暑假来临，天津茱莉亚学院继续推出“线上音乐厅”系列，为大家呈现学院师生的演出现场。本期曲目为弗朗茨·舒伯特《A大调钢琴五重奏，D. 667》“鳟鱼”，来自于今年3月12日天津茱莉亚室内乐团（The Tianjin Juilliard Ensemble）的五位音乐家在天津大剧院的精彩演绎。此外，学院常驻教师尼科洛·安森（Niccolo Athens）还撰写了曲目介绍，带领大家深入走进这部作品。
天津茱莉亚室内乐团
何为，小提琴｜希拉·布朗，中提琴｜萧晴文，钢琴｜金兗珍，大提琴｜张达寻，低音提琴
演出曲目
弗朗茨·舒伯特（1797-1828）
A大调钢琴五重奏，D. 667，“鳟鱼”
Ⅰ. 生气勃勃的快板
Ⅱ. 行板
Ⅲ. 谐谑曲：急板
Ⅳ. 主题与变奏：小行板
Ⅴ. 终曲：严格快板
何为，小提琴
希拉·布朗，中提琴
金兗珍，大提琴
张达寻，低音提琴
萧晴文，钢琴
——
FRANZ SCHUBERT (1797-1828)
Piano Quintet in A Major, D. 667, “Trout”
Ⅰ. Allegro vivace
Ⅱ. Andante
Ⅲ. Scherzo: Presto
Ⅳ. Tema con variazione: Andantino
Ⅴ. Finale: Allegro giusto
Wei He, Violin
Sheila Browne, Viola
Yeonjin Kim, Cello
DaXun Zhang, Double Bass
Ching-Wen Hsiao, Piano
以下视频来源于天津茱莉亚学院
弗朗茨·舒伯特：A大调钢琴五重奏，D. 667，“鳟鱼”
演出曲目
弗朗茨·舒伯特：A大调钢琴五重奏，D. 667，“鳟鱼”
FRANZ SCHUBERT: Piano Quintet in A Major, D. 667, “Trout”
弗朗茨·舒伯特1819年创作的《“鳟鱼”五重奏》是一首小提琴、中提琴、大提琴、低音提琴和钢琴五重奏，也是其最早被列为标准演奏曲目的大型室内乐作品。（舒伯特的大多数作品，如弦乐四重奏、钢琴三重奏和弦乐五重奏都出自他短暂作曲生涯的最末期。）就像他D小调弦乐四重奏中的《死亡与少女》一样，这个令人难忘的标题来自舒伯特之前创作的一首艺术歌曲，而这首艺术歌曲则是《“鳟鱼”五重奏》第四乐章的变奏曲主题。
虽然这首五重奏是舒伯特的早期作品，但其独特的个性在第一乐章的开篇便已展现出来，随后音乐突然进入降下中音调，而由增六度带来的回归转调也让人惊讶不已。舒伯特多年来一直钟爱着这样的和声模进。他的风格的另一个典型特征是第一乐章整体呈示部比较宏大、抒情性强，这一点在第二段旋律中尤为明显——苦乐参半，并夹杂着平行小调。尾声转向下中音（这次为主导），为整个呈示部定下了令人愉悦的音色逻辑。发展部从C大调启程，以开篇主旋律为基础，展开了一段调性相对稳定的乐段。各种调性的变化最终转变为了再现部并始于D大调的下属调（舒伯特的另一种惯用手法，这种“懒惰”的再现免除了重新构建呈示部中转调桥段的必要，只需要简单的移位就足够了。）
五重奏组的第二乐章采用了古典缓慢乐章中典型的“没有发展部的奏鸣曲式”，但其调性布局与正统的大相径庭。从F大调（第一乐章中“降下中音调”）离开，该乐章的第二主题转到了最令人意外的升F小调上，最终通过一系列纯五度的周转回到了G大调。第二次转折以这些相同的元素从降A大调开始，然后第二主题到A小调，直到乐章末才回到F大调。
第三乐章的谐谑曲颇具贝多芬的节奏风格，并重新回到作为全曲主调的A大调。开篇多变的重复逐步将调性运动引回了降中音调。下属调的中间部三重奏更加克制，声音上其实构成了二重奏，引发了乐器的对话。这一部分也是按半音阶呈现的，最后再次回归降下中音调，之后由那无处不在的增六度将音乐带回主调。
五重奏“额外的”第四乐章是舒伯特为其著名艺术歌曲《鳟鱼》而作的一组变奏曲，早于该五重奏几年创作。作为变奏曲，它很大程度上避免了其他乐章中的转调，而是专注于主旋律的音色质感与旋律上的可能性。尽管如此，在平行小调变奏之后，竟出现了在降B大调上的变奏（再次为降下中音调！）。这一变奏随着一些巧妙的半音阶变化结束，从而使音乐返回到此乐章的主调D大调上并迎来最终变奏。最后的伴奏音型那活泼的形象与原作艺术歌曲相呼应着。
五重奏轻快的终乐章可能是所有章节中最新颖的。像第二乐章一样，它是一段“没有发展部的奏鸣曲”，其特征在于直接移调和大段的重复，通过“倒退”实现预期的调性变化。呈示部以主调奏响，通过非同寻常的方式过渡到了第二主题的下属调（其调性和节奏感都不禁使人联想到上一乐章的“鳟鱼”旋律）。在这之后则是在属调上的再现部，就像呈示部那样，降低了五度，音乐最终回到主调。在此，全曲以一个简短的降下中音调瞬间在尾声时做了最后的告别。
This quintet of 1819 for violin, viola, cello, double bass, and piano is the earliest of Schubert’s large-scale chamber works to have joined the standard performing repertoire. (Most of the others – a handful of string quartets, the piano trios, and the string quintet – all date from the tail end of Schubert’s truncated career.) As with his String Quartet in D minor “Death and the Maiden,” this work’s memorable subtitle comes from one of Schubert’s songs that served as the basis for a set of variations incorporated into the work, in this case as the fourth movement.
Although the quintet is an early work, Schubert’s distinct personality is already palpable during the first movement’s opening gambit, during which the music slips suddenly into the flat submediant, a surprising modulation then recovered via the augmented sixth. This entire harmonic sequence was a perennial favorite of the composer. Also characteristically Schubertian is the breadth and lyricism of the first movement’s exposition as a whole, particularly its bittersweet second theme, shadowed