第五號交響曲 (貝多芬)

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貝多芬的C小調第五號交響曲（作品67）是寫作於1804年到1808年間。

這首是最受歡迎的交響曲之一，並且是所有歐洲古典音樂中眾所皆知的曲子，還有最被常演奏的交響曲。^[1]共有四個樂章：開頭的快版奏鳴曲、行板、快速的諧詼曲到曲末。1808年第一次演出在維也納的維也納劇院，此作品當晚獲得了廣大的愛戴。當時，E.T.A. Hoffmann說這首交響曲是"當代最重要的作品之一"。

開頭是以特別的四個音符 '短-短-短-長' 為主題演奏兩次：試聽  說明 · 關於 

第五號交響曲以及它特別的四個開頭主題音符，在全球眾所皆知。後來，這個交響曲的元素在流行文化裡被多次改編，像在迪斯科（Disco）及搖滾樂（Rock'n Roll）的其它新型態樂風中，並且出現在電影及電視裡。

目录 1 歷史 1.1 作曲 1.2 首演 1.3 迴響與影響 2 管弦樂團編制 3 曲式 3.1 第一樂章 3.2 第二樂章 3.3 第三樂章 3.4 第四樂章 4 Lore 4.1 「命運」主題 4.2 調性 4.3 開頭主題的反覆 4.4 長號及短笛 5 Textual questions 5.1 第三樂章的反覆 5.2 Reassigning bass notes to the horns 6 媒體 7 參考資料 8 版本 9 相關條目 10 外部連結

[编辑] 歷史

[编辑] 作曲

第五號交響曲的創作總共時間是令人注意的。在第三號交響曲之後的1804年就有初步的構想。^[2]. 但是貝多芬一直中斷第五號交響曲的創作而去寫別的曲子，包括第一版的費德里奧、熱情鋼琴奏鳴曲、三首拉斯莫夫斯基弦樂四重奏、小提琴協奏曲、第四號鋼琴協奏曲以及第四號交響曲。 最後第五號交響曲在1807年-1808年間創作，並且是與第六號交響曲同時創作，並在同場演奏會做首演。

貝多芬在這個時候是三十多歲；他的生活因為耳聾而更麻煩。^[3] 在這個時期是拿破崙戰爭，奧地利的政治動盪，1805年拿破崙的部隊佔領了維也納。

[编辑] 首演

第五號交響曲在1808年12月22日於維也納劇院首演，這是由貝多芬的新作品所組成的龐大音樂會，並且由貝多芬親自指揮。^[4]演出時間超過四個小時。兩首交響曲的名稱是與我們現在所知道的相反：第五號是編號第六、第六號是編號第五。^[5] 節目如下：

• 第六號交響曲
• 詠嘆調 - Ah perfido! 作品65
• The Gloria movement of C大調彌撒
• 第四號鋼琴協奏曲 (貝多芬親自演奏)
• (中場休息)
• 第五號交響曲
• the Sanctus and Benedictus movements of C大調彌撒
• 合唱幻想曲

貝多芬將此交響曲題獻給他的兩位贊助者，洛布科維茲王子（Prince Franz Joseph von Lobkowitz）以及拉茲莫夫斯基伯爵（Count Rasumovsky）。標示出現在1809年4月的初版版本。

[编辑] 迴響與影響

在不好的狀況下，對首演音樂會沒有太多的評論。管弦樂團沒有演奏好－演奏會前只有一次排演－在那時候，合唱幻想曲有演奏者出了一個錯，貝多芬停下並且再重新開始。^[6] 演奏廳極冷且觀眾因為節目太長而疲勞。不過一年半之後，另一個音樂會結果有熱烈的回響，由E.T.A. Hoffmann在Allgemeine Musikalische Zeitung發表。他戲劇化的描述：

強光射穿這個地區的夜幕，同時我們感到了一個徘徊著的巨大暗影，降臨到我們頭上並摧毀了我們內心的一切，除了無盡渴望所帶來的痛——在這種渴望中，本來在歡騰呼聲中燃起的那份喜悅倒下逝去。^[7]

