指挥陈燮阳 Conductor CHEN Xieyang 钢琴袁芳 Piano Fang Yuan 贝多芬 莱奥诺拉 序曲第三号作品 72b 降 E 大调第五钢琴协奏曲作品 73 皇帝 第一乐章 第二乐章 第三乐章 快板 稍快的柔板 回旋曲 : 快板 中场休息 贝多芬 C 小调第五交响曲作品 67

指挥陈燮阳 Conductor CHEN Xieyang 钢琴袁芳 Piano Fang Yuan 贝多芬 莱奥诺拉 序曲第三号作品 72b 降 E 大调第五钢琴协奏曲作品 73 皇帝 第一乐章 第二乐章 第三乐章 快板 稍快的柔板 回旋曲 : 快板 中场休息 贝多芬 C 小调第五交响曲作品 67 命运 第一乐章第二乐章第三乐章第四乐章 活泼的快板稍快的行板快板快板 BEETHOVEN Leonore Overture No.3, Op.72b Piano Concerto No. 5 in E-flat major, Op. 73, Emperor I. Allegro II. III. Adagio un poco mosso Rondo: Allegro Intermission BEETHOVEN Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. III. IV. Andante con moto Allegro Allegro

关于贝多芬 路德维希 范 贝多芬 1770 年 12 月 17 日出生于波恩 1827 年 3 月 26 日在维也纳逝世 贝多芬的一生痛苦而挣扎 作为一个孩子, 他从未享受过奇才莫扎特所 拥有的巨大名气和早熟的创造力, 也未如莫扎特一样获得过兄弟姐妹和 父亲的关怀与陪伴 身为作曲家, 贝多芬的作品和创作过程不像天才莫 扎特和高产的海顿那般富有源源不断的灵感, 能轻而易举的在创作中注 入生命 贝多芬需要许多的草稿, 反复地进行修改, 并舍弃不满意的草 图 他从不使用已经丢弃的灵感, 始终坚持全新的创作 作为一个男人, 他渴望获得不朽的爱情却从未完整拥有过它 不像莫扎特为了康斯坦泽 献身, 贝多芬从未结婚, 也未曾爱过一个女人, 直到后续有学者解读 永 恒的爱人 时有所推测 贝多芬在他的音乐中融入了个人生活的写照 : 不畏惧艰难险苦, 寻觅激情却渴求平静, 支持绝对真理并为人类意识形 态而战 命运弄人, 但尽管贝多芬的听觉日渐衰落, 他仍然在 1805 年至 1806 年仅一年时间, 创作出了数量惊人的作品, 作品包括第四钢琴协奏曲 小提琴协奏曲以及不同的弦乐四重奏 序曲 交响曲和协奏曲 随着唯 一一部歌剧 费德里奥 第五钢琴协奏曲及第五交响曲在维也纳歌剧 院首次公演, 贝多芬迈入了创作中期的成熟期, 为他持续成功奠定了坚 实的基础 面对逆境坚持不懈 不仅仅是本次所选节目中所有作品的哲学主题, 还有贝多芬个人的真实写照, 即追求幸福与公平, 渴望改善世界 THE BEETHOVEN EVERYONE NEEDS TO KNOW Ludwig van Beethoven Born December 17, 1770, Bonn Died March 26, 1827, Vienna Beethoven s life was marked by a sense of plight and struggle. As a child he did not enjoy the prodigious fame or the precocious creativity bestowed upon the prodigy Mozart, nor the love and companionship Mozart shared by his sibling and father. As a composer Beethoven s output and process were not oozing in a steady inspired flow as the genius Mozart or prolific Haydn who seemed to have been simply able to breathe life into their creations. Beethoven required many drafts, constantly made revisions, discarded sketches, and never recycled materials. As a man, he yearned for eternal love but never quite attained it. Unlike Mozart who had the devotion of his Constanze, Beethoven never married nor was he known to have been in love with only one woman since scholars later conjectured to define which one of several women as the immortal beloved. One can put together a composite sketch of a man full of suffering and struggle against the odds, seeking passion but needing serenity, upholding absolute truth and fighting for mankind s ideology through his music. Though Beethoven s productivity was always tampered by the weight of destiny as his deafness began to worsen, he entered an extremely productive phase between 1805 and 1806, turning out an impressive output of symphonies, concertos including the Piano Concerto No. 4 and the Violin Concerto, string quartets and overtures. And the maturity reached in this middle period brought on continued successes for him, as his sole opera Fidelio, originally named Leonora, Piano Concerto No. 5 and Symphony No. 5 were all premiered at Theater an der Wien. Perseverance in the face of adversity: this is not only the philosophical theme running through all the works selected for this program, also Beethoven s personal narrative as he pursued happiness, justice and betterment of the world at large.

