Ṇ㳚⣏⬠

˪㴒㻓㗪㛇䭉⻎㦪岆㜸˫

100 ⬠⸜⹎䫔Ḵ⬠㛇 Spring 2011

忋ㅚ列 ≑䎮㔁㌰ E-mail: [email protected]

Web: http://www.Taiwan543.com///cello

ᶲ䵚㈦枛㦪⼙䇯烉http://youtube.com

䫔ᶨấ⽫⼿⟙⏲㇒㬊㖍烉2012 ⸜ 3㚰22 㖍 㛇ᷕ侫䫮娎 2012 ⸜ 4㚰19 㖍 䫔Ḵấ⽫⼿⟙⏲㇒㬊㖍烉2012 ⸜ 5 㚰 24 㖍 㛇㛓侫烉2012 ⸜ 6 㚰 21 㖍

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娵嬀䭉⻎㦪☐

Woodwind Instruments 㛐䭉㦪☐ Piccolo: 䞕䫃 Flute: 攟䫃 Oboe: 暁䯏䭉 Clarinet: ╖䯏䭉ˣ寶䫃ˣ湹䭉 Bassoon: Ỷ枛䭉 (Recorder 䚜䫃炻 Bagpipe 桐䫃)

Brass Instruments 戭䭉㦪☐ French Horn: 㱽⚳嘇 Trumpet: ⮷嘇ˣ⮷┯⎕ Trombone: Ỡ䷖嘇ˣỠ䷖┯⎕ Tuba: Ỷ枛嘇ˣ⛇⶜嘇 Saxophone 啑⃳㕗桐

Percussion Instruments 㔚㑲㦪☐炻ㇻ㑲㦪☐ Timpani ⭂枛溻 Snare drum ⮷溻 Triangle ᶱ奺揝 Drum ⣏溻 Cymbals 懠 Marimba 楔㜿⶜㛐䏜 Vibraphone 暯枛揝䏜

Stringed Instruments ⻎㦪☐ Violin: ⮷㍸䏜 Viola: ᷕ㍸䏜 Violoncello, Cello: ⣏㍸䏜 Double Bass, Bass: Ỷ枛⣏㍸䏜

Plug Stringed Instruments㑍⻎㦪☐

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Harp: 寶䏜 Guitar: ⎱Ṿ Mandolin: 㚤旨懜

Keyboard Instruments 挝䚌㦪☐ Cembalo, Harpsichord: ⣏挝䏜ˣ佥䭉挝䏜 Clavichord⎌护䏜 Organ 䭉桐䏜 Piano 护䏜 Celesta 护䇯䏜 Electronic Piano 暣⫸护䏜

枛㦪埻婆烉忇⹎姀嘇

Presto: ⿍㜧ˤquick, ready; early, soon, quickly, far Vivace: 䓂⾓㜧ˤlively, brisk (䱦䤆≫≫䘬), quick, bright Allegro: ⾓㜧ˤ Cheerful, merry, gay Allegretto: 䦵⾓㜧ˤġ㳣㻹侴ᶵ⣒⾓ Andantino: ⮷埴㜧 Andante: 埴㜧 Moderato: ᷕ㜧 Adagio: ㄊ㜧ˤSlowly, softly Lento: 䶑ㄊ䘬ˤ Slow, loose, tardy (怚憵䘬) Largo: 㚨䶑㜧ˤBroad, wide, extensive, open, liberal

㚚䧖ˣ㚚⺷冯℞Ṿ枛㦪埻婆

Acoustic: 枛枧䘬 Acoustic guitar 枛枧⎱Ṿ炻朆暣⫸⎱Ṿ栆䘬䷥䧙 Allegro: ⾓㜧炻ケ〭䘬炻㫋╄䘬 Allemande: 旧≺㚤⽟准㚚 Alto: ⤛ᷕ枛 Andante: 埴㜧炻崘嶗

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Animation: ≽䔓 Aperto:攳㓦䘬 Arco: ⺻炻䓐⺻⣷ Aria: 娈▮婧 Ballade: 㔀ḳ㚚 Baroque: ⶜㳃⃳ (ca. 1600-1750) Bass: Ỷ枛倚悐炻䓟Ỷ枛炻居㕗⎱Ṿ炻Ỷ枛⣏㍸䏜 (⍇⎵ Double Bass) Baton: ㊯㎖㡺 Blues: 湹Ṣ啵婧枛㦪 Bow: ⻎㦪☐䓐䘬⺻炻⺻䭕䘬⺻ Bowings: ⺻㱽 Bridge: 䏜㧳炻䏜楔 Cadenza: ⋼⣷㚚㦪䪈ᷕ䌐⣷侭䘬墅梦⣷㦪㭝 Canon: ⌉彚炻⎬倚悐♜㟤㧉ầ Caprice: 䵢゛㚚 Castrato: 敡Ṣ㫴ㇳ Cello (⍇⎵ Violoncello): ⣏㍸䏜 Chorus, Choir: ⣏⎰ⓙ炻⮷✳⎰ⓙ⛀ Classical music: ⎌℠枛㦪 Classical period: ⎌℠㗪㛇 (ca. 1750-1820) Concert master炻Moncert mistress (⤛⿏): 㦪⛀椾ⷕ炻䫔ᶨ⮷㍸䏜椾ⷕ Concert: 枛㦪㚫 Concerto: ⋼⣷㚚 Conductor: ㊯㎖ Courante: ⹓㚿准㚚 Director:䷥䚋ˣ㊯⮶ˣ⮶㺼 Dominant: Ⱄ枛炻枛昶䘬䫔Ḽᾳ枛 Double Bass (䯉䧙Bass): Ỷ枛⣏㍸䏜 Duet, Duo: Ḵ慵⣷炻Ḵ慵ⓙ Duke of Eral:ˬ⌬䇦℔䇝˭␴⻎忚埴 I – iv – IV – V – I – iv – IV - V Echo: ⚆倚 Ensemble: 㦪⛀ˣ慵⣷ˣ慵ⓙ炻ᶨ崟㺼⣷䘬満⣹ Eroica: 劙晬 Etude: 䶜佺㚚

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Finale: 䳪㦪䪈 Fingerboard: ㊯㜧 Fingerings: ㊯㱽 Folk music: 㮹攻枛㦪ˣ㮹὿枛㦪 Folksong: 㮹㫴ˣ㮹嫈 Fugue, Fuga: 岎㟤 Gamelan: ⌘⯤䓀伶㚿ㇻ㑲㦪⛀ (䇒⑯Ⲟ冯Ɐ慴Ⲟℑ䧖) Gigue: ➢㟤准㚚 Introduction: ⮶⣷ˣ⸷⣷ Jazz: 䇝⢓㦪 Key: 婧ˣ䏜挝 Leading tone: ⮶枛炻枛昶䘬䫔ᶫᾳ枛 Legato: ⚻㹹䘬 Maestoso:匲♜ˣ⦩♜ˣ⬷⣏ˣ➪䘯 Major: ⣏婧 Mambo: 㚤㲊准㚚 March: 忚埴㚚 Mass:⣑ᷣ㔁⻴㐺 Mazurka: 楔⍅⌉准㚚 Meno: 忇⹎廱ㄊˤless, least Metronome: 䭨㉵☐ˣ㉵䭨㨇 Minimalism: 䳘⽖枛㦪炻㤝䯉ᷣ佑 Minor: ⮷婧 Minuet: ⮷㬍准㚚 Moderato: ᷕ⹠䘬忇⹎ Molto: ⼰ˣ朆ⷠˤmuch, a great deal, Musicals (Broadway): 䘦侩⋗枛㦪∯ Movement: 㦪䪈ˣ忳≽ (⬠忳ˣ䣦忳䫱) Mute, con sordino : ⻙枛☐ Nocturne: ⣄㚚 Octet: ℓ慵⣷炻ℓ慵ⓙ Ode to Joy: ⾓㦪枴 Opera: 㫴∯ Oratorio: 䤆∯ (⤪杻⽟䇦ˬ⻴㐺Ṇ˭炻㴟枻ˬ∝ᶾ䲨˭䫱)

