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驻节作曲家托马斯·艾迪斯作品
专场音乐会
Thomas Adès Concert Portrait 
2019年9月16日 星期一 19:30
Monday 16th September 19:30
贺绿汀音乐厅
He Luting Concert Hall 
托马斯·艾迪斯《达卡西亚奏鸣曲》
为三位演奏家的室内乐团（1993） 14’
Thomas Adès Sonata da Caccia for chamber ensemble of three players
托马斯·艾迪斯《四首四重奏》
为弦乐四重奏而作（2010） 20’
Thomas Adès The Four Quarters for string quartet
中场休憩Intermission
托马斯·艾迪斯《抓》
为四位演奏家的室内乐团而作（1991） 9’
Thomas Adès Catch for chamber ensemble of four players
托马斯·艾迪斯《钢琴五重奏》
（2000） 20’
Thomas Adès Piano Quintet
演出曲目以当天为准
Program is subject to change
现代重奏乐团
Ensemble Modern
由德国联邦文化基金帮助
Funded by the German Federal Cultural Foundation 
作曲家简介 
托马斯·艾迪斯
Thomas Adès
托马斯·艾迪斯1971年出生于伦敦，在市政厅音乐戏剧学院学习钢琴，后来又在康桥国王学院学习音乐。做为一个少年成名的作曲家、指挥家和钢琴家，艾迪斯在2007年被纽约时报叫作为“当今最有成就的音乐全才”。
艾迪斯1995年创作的重奏歌剧《给她的脸擦粉》在全世界频繁上演，他2004年由伦敦皇家歌剧院委约创作的歌剧《暴风雨》在国际有名的音乐厅上演，包含纽约的大都会歌剧院，改革局原演出的全视频DVD被Deutsche Grammophon发行，同年该长篇获格莱美奖。艾迪斯的第三部歌剧《在Luis Buñuel灭绝的天使后》2016年7月首演于奥地利的萨尔茨堡音乐节，随后又在伦敦、纽约和哥本哈根上演。
艾迪斯的重点交响乐队作品包含1997年为西蒙·拉特尔和伯明翰交响乐团而作的《Asyla》，该作品由柏林爱乐乐团和卡耐基音乐厅联合委约；2008年首演的为钢琴协奏曲和移动影像而作的《七日之内》; 以及，2013年首演于英国广播电台音乐节的为女中音、男低音和大乐队而作的《死亡之舞》。
做为一名指挥家，艾迪斯的公演合作乐团包含洛杉矶爱乐乐团、伦敦交响乐团、阿姆斯特丹皇家乐团、墨尔本及悉尼交响乐团、英国广播电台交响乐团、伯明翰城市交响乐团等。做为艺术家合作方，他已就职于波士顿交响乐团，并在2019年三月和钢琴家Kirill Gerstein一块首演了他的钢琴协奏曲。
艾迪斯所获奖项包含2015年的丹麦桑尼音乐奖、雅纳切克音乐奖以及2000年的格莱米艾尔大奖，他是迄今为止最青年的获奖者。2018年在英国女王生日那天，艾迪斯被授予英帝国司令勋衔。1999至2008年，艾迪斯任奥尔德堡音乐节艺术总监；同期亦任教于普鲁士湾国际音乐研讨会，指点钢琴和重奏音乐。
Born in London in 1971, Thomas Adès studied piano at the Guildhall School of Music & Drama, and read music at King’s College, Cambridge. A prodigious composer, conductor and pianist, Adès was described by the New York Times in 2007 as one of today’s “most accomplished overall musicians.”
Adès’s chamber opera Powder Her Face (1995) has been performed worldwide whilst The Tempest (2004) was commissioned by London’s Royal Opera House and has since been taken up by international houses including New York’s Metropolitan Opera, where it was recorded for a Deutsche Grammophon DVD which subsequently won a Grammy Award. Adès’s third opera, after Luis Buñuel’s The Exterminating Angel, premiered at the Salzburg Festival in July 2016 before travelling to London, New York and Copenhagen.