莱奥诺拉 序曲第 3 号作品 72b LEONORE OVERTURE NO.3 OP.72b 创作于 1806 年 c. 1806 贝多芬一生钟爱歌剧 为了创作这个题材的乐曲, 他找遍了上至莎士比亚的杰作下到民间的童话故事, 都没有一个题材能够激发他的灵感, 直到他接触了 费德里奥 这个故事 贝多芬为创作他此生唯一一部歌剧作品费劲心血, 他为此创作了四首序曲正是他曲折创作经历的证明 其中也包括歌剧完成之时被舍弃不用的三首名为 莱奥诺拉 的序曲 这三首序曲分别体现了女主人翁性格中的不同特色, 但只有 莱奥诺拉 第三号序曲被保留, 并成为在交响音乐会中被经常演奏的曲目 费德里奥 的故事, 顾名思义, 就是关于成功的爱情和坚定不移的信仰 弗洛列斯坦是一个抱有坚定信念且行动积极的人, 被人陷害入狱 他的妻子莱奥诺拉为营救丈夫, 女扮男装, 化名费德里奥混入监狱, 充当狱卒的助手 莱奥诺拉在行动中所表露出的爱 胆量和勇气在 莱奥诺拉 第三号序曲中得到了很好地提炼 但是, 这种大型的戏剧性作品很难诠释歌剧中的舞台动作 实际上, 贝多芬自己也意识到了这点, 并重新创作了第四个版本, 即现在被大家所熟知的歌剧 费德里奥 序曲 但 莱奥诺拉 第三号序曲作为贝多芬精心制作的作品, 体现了贝多芬炉火纯青的作曲技巧, 也体现高尚的人文音乐精神 因此, 它是独一无二的 Beethoven had a lifelong love affair with the genre of opera. He sought suitable subject matters as the basis for an opera, from Shakespearean masterpiece to folklore fairy tales. However, none of these subjects was worthy of Beethoven s obsession until he finally settled on the story of Fidelio and began the painstaking process of perfecting his one and only opera. Proof of this agonizing process was the four overtures he wrote for the opera, including the three overtures named Leonora which he aborted in the completion of the opera. These three overtures embodied three distinct concepts of the character in Fidelio, but only Leonore Overture No. 3 remains as Opus 72b and a regular opener for symphonic concerts. The story of Fidelio, as the name suggests, is one about triumphant love and unwavering faith. Florestan, a man of fervent belief and action, is wrongfully imprisoned. His wife Leonora attempts to rescue him by working undercover in the prison, disguised as man under the alias Fidelio. The love, bravery, and valor in Leonore s actions are beautifully distilled in the Leonore Overture No. 3, but it is too big and dramatic a piece to work effectively as an introduction to stage action appropriate in the opera. Even Beethoven realized this and reworked it to produce what would be the fourth version which now opens the opera Fidelio. However, Leonore Overture No. 3 does stand alone as a deftly crafted composition and powerful emblem of the heroic Beethoven, and a musical embodiment of the noble human spirit.

