[ 伦敦纪念肖邦舒曼诞辰 200周年系列音乐会 ] 马友友和艾曼纽 埃克斯 演奏会 相约音乐会2010-04-28 23:04:05
Chopin: Cello Sonata In G Minor, Op. 65, B 160 - Scherzo: Allegro Con Brio
played by Yo-Yo Ma, Emanuel Ax
音乐会时间： 2010 年 2 月26 日星期五，
地点：伦敦巴比肯音乐中心
真正喜欢马友友的大提琴还是从他的那《自由探戈》和《电影情缘》，我有ipod 也没多久，以前去旅游的话总喜欢带着马友友的《电影情缘》 cd 伴游。
邻居是日本外派来者工作的，女主人很喜欢音乐，她也很喜欢马友友的演奏的音乐，她说她前年圣诞前和她丈夫去了马友友在巴比肯《 Tango 》专场音乐会，她说马友友的演奏非常精彩， 遗憾的是只是她丈夫在一边听着睡着了，马友友常来来伦敦的，去年夏天放假之前上网看是有他的音乐会， 当时也没注意节目是什么，就是想去一场马友友的独奏音乐会，我的好朋友也说要跟我一起去，我知道她是马友友的粉丝，她总说马友友真帅， 确实马友友是很儒雅谦虚， 音乐的人文气质很浓。
当时订票时是冲马友友的名字去的，可快临近音乐会时才发现真是太好的选择了，这场音乐会是舒曼肖邦曲目的专场音乐会，特别又是这两位作曲家的大提琴作品，肖邦又大提琴作品？之前我都不知道， 只熟悉他们的钢琴作品， 在伦敦所有的纪念肖邦舒曼 200 周年的音乐会里，这场音乐会应该是很独特唯一的，其他的音乐会大家多是在弹肖邦的钢琴作品， 肖邦的大提琴奏鸣曲 大提琴，钢琴的戏份都很足，不是一般的钢琴伴奏能胜任的。 美国钢琴家 Emanuel Ax ，知道他是很有名的，对他不熟， 目前是柏林爱乐乐团的residency pianist , 这么精彩的曲目和演奏家的搭配，马友友和埃克斯也是老搭档了， 这场音乐会不能错过， 不能迟到。
音乐会的那天我们都比较早早安排好家人的晚餐，两个女人就有说有笑地前往巴比肯，路途需要花一个小时， 朋友她是第一次去这样的古典音乐会，平日只是喜欢听些抒情歌曲，喜欢 Michael Buble ， 我也很想今晚的音乐会能给她留下满意的回忆， 可事情却偏偏不顺利，那晚的地铁走走停停，最后干脆就停了，司机说地铁有些问题不知道什么时候才能往前移动，真是天不作美，平日都是好好的， 赶快下车换车！ 今天肯定是要迟到了，但总比傻等好。
到巴比肯都迟到一刻钟了，门外站着一大群迟到的观众，音乐厅外的闭路电视正在现场播放这场音乐会实况，两位艺术家专著的演奏，音乐会迟到是很不好，现在只有等这曲演奏完，观众鼓掌的时候才能进去，有时有的大指挥他们是不允许中间入场的， 我安慰朋友，别急，精彩的在后面， 其实这场音乐会我是冲着肖邦的大提琴奏鸣曲，那是中场休息后的事了。
当晚的节目如下：
Emanuel Ax & Yo-Yo Ma Schumann, Lieberson and Chopin
Schumann Adagio and Allegro Op 70
Schumann Five pieces in folk style
Peter Lieberson Remembering Schumann (UK premiere)
Chopin Polonaise Brillante Op 3
Schumann Fantasiestucke Op 73
Chopin Cello Sonata in G major Op 65
Yo-Yo Ma cello
Emanuel Ax piano
掌声又响起，我们被允许入场，两个曲目间时间间隔很短，没时间去找我们的座位了，我拉着朋友小声说别我们就坐在楼梯这听吧，别动了，一路周折，能赶上听到肖邦的大提琴《辉煌的波兰舞曲》我已经很满足了，
两位演奏家演奏了舒曼，肖邦，Peter Lieberson的作品，Peter Lieberson是现代美国作曲家，他的《怀念舒曼》没听到，舒曼和肖邦的大提琴曲都听了，更喜欢肖邦的大提琴， 舒曼的大提琴对我来说有点沉闷， 也许与我对作品了解不够有关， 我还要慢慢学习。