Adès’ s orchestral works include Asyla (1997) was written for Sir Simon Rattle and the CBSO, Tevot (2007), a commission from the Berlin Philharmonic and Carnegie Hall. In Seven Days (a concerto for piano with moving image) was premiered in 2008 whilst Totentanz for mezzo-soprano, baritone and large orchestra was premiered at the BBC Proms in 2013.
As a conductor, Adès appears regularly with the Los Angeles Philharmonic, London Symphony Orchestra, the Royal Concertgebouw, Melbourne and Sydney Symphonies, BBC Symphony, and City of Birmingham Symphony Orchestra. He is the inaugural Artistic Partner with the Boston Symphony Orchestra, with whom he premiered his Concerto for Piano and Orchestra with Kirill Gerstein as soloist in March 2019.
Adès has won numerous awards, including the 2015 Léonie Sonning Music Prize, the Leoš Janáček Award, and the prestigious Grawemeyer Award (2000), of which he is the youngest ever recipient. He was awarded a CBE in the 2018 Queen’s Birthday Honours. Adès was Artistic Director of the Aldeburgh Festival from 1999 to 2008 and coach’s piano and chamber music annually at the International Musicians Seminar, Prussia Cove.
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作品简介
《达卡西亚奏鸣曲》
Sonata da Caccia
双簧管、圆号和羽管键琴的组合是德彪西为他的第四首器乐奏鸣曲发明的，然则他还未写成就去世了。这首奏鸣曲亦是在向德彪西和库普兰致敬，我在曲子的演奏方式上沿用了库普兰的《科雷利酒店》和《L’ Apothéose de Lulli》。
其中所有的法文音乐术语，都是从库普兰的作品里节选来的。而力度标记（圆形括号里）和其他指示（方形括号里）都应被视作一个专业编辑的和善的意见。
——托马斯·艾迪斯
The combination of oboe, horn and harpsichord was devised by Debussy for the fourth of his instrumental sonatas, which death prevented him from composing. This piece could be imagined as a ‘homage’ to Debussy and Couperin, in the manner of the latter’ s L’ Apothéose de Corelli or L’ Apothéose de Lulli.
All indications in French are taken from works of Couperin. Dynamic indications (in round brackets) and other markings (in square brackets) are to be treated as the benign suggestions of a very expert editor.
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《四首四重奏》
Four Quarters
托马斯·艾迪斯的《四首四重奏》感情浓烈而奥秘，意图在四个乐章中贯穿地表现出时间的飞逝与流失。这首作品受卡内基音乐厅委约，为艾默生弦乐四重奏而作，于2011年3月12号首演。除了诱发追思情节的标题和副标题，推动乐曲进行的灵感和艾略特的组诗《四首四重奏》有着模棱两可的联系。
乐曲一开头是傍晚中喋喋不休的尘埃——经过一系列“强—弱—弱”的力度模板贯穿四个声部的交叠进行来表现。“晨露”则是用全体拨弦来表现，其中还穿插着零星的、突强的爆点。一段连弓的旋律在接近该乐章的尾部才起始出此刻类似卡农的背景织体上，接着，清脆的拨弦声和令人眼花缭乱的提升阶梯裹挟着全部乐章冲向妙趣横生的结尾。“日子”则用了一个稳妥的律动来表现，这个稳妥的律动便是由第二主题、随后又由中提轻轻演奏的#C踏板音。这之后的乐章是拱形结构的，从微弱的开头堆砌出一个强有力的高潮，而后再把这个高潮溶解回稳妥的轻柔的律动——两个小提琴声部的16分音符音流。最后一个乐章与这个乐章之间无停顿，就像是逃过了一个钟点，由于尾乐章的副标题是“25小时”：音乐由一系列极其繁杂的节奏序列推动，25/16拍（细分为2/4 + 3/16 + 2/4 + 6/16）。在这个精确的数学节拍中，这个乐章由狂野、舞曲般炙热的音乐气质推向织体碎片化的结尾——一小段旋律、脆弱的和声、和几块寂静的碎片。
版权所属 Kate Wakeling 2014 (请联系 wakeling.kate@gmail.com）
Thomas Adès’ bold and mysterious Four Quarters for string quartet charts the dart and flow of time across its four movements. The work was commissioned by Carnegie Hall for the Emerson Quartet and premiered at the hall on 12th March, 2011. Despite the piece’ s evocative title and subtitles, the impetus for the quartet and possible connections to T.S. Eliot’ s similarly-titled poetic sequence remains equivocal.
