with the “wrong-note” harmonies which were to become a staple of Stravinsky’s neo-classical style. At the work’s conclusion, the “moral” of the story is delivered to the accompaniment of a stern, faux-sermonizing pastiche-chorale (Prokofiev’s quip, “Bach with smallpox,” comes to mind).
曲目介绍由尼科洛·安森博士撰写
Program Notes by Dr. Niccolo Athens
天津茱莉亚室内乐团
Tianjin Juilliard Ensemble
天津茱莉亚室内乐团由天津茱莉亚学院的杰出教师团队组成，是具有国际水准、多重编制的室内乐团。
作为天津茱莉亚学院的常驻乐团，天津茱莉亚室内乐团拥有一批世界上最优秀的古典音乐艺术家。他们是独奏艺术家，也是北美、欧洲和亚洲一些屡获殊荣的室内乐组合及顶级管弦乐团的前成员。
这些成就斐然的音乐家们济济一堂，结合国际多元文化背景，呈现精彩纷呈且引人深思的曲目。其配置包含弦乐、木管、铜管、竖琴、打击乐及钢琴，满足不同类型室内乐编制的多样化曲目编排，以飨观众。
这支备受期待的新生室内乐团于2019年开启首个演出季，其巡演足迹遍及中国、韩国等，并于京津两地定期推出系列音乐会。
The Tianjin Juilliard Ensemble is a world-class, mixed-instrument ensemble showcasing the distinguished faculty from The Tianjin Juilliard School.
As the resident ensemble of The Tianjin Juilliard School, The Tianjin Juilliard Ensemble features some of the world’s finest classical musicians. They are solo artists and former members of award winning chamber groups and top orchestras from North America, Europe, and Asia.
These accomplished performers blend their talents to present concerts that draw on the musicians’ international backgrounds, creating programs that are both dazzling and thought-provoking. The Ensemble encompasses strings, winds, brass, harp, percussion and piano allowing for versatile programming including both small and large ensemble repertoire.
As one of the most exciting new ensembles in China, The Tianjin Juilliard Ensemble kicked off its inaugural season in 2019 with performance tours in China and South Korea in addition to regular concert series in Tianjin and Beijing.
