最近在聽 Scriabin 的交響作品...
感覺很特別...
音響效果很新鮮、色彩很豐富...
不過不太會形容就是了...
底下是抄襲自 CD 的手冊...
這片 CD 的內容是
Inbal/Frankfurt Radio SO 的 Symphony Nos.1-3 + Le po谧e de l'extase...
( Le po谧e de l'extase 一般翻譯成狂喜之詩 )
所以手冊裡面主要也就是介紹這四首曲子...
有興趣的不妨看看...
不過這些逐樂章的介紹可能還是要配合曲子一起聽比較有意義就是了....:Q
--
Forging a New Musical Language
Scriabin's great achievement was his forging of an acutely personal style,
in fact a new musical language, and this in parallel with Debussy and
Schoenberg during the same period. It can be observed most completely in his
many compositions for solo piano, which rapidly beacame more original as the
years of his short life passed. Away from the keyboard. Scriabin was less
fertile and he left only nine orchestral scores. Of these one is a delightful
piano concerto while three are trifles; but the others carry much weight.
Symphony No.1 was written in 1899-1900, No.2 in 1901, No. 3 "Le divin po谧e"
in 1902-4, Le po谧e de l'extase in 1905-8; the series was completed by
Prom嚢h蒋, le po谧e du feu of 1908-10, not included here.
Even in Symphony No.1 the pianist-composer's orchestral writing is
confident and effective, with Tchaikovsky as an obvious influence.
Basically this is an four-movement symphony with a substaintial prologue
and epilogue, the opening Lento establishing a rather unsymphonic mood of
alfresco contemplation, with suggestions of birdsong. After this something
eventful is needed, and the Allegro dramatico has the characteristics of a
well managed first-movement sonata form. Another Lento follows, with more
expressive power than the first, then there is a Vivace, the work's scherzo.
The fifth movement is another Allegro, dark and angry, while Scriabin's
finale has two parts, an Andante and a fugue. This last is almost his only
published work to use the human voice, the fugue being a setting of a hymn
to art written by the composer himself.
Stylistically more consistent is Symphony No.2, though its form is again
unusual. There are five movements, but as the first and last pairs are
linked the impression is of a large three-movement structure. The initial
Andante has two themes, the first heard immediately on the clarinet -
Scriabin's favourite woodwind instrument - the second on a solo violin.
And no matter how deceptively quite the presentation of both these ideas,
they symbolise the symphony's twin poles, the emphatically active and
the seemingly passive. This movement proves to be the prologue to a
fiercely onward-flowing Allegro in sonata form. The central Andante includes
a refinement of the First Symphony's evocation of birdsong and beneath this
main theme glides in, amoroso, on a solo violin. Both the last two movements
are rondos and the first is headed Tempestuoso. It has a very Scriabinesque
theme even if the orchestral writing still owes much to Tchaikovsky. This
music again sweeps along with great force into the final maestoso, which
provides a completely satisfying resolution to all this score's storm and
stress.
Symphony No.3, called "Le devin po谧e," was a mixed achievement for
Scriabin if heard in the light of his most advanced piano works. Yet it was
on all levels an improvement on Symphony No.2. There are three motto themes,
announced immediately, and these reappear frequently, in various combinations
with one another and with further ideas, some of which are themselves derived
from the motto themes. Add to this numerous cross-references binding together
Allegro, Lento and second Allegro, and the whole quite sophiscated structure
looks forward to the single-movement form of Scriabin's later works. The
first Allegro he titles "Luttes" (conflicts, struggles) and this has an
extremely volatile development section, as if intended to suggest a great
diversity of emotional states. although the central movement is called
"Volupt祢" (sensuous pleasures) it is by no means free at the beginning and
end of its predecessor's tensions. The finale, named "Jeu devin" (devine
play), possesses such a sense of forward motion that the music almost "takes
off." The symphony's shortest movement, it is lighter than the first Allegro
and in emotional terms is a logical growth out of the central movement's
happiest pages. In fact some of Scriabin's most optimistic music is here.
That could not be claimed for Le po谧e de l'extase. This is a single
movement scored for the huge orchestra typical of that time and which
expands sonata form to its limits while still perfectly controlling the rich
thematic content. It may well have been the originality of Scriabin's
approach to sonata form in this work that persuaded him not to title
Symphony No.4.
There is innovation at all levels, though especially with regard to
structural coherence. Further, the opening at once creates an atmosphere
that, while characteristic of Scriabin, is unique to this particular work.
Again, the main theme is presented at once and recurs throughout the score in
counterpoint with other motives derived from it. In fact there are many
subsidiary ideas, typical being the one marked imperioso and heard from the
trumpet during the first section, and another, lento soavamente, is sounded
by the flute immediately afterwards. As it unfolds, Le po谧e de l'extase
conveys a wide range of emotions, among them languor, doubt and terror.
Max Harrison
--
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