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Orchestra: 䭉⻎㦪⛀ Ostinato: ⚢⭂Ỷ枛炻枹⚢Ỷ枛 Overture: ⸷㚚 Pedal: 护䏜嶷㜧炻䭉桐䏜䘬儛挝䚌 Peg: ⻎㦪☐䘬婧枛㞻 Pizzicato: 㑍⻎ Podium: ㊯㎖⎘炻䌐⣷⎘ Poco a poco: 㻠㻠⛘ Polonaise: 㲊嗕准㚚 Popular music (Pop music) 㳩埴枛㦪 Prelude: ⇵⣷㚚 Presto: ⿍㜧 Principal: ⎬悐椾ⷕ Quartet: ⚃慵⣷炻⚃慵ⓙ Quintet: Ḽ慵⣷炻Ḽ慵ⓙ Recital: 䌐⣷㚫 Recitative: ╏㔀婧 Recitative accompagnato: 㦪⛀Ờ⣷䘬⭋㔀婧 Recitativeo secco: 庽⭋㔀婧炻㝗䆍⭋㔀婧炻⎒㚱⣏挝䏜冯⣏㍸䏜ĩ㔠⫿Ỷ枛ĪỜ⣷䘬 ⭋㔀婧 Requiem:⬱櫪㚚 Riser: ⎰ⓙ⎘ Romance:㴒㻓㚚ˣ⁛⣯㚚 Romantic period: 䲬㔜ᾳ19ᶾ䲨 Rondo,Rondeau: 徜㕳㚚 Rumba: ΐ⶜准㚚 Sarabande: 㱁㉱恎⽟准㚚 Scherzo: 娤媏㚚 Septet: ᶫ慵⣷炻ᶫ慵ⓙ Serenade: ⮷⣄㚚 Sextet: ℕ慵⣷炻ℕ慵ⓙ Solo: 䌐⣷炻䌐ⓙ Sonata: ⣷沜㚚 Sonata Allegro Form: ⣷沜㚚ĩ⾓㜧Ī㚚⺷ -- Introduction (⮶⣷) - Exposition (⏰䣢悐)

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- Development (䘤⯽悐) - Recapitulation (ℵ䎦悐) - Coda (䳸⯦悐) Soul: 曰櫪㦪 Sonata da camera: ⭌ℏ⣷沜㚚炻⼴Ἦ䘬䳬㚚炻㦪䪈㔠ᶵ⭂ Sonata da chiesa: 㔁㚫⣷沜㚚炻⚃ᾳ㦪䪈↮⇍㗗ġ ㄊ – ⾓ – ㄊ – ⾓ Soprano: ⤛檀枛 Staccato: 㕟⣷ Subdominant: ᶳⰔ枛炻枛昶䘬䫔⚃ᾳ枛 Symphony: Ṍ枧㚚 Tailpiece: ⻎㦪☐䘬⯦㜧 Tango: ㍊ㆰ Theme: ᷣ柴 Tonic: ᷣ枛炻枛昶䘬䫔ᶨᾳ枛 Triad: ᶱ␴⻎ Trio: ᶱ慵⣷炻ᶱ慵ⓙ Tuner: 婧枛☐炻婧枛ⷓ Tutti: ℐ橼⎰⣷ Variations: 嬲⣷㚚 Viola: ᷕ㍸䏜 Violin: ⮷㍸䏜 Violoncello (䯉䧙 Cello): ⣏㍸䏜 Waltz: 厗䇦㹳炻⚻准㚚

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ἄ㚚⭞冯ἄ⑩

呁⎘⦩䇦䫔 Monteverdi, Claudio (1567-1643)

ġ ˪㲊ἑṆᷳ≈ℽ˫ “L’Incoronazione di Poppea” (1643)

⎚䈡㉱⸽䒎慴 Stradivari, Antonio (1644-1737) (film) 墥䏜ⷓ

Zukerman, Pinchas (1948- ); Ma, Yo-Yo (1955- ); Du Pré, Jacqueline (1945-1987); Mutter, Ann Sophie (1955- ); Menuhin, Yehudi (1916-1999); Kennedy, Nigel (1956 - )

墥䏜㔁䇞 – ⎚䈡㉱⸽䒎慴ġ 必ᶾ 250 忙⸜䲨⾝㳣≽ (DVD)

⍫侫㚠䚖烉匲ẚ⸛炻˪㍸䏜ᷳッ˫ĩ⎘⊿烉⣏晩炻2006)

ⶽ㴟居䇦 Pachelbel, Johann (1653-1706) Canon ⌉彚烉♜㟤㧉ầ䘬⮵ỵἄ㚚㱽ˤġ ⶽ㴟居䇦䘬⌉彚ᷕ炻Ĺ ᾳỶ枛 (d A B F-sharp G D G A) ↢䎦 28 㫉ˤġ ⌉彚⎗↮䁢 (a)⸛埴⌉彚 (canon in parallel motion) (b)⍵埴⌉ 彚 (canon by contrary motion) (c)微埴⌉彚 (retrograde canon) (d) ⡆ῤ⌉彚 (augmentation canon) (e) 㕟临⌉彚 (f) 㷃ῤ⌉彚 (diminution canon)ˤ

楔䐆 Marais, Marin (1656-1728) Tous les matins du mondeġ ˪㖍↢㗪嬻ず 䳪䳸˫ㆾ˪ᶾ䓴䘬㭷ᶨᾳ㖑㘐˫ĩ栆⁛姀暣 ⼙)

ἄ㚚侩ⷓˣ⇵廑⭖⺟㦪攟䚏⇑ Jean-Baptiste Lully (1632-1678)

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⎌⣏㍸䏜侩ⷓġ 㞗昮居 Monsieur de Sainte-Colombe (ca. 1640-1700)

㱽⚳⚳䌳嶗㖻⋩ᶱ Louis XIV (1601-1643)

㱽⚳⚳䌳嶗㖻⋩⚃ Louis XIV (1638-1715)

㱽⚳⚳䌳嶗㖻⋩Ḽ Louis XIV (1710-1774)

㱽⚳⚳䌳嶗㖻⋩ℕ Louis XIV (1754-1793)

杳䒎䫔Vivaldi , Antonio (1678-1741)

㫴∯烉˪⤏嗕⣂䘬䉪⾺˫ “Orlando Furioso” (after 1713)

Concerto for Violin and String Orchestra in A Minor, Op. 3, No. 6 from L’estro armonico (⣂䧖㦪☐䘬⋼⣷㚚ˮ婧␴䘬曰デ˯ℐ悐⋩Ḵ敽炻ἄ⑩ 3) ł ⮷婧⮷㍸䏜⋼⣷㚚 (CD 6: 13 - 30) (懜㛐⮷㍸䏜㔁㛸䫔⚃Ⅎ)

I. Allegro ⾓㜧

II. Largo 㚨䶑㜧

III. Presto ⿍㜧

ĩ伭楔㔠⫿ I, II, III, IV, V, VI, VII, VIII, IX, X)

Concerto for Violin and String Orchestra with basso continuo “Four Seasons”, Op. 8 ˪⚃⬋˫⮷㍸䏜⋼⣷㚚

“La Primavera” ˮ㗍˯

I. Allegro ⾓㜧ġ ˮ㗍⣑ἮḮ炻沍⃺Ᾱẍ㫋╄䘬㫴㚚彶㍍㗍⣑炻㱱㯜⛐␴桐 ᷕ㼢㼢㳩≽烊暟暐⸛〗炻⮷沍Ᾱℵ⹎㶭Ṗ⛘ⓙ㫴ˤ˯

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II. Largo 㚨䶑㜧ġ ˮ⛐䷩剙念慶䘬䈏⟜ᶲ炻㧡叱庽㝼⛘㐑㋚Ỷ婆炻䈏伲Ṣ ⛐䈏伲䉔㕩㰱䜉ˤ˯