降 E 大调第五钢琴协奏曲作品 73 皇帝 创作于 1809-1811 年贝多芬的最后一首钢琴协奏曲获得了 皇帝 的别称, 当该作品在维也纳首演之时, 拿破仑的一位军官在喝彩时大声喊道 这就是协奏曲中的皇帝! 这则趣闻已无从考证, 就连贝多芬自己也从未认可过 皇帝 这一别称, 但是这个别称得来的原因仍是不可避免的 一个原因是, 受启蒙运动的影响, 贝多芬特别关注人类基本的自由权利和强权政策之间的矛盾, 他的音乐也与这一理念息息相关 最初贝多芬在拿破仑身上看到了实现正义与捍卫人民权益的领袖气质, 但最终他遭到了背叛 另一个原因则是, 协奏曲整部作品结构工整, 风格宏伟, 带有王者气势 与第四钢琴协奏曲的创造性和革命性不同, 第五钢琴协奏曲是关于交响乐团和钢琴独奏的关系的整合 贝多芬不断将钢琴协奏曲的形式推向更高的高度 对于整部作品来说, 听众认识到的不再是它的抒情歌颂或精湛技艺, 而是协奏曲中所蕴含的王者特质 对于钢琴家来说, 它是协奏曲全部曲目音乐意识形态的 皇帝 对于听众来说, 这是作曲家为后世人民留下的永恒财富 PIANO CONCERTO NO. 5 IN E-FLAT MAJOR, OP. 73, EMPEROR c. 1809-1811 Beethoven s last piano concerto obtained the nickname Emperor when one of Napoleon s officers stationed in Vienna at the time supposedly exclaimed that it was an emperor of a concerto. The anecdote has never been proven and the nickname Emperor never sanctioned by the composer, but the reasons for this nickname remain inescapable. One of the most commonly agreed reasons is that the nickname is tied to the notion of the common man versus the imperial ideal. Beethoven was a man of the Enlightenment, and in particularly he was concerned with the dilemma between mankind s basic right to freedom and society s need to be governed by rules. In Napoleon he had originally seen the ideological figure who would restore the balance and deliver universal justice, but he was ultimately betrayed. Another reason is the imperial characteristic of the concerto itself, in its formal structure and stylistic grandeur. Unlike the inventive and revolutionary quality of the Fourth Piano Concerto, Fifth Concerto is all about framework provided by the orchestra, and the relationship of the individual to this framework provided by the piano solo a suitable metaphor. Beethoven constantly pushed the form of the piano concerto to loftier heights and weightier limits. For all its beauty, the listener is aware of not its soaring lyricism or exquisite craftsmanship, but of the imperial quality and stature vested onto the concerto. For pianists, it is the emperor of the concerto repertoire for the musical ideology it ushered in, and for the listener, it is the perennial legacy left by the composer to prosperity.

C 小调第五交响曲, 作品 67 命运 SYMPHONY NO. 5 IN C MINOR, OP. 67 创作于 1809 年毫无疑问, 贝多芬第五交响曲开头, 咚 - 咚 - 咚咚 的节奏是音乐史上最清晰可辨的旋律 贝多芬的好友, 德国诗人席勒将此开幕解释为 命运的敲门声, 命运 这一概念始终是学者之间关于贝多芬争论的焦点, 这些学者将这一解释视为对贝多芬真实意图的极度浪漫化看法 总之, 贝多芬第五交响曲对勃拉姆斯 柴科夫斯基 布鲁克纳 马勒及柏辽兹等作曲家的影响是深远的, 而贝多芬作为交响乐的倡导者是令人值得敬畏的 贝多芬第五交响曲是以 C 小调创作而成的, 这是贝多芬 如风暴般英雄特色 的主基调 C 小调第五交响曲包含四个乐章, 每个乐章都带有明显的人文气息 第一个乐章从命运的敲门声这一主题开始, 展示了一幅惊心动魄的斗争画面 第二乐章是用二重变奏曲的形式写成的 : 第一主题由中提琴和大提琴奏出抒情的乐曲, 而第二主题则由小号和定音鼓奏出进行曲般的旋律, 这一尝试在古典交响乐中极少看到 第三乐章是一首节奏感强 富有讽刺意味的诙谐曲 定音鼓持续不断的鼓动, 将乐章直接转入光辉灿烂的终曲, 令人惊叹地实现了从阴暗到光明的自然过渡 