The work opens with the chattering dusk of ‘Nightfall’, evoked through a series of fpp markings as the quartet’ s four voices pierce and overlap one another. ‘Morning Dew’ is almost entirely pizzicato, interweaving fortissimo explosions with the delicate tick-tock of droplets. A bowed melody appears in quasi-canonic entries across the ensemble towards the movement’ s close, before the crisp return of pizzicato scoring and a dazzling stepwise ascent in octaves sweeps the movement to a witty finish. ‘Days’ is marked by its steady pulse, sustained first by the second violin then viola with a gently pulsing pedal C#. The movement follows an arch-like structure, building from its soft opening to an emphatic fortissimo climax before dissolving once more into steady calm, beckoned by a flow of semiquavers passed between violins. Escaping the measure of the clock face, the final movement ‘The Twenty-fifth Hour’ is propelled by an array of fiendishly complex rhythmic sequences in 25/16 time (subdivided as 2/4 + 3/16 and 2/4 + 6/16). Amid this mathematical exactitude, the movement is driven by a wild, dance-like zeal before drawing to a sparse close, marked by snippets of melody, fragile harmonics and fragments of silence.
© Kate Wakeling 2014 (contact wakeling.kate@gmail.com)
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《抓》
Catch
《抓》的结构是按照四件乐器的区别组合方式来定的。乐曲中有几种游戏同期进行：刚起始，单簧管是旁观者，另一三件乐器为主体。随后一段引诱的音乐进入，单簧管起始占主导地位，之后四件乐器一起加入愉快的“抢圈游戏”。当单簧管声部逐步减少，只留下闷闷不乐的钢琴和大提琴演奏着单簧管一起始的旋律/主题。这一段缓慢的音乐逐步减弱后又接入快板，此时游戏进行到最激烈的部分：钢琴声部被挤出局，引诱单簧管声部掉入“陷阱”。
——托马斯·艾迪斯
Catch structures itself around various combinations of the four instruments. There are several games going on: at the start, the clarinet is the outsider, the other three are the unit, then, after a decoy entry, the clarinet takes the initiative. All four then play jovial ‘pig-in-the-middle’ with each other. The clarinet is then phased out leaving a sullen piano and cello, with interjections based on the clarinet’ s original tune. This slower passage gradually mutates back into fast music, and this time the game is in earnest: the piano is squeezed out, only to lure the clarinet finally into the snare of its own music.
—Thomas Adès
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《钢琴五重奏》
Piano Quintet
艾迪斯的《钢琴五重奏》是受墨尔本音乐节的委约创作，由阿迪蒂弦乐四重奏和艾迪斯（钢琴）于2001年10月29日首演的。这首乐曲的结构是一个相对严谨的奏鸣曲式。艾迪斯一贯的风格是运用变形的探戈、扭曲的舞曲和反常的华尔兹，而这首乐曲却比较尤其地与古典音乐联系更加多。其中最明显的古典音乐特点便是该作品的呈示部被标记了重复，呈示部的末尾还包含第1次和第二次演奏的区别终止式。不外，如同艾迪斯的许多作品那样，尽管结构与发展主题的方式很传统，音乐的内核却一点亦不传统。
《钢琴五重奏》的主题都是可辨认的有调性主题，各主题的轮廓类似。而这些简单的砖块式的材料却是展开错综繁杂和音乐变形的基本。长段的呈示部的主题是短小的材料并置，钢琴和四件弦乐时常要同期演奏区别的拍子。不外这不是简单的纵向复合节拍，由于这首乐曲混合了传统节拍和非传统节拍，举例来讲：3/5、4/6、2/7 都在纵向上重叠，而节拍之下的分割还包含五连音、六连音、七连音与四分音符和八分音符对置。这般的节奏分割会给听觉上导致一种错觉— 节拍和重音似乎始终在转变。在呈示部中，速度是相对的，变幻无常的强音比固定的音律更突显。
节拍和律动在乐曲的后半段一样重要。然则，比起流动的呈示部来讲，再现部的重点材料变成为了一个区别的、音域更广的音阶。在一个极端的展开部之后，再现部是一个巨大的渐快段落，到最后，速度比一起始快了四倍。由此，一个停不下来的、巨大的音乐高潮被塑造起来。其听觉效果就像是剧烈压缩：就像是把全部作品压缩进一个很小的音乐黑洞里。这首五重奏的再现部是一个关于变形的比喻，亦是关于回归的。再现的主题或许是相同的，然则这一样的主题仿佛是被区别的演员在一个区别的戏剧里重现。