很快地這首交響曲成為了每個演奏會的重點曲目。就像是古典音樂的標誌，第五號交響曲在1842年12月7日由紐約愛樂演出、1931年11月2日由美國國家交響樂團演出。

在它的技巧及情緒的巨大衝擊下，第五號交響曲帶給作曲家及音樂評論家很大的影響，^[8] 受到影響的作曲家有布拉姆斯、柴可夫斯基（他的第四號交響曲的片段）^[9] 、布魯克納、馬勒、以及白遼士。^[10] 第五號交響曲如同第三號交響曲及第九號交響曲，在貝多芬的作品中有重大革新。

[编辑] 管弦樂團編制

第五號交響曲的管弦樂團編制如下：

• 木管樂器：
  • 短笛 (只在第四樂章使用)
  • 2 長笛
  • 2 雙簧管
  • 2 降B調、C調豎笛
  • 2 低音管
  • 倍低音管 (只在第四樂章使用)

• 銅管樂器
  • 2 降E調、C調法國號
  • 2 C調小號
  • 3 長號 (中音、次中音及低音) (只在第四樂章使用)

• 打擊樂器
  • 定音鼓

• 弦樂器
  • 第一、第二小提琴
  • 中提琴
  • 大提琴
  • 低音提琴^[11]

[编辑] 曲式

此作品具有四個樂章：

• I.Allegro con brio
• II.Andante con moto
• III.Scherzo: Allegro
• IV.Allegro

全曲大約長35分鐘。

[编辑] 第一樂章

第一樂章開頭是四個音符主題，在西方音樂是最出名的。在前四小節的指揮方法有許多爭議。一些指揮家堅持用快板速度；一些使用沉重的自由奏，用慢的速度演奏主題；還有一些漸慢的演奏三個G及F並爭論說這裡要中斷。^[12]

第一樂章是傳統的奏鳴曲曲式，是貝多芬從他的古典樂派老師海頓及莫扎特所繼承而來（包括主題發展經過好幾個調性，再戲劇性的回到開頭的調性）。開頭的戲劇化強奏吸引了聽者的注意力。跟著一開始的四小節，貝多芬仿製了一連串的主題發展，在節奏及音程上不斷重覆。很快地，由法國號的強奏進入了第二主題。第二主題是降E大調，此曲的關係大調，這是由動態的弱奏以及絃樂器所奏的四個音符主題所帶出來的抒情段落。以動態的四個音符做基礎的小尾奏。Following is the development, it uses modulation (key changes), sequences and imitation, the bridge is also featured in the development. Soon the recapitulation start, there is a surprise when a brief solo passage for oboe in improvisatory style appears, and a massive coda to finish the movement.

[编辑] 第二樂章

The second movement, in A flat major, is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda.

The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, violins, with a triplet arpeggio in the violas and bass. A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos, and a coda to close the movement.^[13]

[编辑] 第三樂章

The third movement is in ternary form, consisting of a scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements, containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and a coda. (For further discussion of this form, see "Textual questions", below.)

The movement returns to the opening key of C minor and begins with the following theme, played by the cellos and double basses: (listen  說明 · 關於 )

The 19th century musicologist Gustav Nottebohm first pointed out that this theme has the same sequence of pitches (though in a different key and range) as the opening theme of the final movement of Mozart's famous Symphony No. 40 in G minor, K. 550. Here is Mozart's theme: (listen  說明 · 關於 )

(The derivation emerges more clearly if one listens first to Mozart's theme, then Mozart's theme transposed to Beethoven's key and range, then Beethoven's theme, thus: listen  說明 · 關於 .)

While such resemblances sometimes occur by accident, this is unlikely to be so in the present case. Nottebohm discovered the resemblance when he examined a sketchbook used by Beethoven in composing the Fifth Symphony: here, 29 measures of Mozart's finale appear, copied out by Beethoven.^[14]

The opening theme is answered by a contrasting theme played by the winds, and this sequence is repeated. Then the horns loudly announce the main theme of the movement, and the music proceeds from there.