III. Allegro ⾓㜧ġ 䓘⚺准㚚 ˮẁ⤛Ᾱ (nymph) 冯䈏伲Ṣ␴叿䈏䫃庽⾓え㎂ 䘬㦪倚炻ケ⾓⛘嶛准炻溆䵜㗍⣑䁓渿䘬刚⼑ˤ˯

“L’Estate”ˮ⢷˯

I. Allegro non molto ᶵ䓂⾓䘬⾓㜧炻㘹䅙⺽崟䘬῎⿈デˮ⛐忁♜感䘬⬋䭨 墉炻⣒春⤪䀓䅺䄁䅶炻ṢᾹ␴⭞䔄悥栗⼿㬣㯋㰱㰱ˤ㜄泹┤⎓炻Ⱉ沑 冯慹晨⛐㫴ⓙ炻⽖桐庽㉪ˤ⊿桐樇䃞Ἦ多炻䈏伲Ṣ䁢樇暐㇨㓅炻䁢冒 ⶙䘬⢆忳㇘レˣ⒕㲋ˤ˯

II. Adagio ㄊ㜧ġ ˮ⛐攫暣ˣ㽨䁰䘬暟倚ˣ⣏⮷嘲垭ˣㅌ⾺䘬䉔⏈倚䘬⡻従 ᶳ炻ἧṢᾹ䕚ㄲ䘬幓⫸ᶵ⼿⬱⮏ˤ˯

III. Presto ⿍㜧炻⢷⣑墉䘬♜感⬋䭨ˮṢᾹ樂ゞ⿸ㆤˣ䨢ᷕ暟倚弇昮ˣ暣⃱ 攫攫ˣ⅘⊭䳃䳃旵句炻㐏㭀彚ἄ䈑ˤ˯

“L’Autunno” ˮ䥳˯

I. Allegro ⾓㜧ġˮ㛹㮹⛐嶛准㫴ⓙ炻ẍㄞ䤅寸㓞䘬╄〭ˤĩ愋愱炻愱㻊Ᾱ) Ṿ Ᾱ䘬䉪㬉⛐䜉䛈ᷕ䳸㜇ˤ˯

II. Adagio molto 䓂⾓㜧ġ 炻㰱䜉䘬愱㻊ġ ˮ䛦Ṣ 㬊Ḯ㫴准炻⮏朄䘬䨢㯋Ẍ Ṣ䤆㶭㯋䇥ˤ䓄伶䘬䜉䛈㈲ṢᾹⷞℍ⣯⥁伶⤥䘬⠫䓴ˤ˯

III. Allegro ⾓㜧炻䊑䌝ġ ˮ湶㖶㗪↮炻䌝ṢᾹⷞ叿嘇奺㥵晣炻㓄ⷞ䌝䉔↢⢾ ㇻ䌝ˤ慶䌠忩徫炻嶇希徥㑲ˤ慶䌠䃉≃徫崘炻塓徥㭢侴㬣ˤ˯

“L’Inverno”ˮ⅔˯

I. Allegro non molto ᶵ䓂⾓䘬⾓㜧ġˮ⛐⅘暒ᷕ㇘レ炻䋃䁰⏡多䘬䉪桐炻 (⭺ 㯋忤Ṣ) ṢᾹᶵ㕟⛘嶷㬍ˣ嵹≽炻⅟⼿䈁㟡⎰ᶵ㒷ˤ˯

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II. Largo 㚨䶑㜧ġˮ⛐䆸䀓怲忶叿⮏朄ˣ㺧嵛䘬㗪⃱炻⯳⢾暐㯜㹳㼌叔䈑ˤ˯

III. Allegro ⾓㜧ġ ˮ㬍埴⅘ᶲ炻枸旚⁦嵴炻ヶ㬍⼸埴 (㇘㇘ℊℊ⛘⇵忚ĪˤḪ Ḯ儛㬍㹹Ὰˤℵ⹎埴㕤⅘ᶲ炻≯䋃䕦埴炻ĩẍ军㕤) ⅘朊䟜䠶炻䎦↢ 塪䕽ˤ˯ĩ⋿桐ⷞἮ㗍⣑儛㬍䘬㴰〗) ˮ┇ㇱ↢⢾⁦倥炻⋿桐ˣ⊿桐ˣ ẍ⍲㇨㚱䘬桐⼤㬌Ṍ㇘䘬倚枛炻忁⯙㗗⅔⣑ˤ⯙忁㧋⅔⣑ⷞἮḮ╄ 〭ˤ˯

㞜䓘⋿晬ˣ㛶泃劙嬗炻˪㚨㕘⎵㚚妋婒ℐ普 8 炻⋼⣷㚚 I˫pp. 131-143 (⎘⊿烉 ⣏映㚠⸿炻1982)

Antonio Vivaldi (1678 - 1741) 杳䒎䫔

Concerti a violin “La quattro stagioni” ˪⚃⬋˫⮷㍸䏜⋼⣷㚚

䫔ᶨ嘇 E ⣏婧 Op. 8-1 ˪㗍˫

No. 1 Concerto per violino E-Dur Op. 8-1 “La primavera”

I. Allegro ⾓㜧ˣˬ㗍⣑ἮḮ˭ˣE ⣏婧

㗍⣑ἮḮˤ䛦沍㫋╄㫴ⓙ炻⓷῁㗍⣑ˤ大桐㹓␴⏡㉪炻㹒㳩㼢㼢Ỷ婆ˤ

⣑䨢䝔攻嬲ㆸ䀘㘿炻㗍暟暯枧炻暣⃱攫䆵ˤ㙜桐暐忶⼴炻䛦沍ℵ⹎㬉ⓙ⃒ 伶䘬㦪䪈ˤ

II. Largo 㚨䶑㜧ˣˬ㰱䜉䘬䈏伲Ṣ˭ˣ⋯ c ⮷婧

䷩剙䚃攳䘬伶渿勱⍇ᶲ炻㧡叱㹓㝼⛘┫┫Ỷ婆炻䈏伲Ṣ嬻⾈䉔昒叿㰱䜉ˤ

III. Allegro ⾓㜧ˣDanza pastoraleˬ䓘⚺准㚚˭ˣE ⣏婧

ẁ⤛冯䈏伲ṢᾹ炻⛐␴䄎䘬㗍⣑ᷕ炻晐叿䓘⚺桐㳣㻹䘬䈏䫃㚚婧炻

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⧮⦹崟准ˤ

䫔Ḵ嘇 g ⮷婧 Op. 8-2 ˪⢷˫

No. 2 Concerto per violin g-Moll Op. 8-2 “L’estate”

I. Allegro non molto – Allegro 䦵ㄊ䘬⾓㜧 – ⾓㜧ˣˬ㘹㯋῎シ˭ˣg ⮷婧

⛐⣒春感䅙䄏⮬䘬⬋䭨ᷕ炻ṢᾹ冯⭞䔄⣬⣬ᶨ〗炻㧡冯勱ḇ⼟⼧天䅫崟炻 㜄泹┤⎓炻䎕沑冯湫晨檀㫴ˤ⽖桐庽㉪⣏⛘ˤ⊿桐䨩䃞Ὕ多⽖桐ˤ䈏伲Ṣ 㑼⽫桐暐炻ず▮冒⶙䘬␥忳侴㳩㶂ˤ