因此呢，这首《钢琴五重奏》的奏鸣曲式既不是武断的结构分割，亦不是新古典主义的范式。这首作品的结构时由其材料的内部生长出来的。而选取运用奏鸣曲式，不仅是出于当代音乐的创造性，亦是针对古典曲式的再次想象。
——汤姆·塞维奇
Thomas Adès’ single-movement Piano Quintet was commissioned by the Melbourne Festival for the Arditti Quartet, who gave the world premiere with Adès himself as pianist on October 29 2001. The piece is cast in a relatively strict sonata form. For a composer whose music has transfigured tangos, distorted dance music, and warped waltzes, this engagement with the classical tradition seems surprisingly unmediated. Perhaps the most potent emblem of this classicism is that the works exposition is marked to be repeated, and even includes first- and second-time bars. And yet, as with so many of Adès pieces, everything is not as it seems. Although the structural outline may be familiar, the design and treatment of the thematic material, and the proportions of the whole twenty-minute piece, are anything but conventional.
The themes of the Quintet are recognisably tonal, and are closely related to one another in their melodic contours. But these simple building-blocks are the starting-points for rich and intricate processes of transformation. The long exposition is full of subtle metrical juxtapositions, with the piano and string quartet often playing in different time-signatures simultaneously. Yet this is not simply a pitting of various pulses against one another. The piece superimposes conventional and unconventional time signatures, for example 3/5, 4/6, or 2/7 (divisions based on quintuplets, sextuplets, and septuplets, as opposed to crotchets and quavers). This is a dividing of time which creates a disorienting sense that the music is continually shifting in and out of temporal focus. In this exposition, tempo is a relative, volatile force, rather than a fixed pulse.
Time is again the issue in the later stages of the quintet. However, instead of the localised flux and flow of the exposition, the recapitulation is concerned with a different, larger scale. After the extremes of the central development section, the recapitulation is a gigantic accelerando which speed up to four times the original speed, and generates enormous, seemingly unstoppable momentum. The effect is of a dramatic and temporal compression: it is as if the whole work were squeezed into this musical black hole. Recapitulation in the Quintet is a metaphor for transformation as well as return. The themes may be the same, but they become actors in a new, epic drama.
So the sonata form of the Piano Quintet is neither a set of arbitrary structural props, nor a
neo-classical framing device. Instead, the architecture of the piece grows out of the transformations of its material. And in re-staging the challenges of sonata form, the Piano Quintet does not just articulate a contemporary creative perspective: it represents a vivid reimagination of the musical past.