第四乐章开创了交响乐配器史的先例, 通过添加短笛 低音大管和三个长号这些从未在交响音乐史上使用的乐器, 将乐团整体的音色提升到了一个全新境界 随着 C 大调胜利尾声的奏响, 第四乐章辉煌地结束了, 贝多芬第五交响曲也成了人们心中的经典之作 陈燮阳是中国第一位指挥贝多芬第五交响曲的指挥家, 他将与苏州交响乐团共同演绎交响乐的感悟 c. 1809 Few would argue, even for the untrained ear in music, that the ta-ta-ta-taaa rhythm which opens Beethoven s Fifth Symphony is the most identifiable motif in all of music history. Ever since Beethoven s friend, the German poet Schiller referred to this opening as the knock of fate, the notion of the fate motif has remained a topic of debate amongst Beethoven scholars who regarded this interpretation as an overly romanticized view of Beethoven s actual intentions. In any case, the influence of Beethoven s Fifth Symphony on composers such as Brahms, Tchaikovsky, Bruckner, Mahler and Berlioz is overwhelming and the sense of torchbearer of the symphonic tradition is awe-inspiring. The symphony is in C minor, which is said to be Beethoven s key of stormy and heroic key and contains four movements, each with a distinctly human message. The first movement begins with that famous knock of destiny, and soon forays into a compact lacework of motivic elaboration and formal development. The second movement is a set of variations on two themes: the first is a song of lyrical yearning expressed by the violas and cellos, while the second is the transformation of that song into a swaggering march executed by the trumpets and timpani a practice seldom seen in classicalera symphonies. The third movement is a scherzo characterized by rhythmic drive and a smiling irony. An insistent timpani helps link the scherzo to the final movement with a gaping sense of anticipation, generating what is an enormously electrifying transition from utter doom to ultimate optimism. The fourth movement elevates the orchestra to a brand new sonic world, by introducing the use of piccolo, contrabassoon and three trombones for the first time in the history of orchestration. With the triumphant coda in C major, the fourth movement comes to a monumental closure and sublimates the symphony as the apotheosis of humanity. Maestro CHEN Xieyang is the first conductor to conduct this symphony in China and leads the Suzhou Symphony Orchestra in its first performance of what is the epitome in the symphonic literature.