II. Adagio – Presto – Adagio – Presto etc. ㄊ㜧 - ⿍㜧 - ㄊ㜧䫱䫱ˣˬ䕚ㄲ䘬䈏伲 Ṣᷳ⑨▮˭ˣg ⮷婧

攫暣ˣ暟沜ˣẍ⍲ㆸ佌䘬嘲垭炻ἧ幓⽫ᾙ䕚䘬䈏伲Ṣ㚜≈ᶵ⼿⬱⮏ˤ

III. Presto ⿍㜧ˣˬ⢷⣑㽨䁰䘬㙜桐暐˭ˣg ⮷婧

䈏伲Ṣ㑼⽫䘬ḳ䳪㕤䘤䓇Ḯ炰⣑䨢ᷕ枧↢暟倚炻䘤↢攫⃱炻㙜桐暐旵冐炻 䖃ㇻ⛐ㆸ䅇䘬䧣䧿ᶲˤ

䫔ᶱ嘇 F ⣏婧 Op. 8 – 3 ˪䥳˫

No. 3 Concerto per violin F-Dur Op. 8-3 “L’autunno”

I. Allegro ⾓㜧ˣˬ㛹㮹䘬㫴准˭ˣF ⣏婧

㛹㮹Ᾱⓙ㫴嶛准炻㬉㦪ㄞ䤅匲䧤䘬寸㓞ˤ惺䤆䘬䑲㻧䌱㵚炻ἧ䛦Ṣ㬉櫏侴

㖷㰱䜉⍣ˤ

II. Adagio molto 䓂ㄊ㜧ˣˬ㰱䜉䘬愱㻊˭ˣd ⮷婧

䛦Ṣ䘬㫴倚⍲准巰 㬊⼴炻⣏⛘《⽑⬱娛⮏朄炻忁ᾳ⬋䭨炻㈲ṢᾹⷞℍ䓄

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伶㹓㝼䘬⣊悱ˤ

III. Allegro ⾓㜧ˣˬ䊑䌝˭ˣF ⣏婧

䟜㙱㗪↮炻䌝Ṣ㔜墅炻ⷞ叿嘇奺ˣ䌝㥵冯䌝䉔⢾↢ㇻ䌝ˤ䌝Ṣ徥⮳徫䩬䘬 慶䌠ˤ慶䌠塓㥵倚⍲䉔⏈倚☯⼿⣙䤆炻⍿ 侴㷦幓䘤㈾ˤ㚨⼴╒⣙徫␥䘬 ≃㯋炻塓徥⇘䳽⠫侴ṉˤ

䫔⚃嘇 f ⮷婧 Op. 8-4 ˪⅔˫

No. 4 Concerto per violin f-Moll Op. 8-4 “L’inverno”

I. Allegro non molto ᶵ⣒⾓䘬⾓㜧ˣf ⮷婧

ṢᾹ⛐⅘⅟䘬暒⛘ᷕ栓㈾炻⛐ↄⅥ䘬⭺桐ᷕ⇵忚炻晾䃞儛㬍ᶵ㚦 㫯炻Ữ 䈁滺⥳䳪ㇻ栓⎰ᶵ㒷ˤ

II. Largo 㚨䶑㜧ˣ旵 E ⣏婧

⛐䀓䆸怲⹎忶㹓㘾㬚㚰㛇攻炻⯳⢾䘬暐㯜㹳㼌叔䈑ˤ

III. Allegro – Lento - Allegro ⾓㜧 – 䶑㜧 – ⾓㜧ˣf ⮷婧

⮷⽫侤侤巑叿㬍Ẹ⛐⅘ᶲ⇵忚炻ᶨᶵ䔁䤆㹹Ὰ炻䇔崟⼴炻≯䋃䟜⅘㹹埴忶⍣ˤ⋿ 桐ˣ⊿桐⽆䵲攱䘬⅘暒⣏攨⎹⢾堅↢炻ᶨ↯䘬桐炻Ṍ㇘␤◗侴忶ˤ忁⯙㗗⅔⣑炻 ᶨᾳⷞἮ╄〭䘬⅔⣑ˤ

Concerto for Cello and Strings in A minor, RV 418 A ⮷婧⣏㍸䏜⋼⣷㚚

I. Allegro ⾓㜧

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II. Largo 㚨䶑㜧

III. Allegro ⾓㜧

Heinrich Schiff, Violoncello Academy of St. Martin-in-the-Fields Directed by Iona Brown Continuo: Denis Vigay, violoncello Ian Watson, harpsichord

Concerto in C Major for Flautino, Strings & Basso Continuo, RV 443 Concerto in C Major, RV443 arranged for Vibraphone and String Orchestra by Evelyn Glennie ń ⣏婧暯枛揝䏜 (㈾枛䏜) ⋼⣷㚚

I. Allegro ⾓㜧 II. Largo 㚨䶑㜧 III. Allegro molto 䓂⾓㜧

Bramwell Tovey – Conductor ㊯㎖

Evelyn Glennie– Vibraphone 吃匱⥖烉暯枛揝䏜

Orchestre Philharmonique du Luxembourg 䚏㢖⟉ッ㦪Ṍ枧㦪⛀ (2004)

Wikipedia: The vibraphone, sometimes called the vibraharp or simply the vibes, is a musical instrument in the mallet subfamily of the percussion family. It is similar in appearance to the xylophone and marimba, although the vibraphone uses aluminium (扩) bars instead of the wooden bars of those instruments. Each bar is paired with a resonator tube having a motor-driven butterfly valve at its upper end, mounted on a common shaft ĩ庠), which produces a tremolo or vibrato effect while spinning. The vibraphone also has a sustain pedal similar to that used on a piano: When the pedal is up, the bars are all damped and the sound of each bar is quite short; with the pedal down, they will sound for several seconds. The most common uses of the vibraphone are within jazz music, where it often

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plays a featured role, and in the wind ensemble, as a standard component of the percussion section.

䞕䫃䘬忳䓐烉ˬ忚埴㚚ᷳ䌳˭喯㱁 Sousa, John Philip (1854-1932) ˪㯠⿮䘬㗇㡅 㕿˫“The Stars and Stripes Forever” (1897)ˤ忚埴㚚烉䁢ἧ幵昲ㆾ℞Ṿ普⛀傥㔜滲 埴忚侴⮓䘬⮎䓐枛㦪炻㈹ㆾ㍷⮓℞ね㘗䘬喅埻枛㦪ˤ

㲘≺㚤 Telemann, Georg Philipp (1681-1767)

Concerto for Viola and String Orchestra in G Major

G ⣏婧ᷕ㍸䏜⋼⣷㚚

I. Largo 㚨䶑㜧

II. Allegro ⾓㜧

III. Andante 埴㜧

IV. Presto ⿍㜧

㉱㐑 Rameau, Jean-Philippe (1683-1764)

㫴∯˪⣑岄列䶋˫ “Platée” (1745)

楔↯伭 Marcello, Alessandro (1684-1750)

Concerto in C Minor for Oboe, Strings and Basso Continuo

C ⮷婧暁䯏䭉⋼⣷㚚

I. Andante e spiccato 嶛⺻䘬埴㜧

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II. Adagio ㄊ㜧

III. Presto ⿍㜧

味Ẳ (∯ἄ⭞) Gay, John (1685-1732)

ἑ㘖ⶴ (ἄ㚚⭞) Pepusch, Johann Christoph (1667-1752)

ġ ˪Ḇᶸ㫴∯˫ “The Beggar’s Opera” (1728)

杻⽟䇦 Handel, George Frideric (1685-1759)

˪暟䲵⹎˫ “Rinaldo” (1731)

˪刦慴Ⓒ䈡˫“Ariodante” (1735)

ġ ˪岥䐇㕗˫“Xerxes” (1738) ㆾġ ˪䐇大˫“Serse”

ġ ˪⻴岥Ṇ XXI˫“Messiah XXI for a New Millennium”(1742)