这场音乐会给我留下的印象是 ：欢快明亮肖邦的 大提琴《辉煌的波兰舞曲》、很有些马祖卡的味道，这是肖邦19岁时的作品，当时肖邦去维也纳回波兰，在王子Antonin Radziwill 山间打猎的住所逗留，并教王子的女儿钢琴课， 这首大提琴《辉煌的波兰舞曲》就是他在山间逗留的作品，肖邦对他这首舞曲的自我评价是” 什么也没有，只有明亮和光彩，只是沙龙作品…” 原来是这样，19岁，那是一个充满阳光满怀希望的年龄， 听起来是不一样。
肖邦的大提琴奏鸣曲，这是肖邦为他的大提琴朋友Auguste – Joseph Franchcomme写的大提琴作品，于1845 到1846年写的， 中间反复修改多次
与前一首不同的是，是肖邦35，36岁的作品，这代表成熟的肖邦，那时的他已经过了人生的风风雨雨，远离亲人， 在异国他乡，其实也不完全是异国， 那也是他父亲的故乡啊，而且他还有两个姑姑在法国乡下，可肖邦从来没去拜访父亲的老家，他一直认为自己就是波兰人。更重要的是肖邦在写这部作品时，他已经和乔治桑相爱8年后分手了， 这8年也是肖邦创作的高峰， 此时乔治桑的离走， 结核病的折磨，肖邦写这首曲子的心情是可想而知，他一直是爱乔治桑的，直到临终前肖邦都一直想见上乔治桑一面， 可以听得出曲子里的心情也比前一首要复杂，可有一点就是肖邦的曲子不管再忧伤总是不失热情的，这也是我为什么喜欢肖邦音乐的原因：
浪漫-忧伤- 热情，这就是肖邦， 也许是他血液里流淌着法兰西的浪漫，斯拉夫的热情，再加上他本人的诗人气质的原因吧
共4个乐章：
1.中庸的快板，G小调，奏鸣曲式。第一主题先由钢琴奏出，大提琴与之以对答旋律出现，边自由转调边发展进行。第二主题也以此方式表现。
2.谐谑曲，灿烂的快板，D小调，3段体。大多以大提琴表现主旋律，插入的钢琴音色极尽浪漫效果。
3.最缓板，降B大调，3段体，主要主题呈送葬进行曲的形态，由大提琴、钢琴交互演奏对话般地结尾。
4.快板，G小调，奏鸣曲式。第一主题含略带哀愁的半音阶进行，第二主题则明朗而单纯，其中钢琴辉煌的技巧展示后，速度转快，以G大调结尾。
（网上资料）
肖邦的大提琴奏鸣曲里充满热情，歌剧般的抒情， 缠绵沉思，第三乐章的大提琴低吟倾诉和钢琴热烈轻柔的回应情感深处， 第四乐章的急速的高潮一浪高过一浪让人热泪泉涌，真是无词的音乐胜过千言万语
马友友， 和 EmanuelAx 的表演很出色的，演出完毕，两位艺术家都非常谦虚，都互相请对方走前， 最后双双牵手谢幕， Encore 时他们在反复的掌声下又加奏了一曲勃拉姆斯的曲子。
这场音乐会不是那种激情飞扬的那种， 更多的是沉思和谜想，不过我觉得自己音乐会前的功课做的不是太充分，如果自己准备得充分些，会更好的 enjoying ，在肖邦的奏鸣曲中也很享受，另外如果这场音乐会是在更小一点的音乐厅演奏的话，效果会更好更温馨，当然我们的位子也比较后面。音乐会完了以后，问朋友怎么样？ 她说还可以，都没看清楚，并说下次有朗朗李云迪的音乐会告诉她一声。
其实并不是每场音乐会都会让你轻松，就如看电影， 看完电影出影院的心情也因电影而已，看美国电影多是皆大欢喜，法国电影浪漫但有些沉重，听音乐也是这样， 要看音乐而不一定是演奏家的原因， 这场音乐会让人觉得有些沉重，究竟这首大提琴曲是肖邦和乔治 桑分手后，可以感受得到肖邦的痛苦忧伤心情， 但是他那份波兰式的热情总是在那， 伴随他的一生。 听一个曲子也如读一本书， 拜读音乐家的那不一般的人生， 这也是我去音乐会的目的之一吧， 而这场音乐会让我跳跃式地《拜访》了 肖邦：19岁的肖邦和《暮年》的肖邦。
巴比肯对两位演奏家们的介绍：
Few chamber collaborations have been so well documented on disc as that of pianist Emanuel Ax and cellist Yo-Yo Ma. Chamber music collectors will therefore already know what to expect from this concert: instinctive teamwork, dynamic engagement and musical excellence.