The trio section is in C major and is written in a contrapuntal texture. When the scherzo returns for the final time, it is performed by the strings pizzicato and very quietly.

"The scherzo offers contrasts that are somewhat similar to those of the slow movement in that they derive from extreme difference in character between scherzo and trio ... The Scherzo then contrasts this figure with the famous 'motto' (3 + 1) from the first movement, which gradually takes command of the whole movement." ^[15]

[编辑] 第四樂章

The triumphant and exhilarating finale begins without interruption after the scherzo. It is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the scherzo was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work.

The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. Charles Rosen, in The Classical Style^[16] suggests that this ending reflects Beethoven's sense of Classical proportions: the "unbelievably long" pure C major cadence is needed "to ground the extreme tension of [this] immense work."

[编辑] Lore

A great deal has been written about the Fifth Symphony in books, scholarly articles, and program notes for live and recorded performances. This section summarizes some themes that commonly appear in this material.

[编辑] 「命運」主題

The initial motif of the symphony has sometimes been credited with symbolic significance as a representation of Fate knocking at the door. This idea comes from Beethoven's secretary and factotum Anton Schindler, who wrote, many years after Beethoven's death:

The composer himself provided the key to these depths when one day, in this author's presence, he pointed to the beginning of the first movement and expressed in these words the fundamental idea of his work: "Thus Fate knocks at the door!"^[17]

Schindler's testimony concerning any point of Beethoven's life is disparaged by experts (he is believed to have forged entries in Beethoven's conversation books).^[18] Moreover, it is often commented that Schindler offered a highly romanticized view of the composer. Thus, although we cannot know whether Schindler actually fabricated this quotation, it seems a strong possibility.

There is another tale concerning the same motif; the version given here is from Antony Hopkins's description of the symphony (see References below). Karl Czerny (Beethoven's pupil, who premiered the "Emperor" Concerto) claimed that "the little pattern of notes had come to [Beethoven] from a yellow-hammer's song, heard as he walked in the Prater-park in Vienna." Hopkins further remarks that "given the choice between a yellow-hammer and Fate-at-the-door the public has preferred the more dramatic myth, though Czerny's account is too unlikely to have been invented."

Evaluations of these interpretations tend to be skeptical. "The popular legend that Beethoven intended this grand exordium of the symphony to suggest 'Fate Knocking at the gate' is apocryphal; Beethoven's pupil, Ferdinand Ries, was really author of this would-be poetic exegesis, which Beethoven received very sarcastically when Ries imparted it to him."^[12] Elizabeth Schwarm Glesner remarks that "Beethoven had been known to say nearly anything to relieve himself of questioning pests"; this might be taken to impugn both tales.^[19]

[编辑] 調性

The key of the Fifth Symphony, C minor, is commonly regarded as a special key for Beethoven, specifically a "stormy, heroic tonality".^[20] Beethoven wrote a number of works in C minor whose character is broadly similar to that of the Fifth Symphony. "Beethoven in C minor has come to symbolize his artistic character. In every case, it reveals Beethoven as Hero. C minor does not show Beethoven at his most subtle, but it does give him to us in his most extrovert form, where he seems to be most impatient of any compromise". ^[21]

[编辑] 開頭主題的反覆

It is commonly asserted that the opening four-note rhythmic motif (short-short-short-long; see above) is repeated throughout the symphony, unifying it. According to Web, "it is a rhythmic pattern (dit-dit-dit-dot*) that makes its appearance in each of the other three movements and thus contributes to the overall unity of the symphony" (Doug Briscoe, [1]); "a single motif that unifies the entire work" (Peter Gutmann, [2]); "the key motif of the entire symphony" ([3]) ; "the rhythm of the famous opening figure ... recurs at crucial points in later movements" (Richard Bratby, [4]). The New Grove encyclopedia cautiously endorses this view, reporting that "[t]he famous opening motif is to be heard in almost every bar of the first movement – and, allowing for modifications, in the other movements."^[22]