⍫侫㚠䚖烉恝佑⻟䶐嬗炻˪⬿㔁枛㦪䱦厗˫(⎘⊿烉⣑⎴炻1984)ˤ

⶜崓 Bach, Johann Sebastian (1685-1750)

Cantata BWV 61, “Nun Komm, der Heiden Heiland”(1714) ˪婳Ἦ炻叔ḳ㓹ᷣ˫

Cantata BWV 147, “Herz und Mund und Tat und Leben” (Heart and Mouth and Deed and Life)(1723) ˪⽫ˣ⎋ˣ埴䁢冯䓇␥˫

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䫔ℕ㚚 “Jesus, Joy of Man’s Desiring”(ᷣ炻㗗Ṣ䘬ᾉ㛃ᷳ╄烊

俞䧴㗗ㆹ曰櫪䘬╄〭烊ㆹ㑩㚱俞䧴䘬╄〭)

“Magnificat in D Major, BWV 243”(1723) ˪D ⣏婧俾㭵䐒⇑Ṇ枴㫴˫

Six Sonatas and Partitas for Violin Solo, BWV 1001-1006 䃉Ờ⣷⮷㍸䏜⣷沜㚚冯䳬㚚

Partita (佑): 䳬㚚ˤ17-18 ᶾ䲨䓐婆炻⊭⏓˨嬲⣷㚚˩冯˨䳬㚚˩ℑ䧖シ⿅ˤ(1)⍇ Ἦ䘬シ⿅㗗嬲⣷炻⛐㖑㛇佑⣏⇑䘬↢䇰⑩ᷕ炻partita ⯂㛒↢䎦䳬㚚䘬✳ンˤ⣏悐 ↮㗗㟡㒂Ỷ枛㕳⼳ (romanesca) 冯ⶽ啑湍ⶎ准㚚 (passamezzo) 䫱⁛䴙⭂㕳⼳⮓ㆸ 䘬嬲⣷㚚⯭⣂ˤ(2) ㊯䳬㚚䘬⽟㔯 Partita炻㗗㸸冒㕤㱽㔯䘬 partie炻侴ᶵ㗗Ἦ冒佑 ⣏⇑䘬 partitaˤ䳬㚚ᷳシ䘬 Partita炻㚱 J. S. ⶜崓䁢⣏挝䏜侴⮓䘬ℕ敽䳬㚚炻ẍ⍲ 䁢䃉Ờ⣷⮷㍸䏜侴⮓䘬䳬㚚ˤ(3)18 ᶾ䲨⼴⋲炻⣂㦪䪈䘬护䏜⣷沜㚚Ṏ塓䧙䁢 partita炻Ữ⼴Ἦ⌛塓 divertimento (庽䳬㚚Ī⍲ sonata (⣷沜㚚Ī䫱婆㇨⍾ẋˤ

Six Suites for Violoncello Solo, BWV 1007-1012 ℕ䳬䃉Ờ⣷⣏㍸䏜䳬㚚

Suite炢劙ˣ㱽ˣ⽟炣partita 炢佑炣: 䳬㚚ˤ䓙劍⸚⮷㚚ㆾ㦪䪈䳬⎰侴ㆸ䘬☐㦪㚚炻 ⣏农↮䁢ẍᶳℑ䧖ˤ(1) ⎌℠䳬㚚烉⶜㳃⃳㗪ẋ㚨慵天䘬☐㦪⼊⺷ᷳᶨˤ䓙劍⸚℟ 准㚚⿏㟤䘬㦪䪈㇨㥳ㆸ炻ℐ橼䓐⎴ᶨᾳ婧⫸䴙ᶨˤ⎬㦪䪈忂ⷠ㍉Ḵ㭝㚚⺷炻ẍ 4 -8 㦪䪈⯭⣂炻⮹㔠ḇ㚱 20 㦪䪈ẍᶲ侭ˤἧ䓐䘬㦪☐炻㖑㛇䁢欗䈡䏜炻⼴Ἦ䈡⇍╄㬉 ἧ䓐⣏挝䏜炻℞Ṿḇ㚱⭌ℏ㦪冯䭉⻎㦪䘬䳬㚚ˤ䳬㚚晾崟㸸㕤 16 ᶾ䲨炻Ữ℞➢䢶 ⼊⺷⌣⎗徥㚼⇘ᷕᶾ䲨㛓㛇䘬䣦Ṍ准巰冯㮹὿准巰炻㚨⇅㗗䓙ℑᾳᶵ⎴⿏㟤 (Ḵ ㉵⫸冯ᶱ㉵⫸炻忇⹎ㄊ⾓) 䘬准㚚䳬⎰侴ㆸˤ嬔⤪⶜㛃准㚚 (Pavane)冯▱晭准㚚 (Galliard)炻ⶽ啑湍ⶎ准㚚 (Passamezzo) 冯啑⟼䐆准㚚 (Saltarello)䘬䳬⎰ˤ⎌℠䳬㚚 䘬⼊⺷炻㗗 17 ᶾ䲨ᷕ叱䓙⽟⚳䘬ἄ㚚⭞傉㳃居㟤 (J. J. Froberger, 1616 -1667) ㇨䡢 䩳ˤṾ䘬姙⣂䳬㚚炻悥㗗䓙旧≺㚤⽟准㚚 Allemande – ➢㟤准㚚 Gigue – ⹓㚿 准㚚 Courante – 啑㉱恎⽟准㚚 Sarabande 䫱⚃ᾳ➢㛔䘬㦪䪈㇨㥳ㆸ炻Ữ℞㬣⼴ ㇨↢䇰䘬㚚普 (1693) ᷕ炻➢㟤准㚚⌣塓䦣⇘䳪㦪䪈炻㕤㗗忁⯙嬲ㆸ⶜㳃⃳⼴㛇⭂ ✳䘬䳬㚚㟤⺷ˤ

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⶜崓㗪ẋ㧁㸾䘬䳬㚚炻㗗ẍ⿏㟤Ḻ䔘䘬旧≺㚤⽟准㚚 – ⹓㚿准㚚 – 啑㉱恎⽟ 准㚚 – ➢㟤准㚚䁢➢㛔炻℞ᷕ⛐啑㉱恎⽟准㚚䘬⇵⼴炻䴻ⷠ晐シ㍺ℍᶨ㚚ㆾ㔠 㚚⎬䧖栆✳䘬准㚚炻ᷣ天⊭㊔㚱⮷㬍准㚚 Minuet 炻ⶫ暟准㚚 Bourrée炻▱␴准㚚 Gavotte炻⶜䐇㭼准㚚 Passepied炻㲊伭⣰准㚚 Polonaise炻湶檀⅔准㚚 Rigaudon炻劙 ⚳准㚚 Anglaise炻欗䇦准㚚 Loure 冯㫴婧 (㈺ね婧) Air (Aria)䫱ˤ㬌⢾炻⛐ Allemande ᷳ⇵ḇ䴻ⷠ≈ℍ Prelude炻Sinfonia ⍲ Toccata 䫱朆准㚚⼊⺷䘬㦪㚚䔞ἄ⇵⣷㚚ἧ 䓐ˤ