音乐总监 Music Director 著名指挥家 从上海音乐学院毕业后, 曾任上海芭蕾舞团管弦乐队常任指挥 中央歌剧院院长 1982 年他应邀在美国阿思本音乐节指挥音乐节乐团, 大获成功 1984 年出任上海交响乐团团长,1986 年被任命为上海交响乐团音乐总监, 成为中国文化发展史上第一位文艺院团的总监 1985 年以来, 陈燮阳先后赴苏联 日本 意大利 美国 英国 瑞士 韩国 朝鲜 泰国 新加坡 澳大利亚 德国 丹麦 奥地利 法国 西班牙 俄罗斯等国家和港 澳 台地区, 指挥本团或当地著名乐团举办音乐会, 均受盛赞 1998 年 1 月和 1999 年 2 月, 陈燮阳率中央民族乐团赴奥地利 德国 丹麦, 在世界著名的维也纳金色大厅和柏林爱乐大厅, 以及其他城市音乐厅举办中国新年音乐会 2000 年 8 月, 他又率中央民族乐团赴美国参加 中华文化美国行 的巡回演出, 其中包括在纽约著名的林肯艺术中心举办音乐会 他带领上海交响乐团 2003 年在美国 11 个城市的巡演 2004 中法文化年 的欧洲巡演, 以及 2007 年维也纳金色大厅的音乐会, 好评如潮 特别是 2004 年 6 月 20 日, 为庆祝上海交响乐团建团 125 周年, 由他指挥上交在柏林爱乐大厅举行的庆典音乐会, 获得巨大成功 陈燮阳指挥的小提琴协奏曲 梁祝 获得 1989 年中国唱片社颁发的金唱片奖,2008 年荣获第六届中国金唱片奖评委会 ( 指挥 ) 特别奖, 1987 年起, 他多次被选入英国剑桥国际传记中心出版的 世界名人录 2002 年, 上海音乐出版社出版了由他指挥的 朱践耳交响曲集 系列唱片,2006 年又出版了 朱践耳管弦乐曲集 吕其明管弦乐曲集 贝多芬交响曲集 系列唱片 陈燮阳现为上海交响乐团名誉音乐总监 中国国家交响乐团特邀指挥 第十届全国政协委员 上海市政协委员 国家一级指挥 上海音乐家协会副主席 中国音乐家协会理事和上海交响乐爱好者协会会长 陈燮阳 CHEN Xieyang Renowned conductor CHEN Xieyang is Honorary Music Director of Shanghai Symphony Orchestra and Principal Guest Conductor of China National Symphony Orchestra. After graduating from the Shanghai Conservatory of Music, Chen was appointed resident conductor of the Shanghai Ballet Orchestra, and served as Director of the Central Opera House in Beijing. In 1982 Chen was invited to conduct the Aspen Festival Orchestra in the United States. Following his success there he was appointed the President of the Shanghai Symphony Orchestra. In 1991 Chen became appointed Music Director of the Shanghai Symphony Orchestra the first music director of any performing groups in Chinese history. During his tenure at the Shanghai Symphony Orchestra, he took the orchestra on an 11-city tour in the United States in 2003 and in the following year to Europe for the Sino-French Culture Year. On the occasion of the 125th Anniversary of Shanghai Symphony Orchestra, he conducted the orchestra in the Berlin Philharmonie to great acclaim. He has conducted orchestras both in China and abroad, including the USA, Austria, Denmark, France, Germany, Great Britain, Italy, Russia, Spain, Switzerland, Japan, Korea, the DPRK, Thailand, Singapore, Australia, Hong Kong, Macau and Taiwan. He has led the China National Symphony Orchestra on its tours in Austria, Denmark and Germany, as well as the Chinese Culture in America Festival at the Lincoln Center. His concerts at the Großer Saal Musikverein of Vienna and the Lincoln Center of New York have won enormous successes. Chen's recording of the Butterfly Lovers Violin Concerto won the Gold Record prize in 1989. Since 1987 he has been listed in the Who's Who in the World compiled by the Cambridge International Biographical Center in the United Kingdom. Chen's discography includes the Complete Symphonies of Zhu Jian-er, Compilation of Zhu Jian-er's Orchestral Works, Lv Qiming's Orchestral Works and Complete Beethoven Symphonies. Chen is now a member of the Chinese People's Political Consultative Conference and the Shanghai Municipal Committee of the People's Political Consultative Conference, vice chairman of the Shanghai Musicians' Association, member of the Standing Committee of the China Musicians' Association, and chairman of the Shanghai Symphonic Music Lovers' Society.