—Tom Service
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乐团简介 
现代重奏乐团
Ensemble Modern
1980年成立的现代重奏乐团是当今世界上领先的现代音乐专业演奏团体。近年来，该乐团由来自9个国家的18位演奏家构成，每一位演奏家都为乐团的文化融合性作出了贡献。现代重奏乐团以独特的经营和组织方式闻名于国际乐坛：不聘艺术总监，而音乐的节目筛选和出品、制作和财务管理均由演奏家们负责完成。该乐团最杰出与独特的项目包含：剧场音乐、舞蹈和DVD出品、重奏音乐、小交响乐团和交响乐音乐会。现代重奏乐团每年都在各大著名的音乐活动和音乐厅中演出总共100场上下音乐会，包含：萨尔茨堡音乐节、布雷根茨艺术节、韦恩现代音乐节、巴黎之秋音乐节、荷兰音乐节、俄罗斯的Klangspuren Schwaz音乐节、柏林艺术节、德国的Ruhrtriennale音乐节，Musica Viva等，巡演场地包含威格摩尔音乐厅、城市博物馆、东京艺术村、阿姆斯特丹音乐厅、汉堡 Elbphilharmonie音乐厅、克隆爱乐音乐厅、柏林音乐厅、艾森爱乐音乐厅、巴登. 巴登节庆大剧院和欧德法兰克福音乐厅。
现代重奏乐团经过与在世作曲家的紧密合作，导致力于取得作曲家自己的最大认可。该乐团每年排练、演出近70部新作品，其中最少20部为世界首演。现代重奏乐团的演奏水平经常得到与之长时间合作的作曲家的高度赞赏，其中包含约翰·亚当姆斯、乔治·本杰明、彼得·伊特沃斯、海涅·戈贝尔斯、汉斯·亨次、马瑞乔·卡格尔、库塔克、拉赫曼、乔治·哥特、贝尼迪克特·梅森、斯托克豪森、赖克、弗兰克·扎卡等。
除了多样的音乐会演出，现代重奏乐团的演奏亦经常被录制成CD和视频，约20%的录制CD由该乐团自主持有的机构“现代重奏乐团媒介”发行。现代重奏乐团被德国联邦政府宣布为“现代文化的灯塔”，在同年成立的国际现代音乐学院里，该乐团致力于广泛的教育课程，如科研生课程、当代音乐、大师班、作曲研讨会和音乐教育课程等。
Founded in 1980 the Ensemble Modern (EM) is one of the worlds leading ensembles for contemporary music. Currently, the Ensemble unites 18 soloists from nine countries, all of whom contribute to the ensembles rich cultural bac公斤round. Resident in Frankfurt am Main, the Ensemble Modern is famous for its special working and organisational structure unlike any other in the world: there is no artistic director; all its members are responsible for jointly selecting and implementing projects, co-productions and financial matters. its unique and distinctive programme includes musical theatre, dance and video projects, chamber music, ensemble and orchestral concerts. Ensemble Modern gives approximately 100 concerts each year at renowned festivals, such as the Salzburg Festival, Bregenzer Festspiele, Wien Modern, Festival d’ automne a Paris, Holland Festival, Klangspuren Schwaz, Berliner Festspiele, Ruhrtriennale, musica viva, as well as outstanding venues worldwide, such as Wigmore Hall, Cité de la Musique, Tokyo Wondersite, Concertgebouw Amsterdam, Elbphilharmonie, Colognes Philharmonie, Konzerthaus Berlin, Philharmonie Essen, the Festspielhaus Baden-baden, Ate Operfrankfurt, Oper Frankfurt.
The ensemble strives to achieve the highest possible degree of authenticity by working closely with the composers themselves. The musicians rehearse an average of 70 new works every year, 20 of which are world premieres. Its work is characterised by extraordinary and often long-term cooperative ventures with renowned artists such as John Adams, George Benjamin, Peter Eötvös, Heiner Goebbels, Hans Werner Henze, Mauricio Kagel, György Kurtág, Helmut Lachenmann, György Get, Benedict Mason Karlheinz Stockhausen, Steve Reich or Frank Zappa.
In addition to its multi-faceted concert activities, Ensemble Modern presents the results of its work through regular radio and CD recordings. Almost 30 of the more than 150 CD productions have been released by the ensembles own label, Ensemble Modern Media. Ensemble Modern was declared a “Leuchtturm” or “beacon” of contemporary culture in Germany in 2003 by the German Federal Cultural Foundation. Under the roof of the international Ensemble Modern Academy (IEMA), founded the same year, the Ensemble Modern musicians offer a wide range of educational programmes, such as the Masters Degree Course “Contemporary Music”, master courses, composition seminars and educational projects for students.
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THE
END
主办
上海音乐学院
Presenter: Shanghai Conservatory of Music
承办
上海音乐学院作曲系
Organizer: Composition Department of SHCM
协办
上海音乐艺术发展协同创新中心
2019上海音乐学院萨克斯风艺术节
上海上体文化传媒有限机构
Co-organizer: Shanghai Music Art Development Center for Collaborative Innovation
2019 Asia Saxophone Congress
Shanghai SHANGTI Culture Co.,Ltd 
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资料：吴羽萌
英文翻译：严也果
编辑：李慧敏
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发表于 2024-9-29 19:20:22