Suite No. 1 in G Major, BWV1007 ň ⣏婧䫔ᶨ嘇䳬㚚

I. Prélude ⇵⣷㚚 (⬿㔁ㆾᶾ὿枛㦪ἄ⑩ᷕ炻㊯℟㚱⸷⣷冯⮶ℍ≇傥䘬㦪㚚炻 ㉵⫸ᶵ⭂ˤ)

II. Allemande 旧≺㚤⽟准㚚 (⽟⚳ᷕ⹠忇⹎䘬 4/4 ㉵⫸准㚚炻ẍ⻙崟䘬㦪㚚⯭ ⣂ˤ䔞㗪叿⎵㦪姽⭞楔㍸㢖 (Johann Mattheson 1681-1764)㚦婒㬌㚚烉ˬ⬱ 娛炻㺧シ⽫ね䘬⍵ㅱˤ˭)

III. Courante ⹓㚿准㚚 (㱽⚳桐炻ẍ 3/2 冯 6/4 䁢ᷣˤ佑⣏⇑⇯Ⱄ⾓忇䘬 3/4 ㉵ ㆾ 6/8 ㉵炻℟╖䲼㖶⾓䘬㥳忈ˤ)

IV. Sarabande 啑㉱恎⽟准㚚 (2/3 ㆾ 3/2 ㉵⫸ˤ㒂婒崟㸸㕤⡐大⒍炻16 ᶾ䲨⇅㛇 ⛐大䎕䈁↢䎦ˤ17 ᶾ䲨↢䎦慵啑㉱恎⽟准㚚炻℟㚱ẍ␴⻎䁢ᷕ⽫䘬匲慵 堐ね炻䫔Ḵ㉵⣏⣂䁢ᶨ攟枛䫎炻ㆾ䈡⇍⻟婧䫔Ḵ㉵ˤ)

V. Minuet I & II ⮷㬍准㚚 (ᶨ䧖ᶱ㉵⫸䘬⎌℠准巰冯℞准㚚炻ẍᷕ⹠䘬忇⹎ˣ ⃒晭䘬≽ἄ␴㯋岒䁢䈡刚炻䁢⭖⺟冯屜㕷昶䳂㚨╄ッ䘬准巰ᷳᶨˤ⮷㬍准 㚚⛐ 17 ᶾ䲨ᷕ㛇炻塓⣒春䌳嶗㖻⋩⚃䘬⭖⺟⭂䁢㬋⺷䘬⭖⺟准巰ˤ㒂婒 嶗㖻⋩⚃㛔Ṣḇ㗗⮷㬍准㚚傥ㇳˤ)

VI. Gigue ➢㟤准㚚 (⍿佑⣏⇑➢㟤准㚚⼙枧炻ẍ 6/8, 3/8, 9/8, 12/8 䫱⾓忇 䘬墯⎰㉵⫸⯭⣂ˤ)

Suite No. 2 in D Minor, BWV1008

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Ņ ⮷婧䫔Ḵ嘇䳬㚚

I. Prelude ⇵⣷㚚

II. Allemande 旧≺㚤⽟准㚚

III. Courante ⹓㚿准㚚

IV. Sarabande 啑㉱恎⽟准㚚

V. Minuet I & II ⮷㬍准㚚 I & II

VI. Gigue ➢㟤准㚚

Suite No. 3 in C Major, BWV1009 ń ⣏婧䫔ᶱ嘇䳬㚚

I. Prelude ⇵⣷㚚

II. Allemande 旧≺㚤⽟准㚚

III. Courante ⹓㚿准㚚

IV. Sarabande 啑㉱恎⽟准㚚

V. Bourrée I & II ⶫ暟准㚚 (17 ᶾ䲨ᷕ㛇⇘ 18 ᶾ䲨ᷕ叱⛐㱽⚳㇨㳩埴䘬ᶨ䧖准 㚚炻ᶨ凔䁢℟㚱⻙崟㉵䘬⾓忇Ḵ㉵⫸准㚚ˤ楔㍸㢖婒ⶫ暟准㚚䘬䈡⽝⯙㗗 ˬ㭼▱䥦准㚚℟㚱㚜㳩㙊䘬㕳⼳˭炻ẍ⍲忇⹎晾⾓Ữ℟㚱ˬ⬱⭂㰱䨑˭䘬 㚚゛䫱ˤ)

VI. Gigue ➢㟤准㚚 (⍇嬄ᷕ㚱姙⣂⋩↮䳘兑䘬↮⎍㊯䣢ˤ)

Suite No. 4 in E-flat Major, BWV1010 旵 ņ ⣏婧䫔⚃嘇䳬㚚

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I. Prelude ⇵⣷㚚

II. Allemande 旧≺㚤⽟准㚚

III. Courante ⹓㚿准㚚

IV. Sarabande 啑㉱恎⽟准㚚

V. Bourrée I & II ⶫ暟准㚚 I & II

VI. Gigue ➢㟤准㚚 (楔㍸㢖⼊⭡⼿朆ⷠⶏ⥁炻Ṿ婒烉ˬ䃉婾⤪ỽἈ悥天䓐㚨㤝 䪗䘬忇⹎㺼⣷ˤᶵ忶⬫䘬㳩≽⌣⁷㳩㯜ᶨ凔炻ᶨ溆ḇ㰺㚱╏♪䘬デ奢ˤ忁 ⯙⁷⮷㱛ᷕ忂㙊䘬㽨㳩ᶨ凔ˤ˭)

Suite No. 5 in C Minor, BWV1011 ń ⮷婧䫔Ḽ嘇䳬㚚 (ἄ㚚侭天㯪ġ ˬ嬲㖻婧⻎˭(scordatura) A ⻎婧Ỷᶨᾳ枛嬲ㆸ G)

I. Prelude ⇵⣷㚚 (匲慵䶑ㄊ䘬㱽⚳桐⸷㚚≈ 3/8 ㉵⾓忇岎㟤炻㬌㚚ᷫℕ椾䳬 㚚ᷕ㚨攟䘬㦪䪈ġ ˤ)

II. Allemande 旧≺㚤⽟准㚚

III. Courante ⹓㚿准㚚

IV. Sarabande 啑㉱恎⽟准㚚

V. Gavotte I & II ▱䥦准㚚 I & II (17 ᶾ䲨㱽⚳䘬准㚚ˤᷕ⹠忇⹎䘬 2/2 ㉵⫸炻 忂ⷠẍℑᾳ⚃↮枛䫎䘬ᶲ㉵攳⥳ˤ楔㍸㢖婒烉ˬケ⾓嶛帵ㇵ㗗▱䥦准㚚㛔 Ἦ䘬䈡⽝ˤ˭)

VI. Gigue ➢㟤准㚚 (忁㗗Ⱄ㕤⌉恋⇑准㚚桐㟤䘬➢㟤准㚚 (Canarie Gigue)炻ġ ℓ ↮ᷳᶱ㉵ᷕẍ⻟㉵悐⥳䳪↢䎦旬溆䭨⣷䁢ᷣ天䈡⽝ˤ)

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Suite No. 6 in D Major, BWV1012 D ⣏婧䫔ℕ嘇䳬㚚 (䁢Ḯ⢾≈ᶨ㡅 ņ 枛⻎䘬Ḽ⻎⣏㍸䏜 “viola pomposa”ㆾ “Violoncello piccolo”䘬⮷✳Ḽ⻎⣏㍸䏜侴ἄ)

I. Prelude ⇵⣷㚚 (㍉䓐栆Ụ⾓忇佑⣏⇑⺷➢㟤准㚚䘬ℓ↮ᷳ⋩Ḵ㉵⫸ˤ)

II. Allemande 旧≺㚤⽟准㚚

III. Courante ⹓㚿准㚚

IV. Sarabande 啑㉱恎⽟准㚚

V. Gavotte ▱䥦准㚚

VI. Gigue ➢㟤准㚚

CDㆾDVD䇰㛔烉⌉啑䇦㕗 Casals, Pablo (1876-1973)炻䤷⯤叱 Fournier, Pierre (1906-1986)炻㈀䈡慴俞 Tortelier, Paul (1914-1990)⇵ᷕ⼴㛇䇰炻㰇⽟漵 Gendron, Maurice (1920-1990)炻⎚忼⃳ Starker, Janos (1924 -) 㕘冲䇰炻伭㕗䈡㳃㲊䵕⣹ Rostropovich, Mstislav (1927-2007)炻䔊䇦㕗楔 Bylsma, Anner (1934- )炻㜄㘖唦 DuPré, Jacqueline (1945-1987)炻⃳䇦枰⊭⥮ Kirshbaum, Ralph (1946-)炻ġ湍㕗➢ Maisky, Mischa (1948- )炻ⷕ⣓ Schiff, Heinrich (1951-)炻⣰剔⯤㟤 Nyffenegger, Esther炻楔⍳⍳ Ma, Yo-Yo (1955- )㕘冲䇰炻ġ 㣲㔯ᾉ Yang, Wen-Sinn炻䌳⺢ Wang, Jian (1968- )炻㞗】 Cohen, Robert

