※ 引述《Yummy (殘存的動能)》之銘言：
: 想請問....到底有多少人不知道....這次的自選曲的故事背景?
: 如果很多人不知道, 那我....今天晚上po個大概上來好了.....
: --
: 千萬別跟我嚕說那個樂章沒有故事只有情緒.....
不至於只有情緒...
不過那個樂章真的可能是沒有故事的...
呵呵...
(這曲子的標題是有故事啦...)
(可是這曲子不是以故事為主題架構來寫的吧...)
底下摘錄一段 Bernstein 寫的 Program Note :
(喔喔... 好像是大師自己寫的節目單耶...)
" In the summer of 1939... I made a sketch for a lamentation for soprano
and orchestra. This sketch lay forgotten for two years, until in the
spring of 1942 I began a first movement of a symphony. I then realized
that this new movement, and the Scherzo that I planned to follow it,
made logical concomitants with the Lamentation. Thus the Symphony came
into being, with the Lamentation greatly changed, and the soprano
supplanted by a mezzo-soprano. The Work was finished on 31 December 1942,
and is dedicated to my father.
The Symphony does not make use to any great extent of actual Hebrew
thematic material... As for programmatic meanings, the intention is again
not one of literalness, but of emotional quality. Thus the first movement
(Prophecy) aims only to parallel in feeling the intensity of the
prophet's pleas with his people; and the Scherzo (Profanation) to give
a general sense of the destruction and chaos brought on by the pagan
corruption within the priesthood and the people. The third movement
(Lamentation), being a setting of poetic text, is naturally a more
literary conception. It is the cry of Jeremiah, as he mourns his beloved
Jerusalem, ruined, pillaged and dishonored after his desperate effort
to save it. The text is from the book of Lamentations.
Program Note by Leonard Bernstein
(from New York Philharmonic Notes, 29 March 1944)
"
照他的說法...
至少前兩個樂章的標題...
是要作為情緒的概念引導...
而非以此標題來作曲...
呵呵...
底下則是從 DG Leonard Bernstein Edition 的手冊裡摘錄一段:
(其實是要摘錄他摘錄的段落...)
(這段的作者是 Jack Gottlieb ...)
" Bernstein, during a press conference given in Berlin (August 1977) where
Jeremiah was recorded, addressed this concept: '... Although everything
I write seems to have literary or dramatic underpinning, it is, after
all, music that I am writing. Whatever happanes in the music happens
because of what the music does, not because of the words or the
extramusical ideas. In a sense, I suppose, I am always writing the same
piece, as all composers do. But each time it is a new attempt in other
terms to write this Piece, to have the piece achieve new dimensions, or
even acquire a new vocabulary.
The work I have been writing all my life is about the struggle that is
born of the crisis of our century, a crisis of faith. Even way back,
when I wrote Jeremiah, I was wresting with that problem. The faith or
peace that is found at the end of Jeremiah is really more a kind of
comfort, not a solution. Comfort is one way of achieving peace, but
it does not achive the sense of a new beinning, as does the end of
Age of Anxiety or Mass.'
But how is the nebulous idea of 'faith' actually transmitted through
the music? At the time Jeremiah was composed, Bernstein wrote: 'The
Symphony does not make use to any great extent of actual Hebrew
thematic material. The first theme of the Scherzo is paraphrased from
a traditional Hebrew chant, and the opening phrase of the vocal part
in the Lamentation is based on a liturgical cadence still sung today
in commemoration of the destruction of Jerusalem by Babylon. Other
resemblances to Hebrew liturgical music are a matter of emotional
quality rather than of the notes themselves.'
Actually, the composer was not aware that there was much more influence
of liturgical motives upon the music than he consciously knew. This is
certainly a testament to his upbringing as a Jew both in the synagogue
and at home, particularly through the example of his scholarly and
God-loving father (to whom the Symphony is dedicated). "
照 Bernstein 自己的說法...
他是在作"曲"...
不管標題如何...
他做的還是音樂...
只是語彙的不同而已...
不過說是這麼說...
他的曲子往往還是有很明顯宗教或政治的影響...
底下從 Sony 的 Leonard Bernstein - a Portrait 的手冊裡摘錄另一段:
(作者是 David Patrick Stearns ...)
" The Symphony No.1 (subtitiled 'Jeremiah' because the final movement
quotes the Lamentations of Jeremiah), was finished by the composer in
1942 when he was 24, and, at first, seems to be an odd collection of
three very different movements, waiting for a grand, first movement to
tie them together. But the 'Jeremiah' Symphony is a polite but youthful
refusal to express anything in discreet, timetested packages, right
down to the use of a female voice to sing the sacred text of the final
movements, which went against Jewish custom. Bernstein made only passing
nods to sonata-allegro form in the first movement, preferring to compose
an evenly balanced triptuch describing the destruction of Jerusalem by
the Babylonians. Each movement has a self-explanatory title: The moody,
dark first movement is called 'Prophecy,' the livelier, 'vivace con brio'
second movement is titled 'profanation' while the aftermath is depicted
in 'Lamentation,' the third movement. All three are skillfully unified
by a haunting, descending three-note motif consisting of a helf step
and a whole step, taken from ancient Hebrew chant, often intoned as an
'amen'.
In many ways, 'Jeremiah' sets the tone for Bernstein's subsequent concert
works: Rarely did he write anything that didn't have to do with religion
and/or politics. 'Jeremiah' encompasses both. The piece is obviously
written in response to the United States' involvement in World War II.
A more important undercurrent here is Bernstein's ambivalence toward God.
In the end 'Jeremiah' is about maintaining faith is a fair and loving
God amid devastation and disaster. From a political and religious
standpoint, Bernstein's 'Age of Anxiety' Symphony, which was finished
seven years later, was almost a secularized sequel to 'Jeremiah'."
(就節錄到此了... 因為後面開始談的是他的第二號交響曲 "Age of Anxiety" ...)
嘿嘿...
有意思吧?
還可以看到音樂家跟歷史事件的關係...
到這裡大家應該已經大概知道 Jeremiah 到底是什麼故事了...
大約就是某個希柏來人要拯救耶路撒冷於巴比倫的手中...
可惜無法成功而耶路撒冷城毀...
於是就開始哀哀叫...
.....
不過還是有點不清不楚...
所以就等晚上 Yummy 來給大家詳細介紹吧....:D
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