There are several passages in the symphony that have led to this view. The one most commonly noted occurs in the third movement, where the horns play the following solo in which the short-short-short-long pattern occurs repeatedly:

In the second movement, an accompanying line plays a similar rhythm (listen  說明 · 關於 ):

In the finale, Doug Briscoe (cited above) suggests that the motif may be heard in the piccolo part, presumably meaning the following passage (listen  說明 · 關於 ):

Later, in the coda of the finale, the bass instruments repeatedly play the following (listen  說明 · 關於 )::

On the other hand, there are commentators who are unimpressed with these resemblances and consider them to be accidental. Antony Hopkins, ^[23] discussing the theme in the scherzo, says "no musician with an ounce of feeling could confuse [the two rhythms]", explaining that the scherzo rhythm begins on a strong musical beat whereas the first-movement theme begins on a weak one. Donald Francis Tovey^[24] pours scorn on the idea that a rhythmic motif unifies the symphony: "This profound discovery was supposed to reveal an unsuspected unity in the work, but it does not seem to have been carried far enough." Applied consistently, he continues, the same approach would lead to the conclusion that many other works by Beethoven are also "unified" with this symphony, as the motif appears in the "Appassionata" piano sonata, the Fourth Piano Concerto (listen  說明 · 關於 ), and in the String Quartet, Op. 74. Tovey concludes, "the simple truth is that Beethoven could not do without just such purely rhythmic figures at this stage of his art."

To Tovey's objection can be added the prominence of the short-short-short-long rhythmic figure in earlier works by Beethoven's older Classical contemporaries Haydn and Mozart. To give just two examples, it is found in Haydn's "Miracle" Symphony, No. 96) ((listen  說明 · 關於 ) and in Mozart's Piano Concerto No. 25, K. 503 ((listen  說明 · 關於 ). Such examples show that "short-short-short-long" rhythms were a regular part of the musical language of the composers of Beethoven's day.

It seems likely that whether or not Beethoven deliberately, or unconsciously, wove a single rhythmic motif through the Fifth Symphony will (in Hopkins's words) "remain eternally open to debate."

[编辑] 長號及短笛

首次使用長號及短笛在交響曲中的是貝多芬第五號交響曲第四樂章，這是錯的。瑞典作曲家Joachim Eggert在1807年在他的降E大調交響曲（Symphony in E-flat major）中使用了長號^[25]，在這之前的1773年8月，麥克·海頓（Michael Haydn）的C大調第19號交響曲中使用了短笛。

[编辑] Textual questions

[编辑] 第三樂章的反覆

In the autograph score (that is, the original version from Beethoven's hand), the third movement contains a repeat mark: when the scherzo and trio sections have both been played through, the performers are directed to return to the very beginning and play these two sections again. Then comes a third rendering of the scherzo, this time notated differently for pizzicato strings and transitioning directly to the finale (see description above). Most modern printed editions of the score do not render this repeat mark; and indeed most performances of the symphony render the movement as ABA' (where A = scherzo, B = trio, and A' = modified scherzo), in contrast to the ABABA' of the autograph score.

The repeat mark in the autograph is unlikely to be simply an error on the composer's part. The ABABA' scheme for scherzi appears elsewhere in Beethoven, in the Bagatelle for solo piano, Op. 33, No. 7 (1802), and in the Fourth, Sixth, and Seventh Symphonies. However, it is possible that for the Fifth Symphony Beethoven originally preferred ABABA', but changed his mind in the course of publication in favor of ABA'.

Since Beethoven's day, published editions of the symphony have always printed ABA'. However, in 1978 an edition specifying ABABA' was prepared by Peter Gülke and published by Peters. In 1999, yet another edition by Jonathan Del Mar was published by Bärenreiter^[26] which advocates a return to ABA'. In the accompanying book of commentary,^[27] Del Mar defends in depth the view that ABA' represents Beethoven's final intention; in other words, that conventional wisdom was right all along.