Concerto for Two Violins and Orchestra in D Minor, BWV 1043 (1718) D ⮷婧暁⮷㍸䏜⋼⣷㚚炻ἄ⑩ 1043

I. Vivace 䓂⾓㜧

II. Largo, ma non tanto ⽆⭡䘬㚨䶑䇰

III. Allegro ⾓㜧

21

Six Brandenburg Concertos, BWV 1046-1051 ℕ䳬ⶫ嗕䘣⟉⋼⣷㚚

Concerto for Violin and Oboe in C Minor, BWV 1060 (ca. 1717-1723) C ⮷婧⮷㍸䏜冯暁䯏䭉暁慵⋼⣷㚚炻ἄ⑩ 1060

I. Allegro ⾓㜧

II. Andante 埴㜧

III. Allegro ⾓㜧

Zubin Mehta – Conductor 䣾屻Ʉ㠭⟼ ㊯㎖

Dudu Carmel – Oboe 㜄㜄Ʉ⌉怩䇦 暁䯏䭉

Zinovi Kaplan – Violin ㇂媦䵕Ʉ⌉㘖嗕

Israeli Philharmonic ẍ刚↿ッ㦪Ṍ枧㦪⛀

Four Orchestra Suites, BWV 1066-1069 ⚃䳬䭉⻎㦪䳬㚚

The Art of Fugue, BWV 1080

岎㟤䘬喅埻

˪楔⣒⍿暋㚚˫“Matthäus-Passion BWV 244”, “St. Matthew Passion” (1727)

䫔ᶨ悐 ⸷ⷽ

䫔 IJ 㚚 (Nr. 1, Chor I und II) ⎰ⓙ (I –⚃悐⎰ⓙˣ攟䫃Ḵˣ暁䭉⻎㦪⎰

⣷ˣ㔠⫿Ỷ枛ˤII – ⎴㧋䘬䶐⇞) E ⮷婧ˣ12/8 ㉵⫸)

Ἦ⏏炻⥹⧀Ᾱ炻冯ㆹᾹℙず 炰䁢婘烎䁢㕘恶炰䚳恋㕘恶ˤ婒䓂湤烎䚳

22

⒒炻恋似伲凔䘬㕘恶ˤ㗗䓂湤烎婳柀㚫恋份夳䘬⽵侸≃ˤ㗗Ṩ湤烎㗗ㆹ

Ᾱ㶙慵䘬伒ˤ婳䚳恋㕘恶炻䁢Ḯ岄䴎ㆹᾹッ冯】℠炻奒冒側屈⋩⫿㝞ˤ

俾娈⎰ⓙ (Choral, S. ni pip 炻⃺䪍⎰ⓙ⛀䘬滲倚⤛檀枛)

⒎炻䤆䘬似伲炻Ἀ㰺㚱ảỽ䘬伒炻⌣塓憀ᶲ⋩⫿㝞侴㬣炻ᶵ婾怕⍿䓂湤

㧋䘬◚⺬炻ḇ⽵侸Ḯ炰Ἀ側屈ḮᶾṢ㇨㚱䘬伒炻劍ᶵ㗗忁㧋炻ㆹᾹ⯙䃉

㱽䓇⬀炻⒎炻俞䧴炻婳✪ㄸㆹᾹˤ

ĩ忁㗗⶜崓䘬⎰ⓙ㚚ᷕ㚨⢗渿䘬ᶨ椾炻⟜朊㍷⮓ḇ⼰歖㖶炻⇵朊㗗ᶨ㌺⢓

ℝ炻⛐ṾᾹᷕ攻炻俞䧴側叿⋩⫿㝞炻㬍Ẹ帋嶂ˤ䔞忁ず䖃䘬埴↿ㄊㄊ⇵

忚㗪炻拓⬱䘬⥹⧀Ᾱ炻⛐怈嗽䫱῁叿ˤġ 䭉⻎㦪⛀䘬⸷⣷炻⃀䭉䓐忚埴㚚

⺷䭨⣷ἄㆸ炻Ữ㬍Ẹ㗗ỽ䫱㰱慵ˤᶵ ⛘⍵央叿⎴ᶨ枛䘬Ỷ枛炻㘿䣢叿

㓹ᶾᷣ㉾㚛䘬儛ˤᶵᷭ炻嶇䭉⻎㦪慵䔲叿ⓙ↢䘬拓⬱䘬㫴倚炻䓙㕤⋲枛

昶䘬忚埴炻≈㶙Ḯず䖃ᷳね炻忁䛇㗗暯Ṣ⽫櫬䘬ず㫴ˤ

忁ᾳ攟⣏䘬⎰ⓙ炻⁷忁㧋炻䓙䭉⻎㦪䘬忚埴㚚⺷ᷣ柴␴拓⬱䘬ず䖃ᷣ柴炻

Ṍ䷼叿⇵忚炻䔞埴↿㚜≈㍍役㗪炻拓⬱䘬ず䖃㚜≈㶙㰱炻䃞⼴⁷⣑ἧ䘬

⎰ⓙ恋㧋炻⁛Ἦ叿⎵䘬⍿暋俾㫴䘬㚚婧ˤ)

䫔ij㚚 (Nr. 2, Evangelist) ⭋㔀婧 (楔⣒ 25: 1 - 2 )

䤷枛⎚⭞ (䓟檀枛炻㔠⫿Ỷ枛Ī烉俞䧴嫃⬴Ḯ忁㭝娙炻⯙⮵攨⼺婒 (䓟Ỷ

枛ˣ⮷㍸䏜Ḵˣᷕ㍸䏜Ī烉ἈᾹ䞍忻炻ℵ忶ℑ⣑⯙㗗忦崲䭨炻Ṣ⫸⮯塓↢

岋炻塓憀⛐⋩⫿㝞ᶲˤ

䫔Ĵ㚚 (Nr. 3, Choral) 俾娈⎰ⓙ (I 冯 II炻ġ㔠⫿Ỷ枛)

⽫ッ䘬俞䧴炻Ἀ䉗ỽ伒䪇塓塩⇌烎䉗ḮṨ湤伒␊烎 ḮṨ湤ら埴␊烎

(B ⮷婧炻4/4 ㉵⫸炻忁俾娈⎰ⓙ⛐⼴朊⍰↢䎦ℑ㫉 (䫔 25ˣ55 㚚Īˤ)

23

昘媨

䫔ĵ㚚 (Nr. 4, Rezitativ, 26 : 3 - 4) ⭋㔀婧 (楔⣒26: 3 - 4)

䤷枛⎚⭞烉恋㗪῁炻䤕⎠攟␴㮹攻䘬攟侩⛐⣏䤕⎠娚Ṇ㱽䘬⹄恠塷倂㚫炻

妰䔓天䦀⭮⛘忖㋽俞䧴炻㈲Ṿ嗽㬣ˤ

䫔Ķ㚚 (Nr. 5, 26: 5) ⎰ⓙ (I␴ II)

ㆹᾹᶵ⎗⛐䭨㛇ᷕ忚埴忁ẞḳ炻⃵⼿㽨崟㮹䛦䘬㙜≽ˤ

(C ⣏婧炻4/4 ㉵⫸ˤ⛐嶗≈䤷枛 (22: 2) ᷕ炻忁墉㗗ˬṾᾹ⭛⾽佌䛦˭炻

㇨ẍ㬌嗽⎗傥䁢Ḯ⻟婧⿸ㆤ炻攳柕Ṍ㚧㫴ⓙ䘬ℑᾳ⎰ⓙ⛀炻ᶵᷭ⯙ᶨ崟

ⓙ↢ˬ㙜≽˭䘬悐↮ˤ)