钢琴 Piano 著名青年钢琴家袁芳, 她的音乐会遍及中国 美国 欧洲各地, 与国际著名指挥家祖宾 - 梅塔 劳伦斯 - 福斯特等合作, 与国内外著名交响乐团合作, 如以色列爱乐乐团 捷克爱乐乐团 斯图加特爱乐乐团 马赛爱乐乐团 中国国家交响乐团 上海交响乐团 国家大剧院管弦乐团等 她与伦敦 BBC 交响乐团录制的作品在英国 BBC 广播电台播出, 她在纽约卡内基音乐厅 香港大会堂等著名音乐厅成功举办独奏音乐会, 她曾领衔凤凰卫视 全球华人新春音乐盛典 及 人民大会堂新年音乐会 德国媒体称她为 极富感染力的中国钢琴家, 中国权威媒体赞誉道 : 她的音乐里充满着正义 挚爱与良善, 她为中国的古典音乐带来了不可抗拒的文化力量 袁芳是留德双专业博士,29 岁成为中央音乐学院副教授, 她于 2011 年起在国家大剧院举办的 经典钢琴系列讲座 得到很高关注度 她是奥地利国宝 贝森朵夫钢琴 全球签约艺术家, 她的唱片由全球顶尖古典音乐唱片品牌 索尼古典 出版发行 袁芳曾就读中央音乐学院附小 附中, 后赴德国慕尼黑音乐与戏剧学院留学, 曾师从吴元 但昭义教授 2008 年袁芳以钢琴和室内乐双专业的出色成绩毕业于慕尼黑音乐与戏剧大学, 并分别获得德国所能授予的钢琴演奏 室内乐的最高学位, 被中国教育部认证为双专业博士 袁芳在国际钢琴赛事上夺冠, 是 慕尼黑国际青年钢琴家舞台 头奖获得者 她曾受邀加盟 慕尼黑钢琴家俱乐部, 被其评为最受欢迎的钢琴家, 被钢琴泰斗保罗 巴杜拉 斯柯达赞誉为 能弹出作曲家灵魂的少数年轻钢琴家 ; 她在德国期间创建了 MHM 钢琴五重奏及斯皮亚安托钢琴三重奏组 ; 她在欧洲的著名音乐节上演出, 如麦克斯雷格音乐节 葡萄牙斯特拉音乐节 德国巴特基辛根音乐节等 ; 在 2011 世界大运会艺术节上举办多媒体专场音乐会 ; 在 2014 中法建交 50 周年 重大交流活动中领衔演出并于 2015 年受邀担任奔驰音乐节的艺术家 与她合作过的指挥家有祖宾 梅塔 劳伦斯 福斯特 沃尔特 维勒 克里斯坦 伊瓦尔德 特里 克特 康拉德 范 阿尔芬 郑小瑛 陈燮阳 吕嘉 张国勇 胡咏言 张艺 林大叶 蔡金冬 陈琳等 ; 她与伦敦 BBC 交响乐团 以色列爱乐乐团 斯图加特爱乐乐团 捷克爱乐乐团 马赛爱乐乐团 安道尔国家管弦乐团 巴特莱辛哈尔爱乐乐团 中国国家交响乐团 上海交响乐团 国家大剧院管弦乐团 北京交响乐团 中央芭蕾舞团交响乐团 中国广播电影交响乐团 杭州爱乐乐团 深圳交响乐团 厦门爱乐乐团 天津交响乐团等多次合作 ; 与她合作过的音乐家还有王健 吕思清 秦立巍 宁峰 黄蒙拉 赵静 陈曦 郑闻晓 韩小明, 并举行 冬之旅 艺术歌曲巡演音乐会 ; 与法国著名迪欧提玛弦乐四重奏进行中国巡演 ; 并于 2009-2011 年在北京现代音乐节上领衔多部新作品的世界首演 袁芳为 211 室内乐精品 系列录制专辑 ; 为 中国百首经典中国作品 录制专辑 ;2011 年由中国唱片总公司出版其个人音 视频专辑 穿越阿尔卑斯 ; 其多部作品曾被巴伐利亚广播电台收录 袁芳 Fang Yuan One of China's leading pianists, Fang Yuan concertizes regularly throughout China, the United States and Europe. She has performed with such world-renowned conductors as Zubin Mehta and Lawrence Foster, and collaborated with prestigious symphony orchestras including the Israel Philharmonic Orchestra, BBC Symphony Orchestra, Czech Philharmonic Orchestra, Marseille Philharmonic Orchestra, Stuttgart Philharmonic Orchestra, Shanghai Symphony Orchestra, China National Symphony Orchestra, among others. Her recording with the BBC Symphony Orchestra was broadcast on BBC Radio, and in 2016 she made her acclaimed solo recital debut in Carnegie Hall. German media hailed her as an amazing Chinese pianist who tugs at the heartstrings of the audience. Chinese media praised her music as filled with integrity, love and benevolence, bringing an irresistible cultural force in classical music. Fang Yuan was appointed professor of the Central Conservatory of Music in Beijing at the age of 29. Since 2011 she has presented a lectures series on classical piano at the National Centre for the Performing Arts to much public and critical acclaim. She is a Bösendorfer Artist and her extensive discography is released by the world's top recording label Sony Classical.