The few works that Chopin wrote for cello hint at what might have been had he applied his lyricism to the dark tones of the instrument more often. Schumann's temperament is equally well-suited to the cello as his concerto for the instrument reveals. Having studied the cello as a youth, his very last pieces (subsequently destroyed) were written for it. While only one of tonight's pieces – the Five pieces in folk style – was actually composed for cello, on both of the others Schumann named the cello as an acceptable alternative.
Peter Lieberson is the first of the three composers in this Barbican series to take Schumann and Chopin as the starting point for a new work.
part of Emanuel Ax Residency
‘Ma is a fabulous cellist, wearing his brilliance lightly.’ The Independent
泰晤士报评论：三颗星 by Hilary Finch
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/live_reviews/article7044371.ece
There was a long queue for returns for an unexceptional programme, at times unexceptionally performed. But the reputations of Yo-Yo Ma and Emanuel Ax always go before them — and a good time will have been had by all.
Pieces by Schumann and Chopin, for cello and piano, framed the evening’s main focus: the British premiere of a short three-movement work by the American composer Peter Lieberson, called Remembering Schumann. The composer is the widower of the much lamented soprano, Lorraine Hunt Lieberson — so he certainly has quite some memories of Schumann. But the variations that shape each five-minute movement say just as much about Lieberson as they do about Schumann.
Variations on Simple Chords evokes the third variation of the Études symphoniques, yet its trampoline-like piano chords have a bittersweet darkness about them that recalls Kurt Weill. Poignant fragments of cello song drift in melancholy dream over them. Variations on a Simple Melody is still more unstable, the cello almost improvisatory in style as it moves towards an intense solo cadenza, and finally vanishes into thin air. And the final Fantasy Variations on A-S-C-H (a motif from Schumann’s Carnaval) leads Lieberson to fractured and fractious syncopations very much of his own soul and his own century. Ma and Ax had preceded this with Schumann’s Adagio and Allegro Op 70 and his Fünf Stücke im Volkston — both more secure and more eloquent in the piano than in the somewhat unballasted playing of the cello.
In their Chopin, Ma was bel canto diva and Ax the sprinkler of brilliant pianistic stardust in the Introduction and Polonaise brillante. And, as a grand finale, Chopin’s Sonata for Cello and Piano at last found both musicians in rhapsodic voice, with Ma’s beautifully shaped slow movement played as though the music had always been hovering in the ether, only waiting to be drawn down to Earth.
英国卫报的评论：四颗星，- by George Hall
http://www.guardian.co.uk/music/2010/mar/01/yoyo-ma-emanuel-ax-review
The Polish-born American pianist Emanuel Ax is giving three Barbican recitals focusing on two of this year's anniversary composers, Schumann and Chopin, over the next few weeks. In the first programme, he shared the platform with his regular cellist partner Yo-Yo Ma in a unity of approach and gesture that made every item a true duo.
Schumann came first. It's not often remembered that he studied the cello briefly as a youngster, though only one of the works here was written for the instrument. The Five Pieces in Folk Style are a group of character pieces, full of the quirkiness and idiosyncrasy typical of Schumann in his late period. Ma was particularly adept at finding the ideal weight as well as colour of tone to express their essential natures, but not even with both players at their most imaginative did the Adagio and Allegro written for horn sound ideal in its alternative cello format. The Three Fantasy Pieces conceived for clarinet worked surprisingly well, though, with Ma's sense of spontaneity matched by Ax in every note.
Even more than Schumann, Chopin is so indelibly associated with the solo piano that the existence of his substantial sonata for cello comes as a surprise. But it's a passionate and expertly composed piece, dynamically delivered here by both players in a striking realisation of its thematic material.
There was a new piece, too, jointly commissioned by the Barbican to celebrate Schumann's bicentenary. The American Peter Lieberson's Remembering Schumann makes the occasional specific reference to its subject's music but generally contents itself with emulating his fantasy and freedom in a less specific idiom. Pleasant if discursive, it registered as pallid beside its models, especially when performed with this level of commitment.
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