by the parallel minor. A final turn towards the submediant (this time of the dominant) provides the entire exposition with a satisfying tonal logic. The development departs from C major with an extended passage of relative tonal stasis based on the movement’s opening theme. Various tonal vagaries eventually lead to the recapitulation, which begins in the subdominant key of D major (another characteristically Schubertian device, the “lazy” recapitulation obviates the need for recomposing the exposition’s modulatory bridge – simple transposition is sufficient.)
The quintet’s second movement is cast in a “sonata without development” typical of Classical slow movements, but its tonal layout is radically unorthodox. Departing from the key of F major (the first movement’s “flat submediant”), the movement’s second subject arrives in the most unexpected key of F-sharp minor, eventually working its way around the circle of fifths to a closing subject in G major. A second pass through these same materials begins from A-flat major, with the second subject arriving in A minor, the tonic F major only regained during the movement’s closing bars.
The third movement scherzo, abounding in Beethovenian rhythmic verve, returns to the global tonic of A major. Its opening strain is notable for a written-out varied repetition that redirects tonal motion towards the flat mediant. The central trio in the subdominant key is more subdued, effectively a series of duets and dialogues. It too is chromatically wayward, eventually finding its way once again to the flat submediant, from whence it is directed home via the ubiquitous augmented sixth.
The quintet’s “extra” fourth movement is a set of variations on Schubert’s celebrated song Die Forelle (“The Trout”), written several years before the quintet. As a variation set, it largely avoids the modulatory eccentricities of the other movements, instead focusing on various textural and melodic possibilities of the tune. Nevertheless, Schubert follows the expected variation in the parallel minor with a variation cast in B-flat major (the flat submediant yet again!) This variation closes with some chromatic sleight of hand that returns the music to the local tonic of D major for a final variation whose perky accompaniment figuration echoes the original lied.
The quintet’s lightweight finale is probably the most formally unorthodox movement of all. Like the second movement, it is a kind of “sonata without development,” featuring large stretches of music directly transposed and repeated, “working backwards” to achieve the desired key. The exposition begins in the tonic, moving quite unusually to the subdominant for the second subject (its key and rhythmic profile both recall the “trout” melody of the previous movement). This is answered by a recapitulation that begins in the dominant and, like the exposition, works its way down a fifth, eventually returning the music to the tonic, where a brief coda makes one final valedictory nod towards the flat submediant.
曲目介绍由尼科洛·安森博士撰写
Program Notes by Dr. Niccolo Athens