In concert performances, ABA' prevailed until fairly recent times. However, since the appearance of the Gülke edition conductors have felt more free to exercise their own choice. The conductor Caroline Brown, in notes to her recorded ABABA' performance with the Hanover Band (Nimbus Records, #5007), writes:

Re-establishing the repeat certainly alters the structural emphasis normally apparent in this Symphony. It makes the scherzo less of a transitional make-weight, and, by allowing the listener more time to become involved with the main thematic motif of the scherzo, the side-ways step into the bridge passage leading to the finale seems all the more unexpected and extraordinary in its intensity.

Performances with ABABA' seems to be particularly favored by conductors who specialize in authentic performance (that is, using instruments of the kind employed in Beethoven's day). These include Brown, as well as Christopher Hogwood, John Eliot Gardiner, and Nikolaus Harnoncourt. ABABA' performances on modern instruments have also been recorded by the Zürich Tonhalle Orchestra under David Zinman and by the Berlin Philharmonic Orchestra under Claudio Abbado.

[编辑] Reassigning bass notes to the horns

In the first movement, the passage that introduces the second subject of the exposition is assigned by Beethoven as a solo to the pair of horns.

Image:BeethovenSymphonyNo5Mvt1SecondTheme.PNG

At this location, the theme is played in the key of E flat major. When the same theme is repeated later on in the recapitulation section, it is given in the key of C major. As Antony Hopkins (references below) notes, "this ... presented a problem to Beethoven, for the horns [of his day], severely limited in the notes they could actually play before the invention of valves, were unable to play the phrase in the 'new' key of C major. Beethoven therefore had to give the theme to a pair of bassoons, who, high in their compass, were bound to seem a less than adequate substitute. In modern performances the heroic implications of the original thought are regarded as more worthy of preservation than the secondary matter of scoring; the phrase is invariably played by horns, to whose mechanical abilities it can now safely be trusted."

In fact, since Hopkins wrote this passage (1981), conductors actually have experimented with preserving Beethoven's original scoring for bassoons. This can be heard on the performance conducted by Caroline Brown mentioned in the preceding section, as well as in a recent recording by Simon Rattle with the Vienna Philharmonic. Although horns capable of playing the passage in C major were developed not long after the premiere of the Fifth Symphony (according to this source, 1814), it is not known whether Beethoven would have wanted to substitute modern horns, or keep the bassoons, in the crucial passage.

[编辑] 媒體

以下是富爾達交響樂團（Fulda Symphonisches Orchester）由Simon Schindler所指揮的第五號交響曲。 這個錄音是在2000年3月10日於德國富爾達橘園（Orangerie）的演奏會中所錄製。

[编辑] 參考資料

[编辑] 版本

• The edition by Jonathan Del Mar mentioned above was published as follows: Ludwig van Beethoven. Symphonies 1–9. Urtext. Kassel: Bärenreiter, 1996–2000
• An inexpensive version of the score has been issued by Dover Publications. This is a 1989 reprint of an old edition (Braunschweig: Henry Litolff, no date). Reference: Symphonies Nos. 5, 6, and 7 in Full Score (Ludwig van Beethoven). New York: Dover Publications. ISBN 0-486-26034-8.

[编辑] 相關條目

貝多芬作品列表

[编辑] 外部連結

• General discussion and reviews of recordings
• Brief structural analysis
• Analysis of the Beethoven 5th Symphony, The Symphony of Destiny on the All About Ludwig van Beethoven Page
• Program notes for a performance by the National Symphony Orchestra, Washington, DC.
• A Century of New Music in Vienna - with photos, maps, and audio files
• Template:IMSLP2
• Project Gutenberg has two MIDI-versions of Beethoven's 5th symphony: Etext No. 117 and Etext No. 156
• Mutopia project has a piano reduction score of Beethoven's 5th Symphony
• Full Score of Beethoven's Fifth Symphony.
• Complete performance by the Philadelphia Orchestra.