⛐ỗ⣏⯤⍿儷

䫔 ķ 㚚 (Nr. 6, Rezitativ, 26: 6 - 7) ⭋㔀婧 (楔⣒ 26: 6 - 7)

䤷枛⎚⭞烉俞䧴⛐ỗ⣏⯤恋か䖚䖳䕭䘬大攨⭞墉炻㚱ᶨᾳ⤛ṢⷞἮᶨ晣

䌱䒞炻䚃㺧Ḯ䍵屜䘬楁㱡ˤ俞䧴⛐⎫梗䘬㗪῁炻恋⤛Ṣ㈲楁㱡Ὰ⛐俞䧴

柕ᶲˤ攨⼺䚳夳Ḯ忁ḳ炻⼰ᶵ檀冰ˤ

䫔ĸ㚚 (Nr. 7, 26: 8 – 9 Chor) ⎰ⓙ (I炻楔⣒ 26: 8 - 9 )

䁢Ṩ湤忁㧋㴒屣烎忁楁㱡⎗ẍ岋ᶵ⮹拊Ἦ㓹㾇䩖Ṣ␊炰

䫔 Ĺ 㚚 (Nr. 8, Recitativ, 26: 10 - 13) ⭋㔀婧 (楔⣒ 26: 10 - 13)

䤷枛⎚⭞烉俞䧴倥Ḯ炻⯙⮵ṾᾹ婒烉ỽ⽭䁢暋忁⤛Ṣ␊烎⤡⮵ㆹ㇨ 䘬

㗗ᶨẞ伶⤥䘬ḳˤ⚈䁢ⷠⷠ㚫㚱䩖Ṣ嶇ἈᾹ⛐ᶨ崟炻Ữ㗗ㆹᶵ傥嶇ἈᾹ

ⷠ⛐ᶨ崟ˤ⤡㈲忁楁㱡Ὰ⛐ㆹ幓ᶲ炻㗗䁢ㆹ䘬⬱吔 㸾⁁ˤㆹ⏲姜ἈᾹ炻

㘖⣑ᷳᶳ炻忁䤷枛䃉婾⁛⇘䓂湤⛘㕡炻ṢṢ天徘婒⤡㇨ 䘬ḳ炻Ἦ䲨⾝

⤡ˤ

24

ĩ⛐䫔 ĸ 㚚攨⼺Ᾱ㽨䁰䘬ㅌ⾺⼴炻俞䧴䘬孂伶䘬娙炻堐ね㗗⣂湤␴喡ˣ奒

↯ˤ)

䫔 ĺ 㚚 (Nr. 9, Rezitativ, Alt) ⭋㔀婧 (I炻⤛Ỷ枛ˣ攟䫃Ḵˣ㔠⫿Ỷ枛ˣB

⮷婧ˣ4/4㉵⫸)

奒ッ䘬㓹ᶾᷣ⓲炻Ἀ䘬攨⼺⯭䃞ヂ埊⛘゛⇞㬊忁ᾳᾉẘ⼰㶙䘬⤛Ṣ炻㈲

楁㱡Ὰ⛐䤊幓ᶲ炻䁢⬱吔㇨ἄ䘬枸⁁ˤ⓲炻婳⃩姙ㆹ㈲䛤墉㳩↢䘬㶂炻

悥㺜⛐䤊䘬柕ᶲˤ

䫔 10 㚚 (Nr. 10, Arie (Alt)) 娈▮婧 (I炻⤛Ỷ枛ˣ攟䫃Ḵˣ㔠⫿Ỷ枛ˣ⋯

Ň⮷婧ˣ3/8㉵⫸ )

⼴〼⮯ἧ䉗伒䘬⽫㐽塪ˤㆹ句ᶳ䘬㶂䎈炻⮯⊾ㆸ伶⤥䘬楁㱡炻䁢Ḯ婈⮎

䘬俞䧴ˤ

ĩ忁ℑ㭝䳸㜇ỗ⣏⯤⍿儷⟜朊䘬⭋㔀婧冯娈▮婧炻㗗㟡㒂䔊⹟忼㇨⮓䘬冒

䓙娑嬄ㆸ䘬炻侴ᶼ䓙ˬ㶂㺜˭䘬≽㨇㇨㓗惵ˤ)

䋞⣏

䫔 11 㚚 (Nr. 11, Rezitativ, 26: 14 - 16) ⭋㔀婧 (楔⣒ 26: 14 - 16)

䤷枛⎚⭞烉俞䧴䘬⋩Ḵᾳ攨⼺ᷕ炻㚱ᶨᾳ≈䔍Ṣ䋞⣏炻⍣夳䤕⎠攟婒 (䋞

⣏炻䓟Ỷ枛ˣ㔠⫿Ỷ枛Ī烉⤪㝄ㆹ㈲俞䧴Ṍ䴎ἈᾹ炻ἈᾹ栀シ䴎ㆹ䓂湤烎

䤷枛⎚⭞烉ṾᾹ⯙㊧Ḯᶱ⋩⟲戨⸋䴎Ṿˤ⽆恋㗪῁崟炻䋞⣏㈦㨇㚫天↢

岋俞䧴ˤ

䫔 12 㚚 (Nr. 12, Arie, Sopran) 娈▮婧 (II炻⤛檀枛炻⻎㦪⎰⣷炻攟䫃Ḵˣ

㔠⫿Ỷ枛ˤB ⮷婧ˣ4/4㉵⫸)

奒ッ䘬ᷣ䘬傠悐炻㳩↢Ḯ歖埨炰⽆䤊傠ᷕ梚ḛ梲⣏䘬ᶨᾳ⬑⫸炻゛天㭢

25

⭛恋梲做Ṿ䘬Ṣ炻䛇㗗噯垵凔ら㭺炰

㚨⼴䘬㘂梸

䫔13㚚 (Nr. 13, Rezitativ, 26: 17) ⭋㔀婧 (楔⣒ 26: 17)

䤷枛⎚⭞烉昌愝䭨䘬䫔ᶨ⣑炻攨⼺Ἦ⓷俞䧴

䫔14㚚 (Nr. 14, 26: 17) ⎰ⓙ (I)

Ἀ天ㆹᾹ⛐⒒墉䁢Ἀ枸⁁忦崲䭨䘬㘂梸␊烎

䫔15㚚 (Nr. 15, Rezitativ, 26: 18 - 22) ⭋㔀婧

䤷枛⎚⭞烉俞䧴⚆䫼烉ἈᾹ忚❶⍣夳㝸㝸Ṣ炻⮵Ṿ婒烉ˬ侩ⷓ婒烉ㆹ䘬㗪

㨇⶚䴻ㆸ䅇Ḯ烊ㆹ␴ㆹ䘬攨⼺天⛐Ἀ⭞墉⬰忦崲䭨ˤ˭

䤷枛⎚⭞烉攨⼺⯙ὅ䄏俞䧴䘬⏑␸⍣⬱㌺忦崲䭨䘬㘂梸ˤ‵㘂炻俞䧴嶇

⋩Ḵᾳ攨⼺⛸ⷕˤ䓐梗䘬㗪῁炻俞䧴婒烉ㆹ⏲姜ἈᾹ炻ἈᾹ䔞ᷕ㚱ᶨᾳ

Ṣ天↢岋ㆹˤ

䤷枛⎚⭞烉攨⼺朆ⷠㄪォ炻ġᶨᾳᶨᾳ⛘⓷䣪 (⎰ⓙ I ): ᷣ⓲炻ᶵ㗗ㆹ⏏烎

ĩ倥Ḯ忁䱦慯䘬⮓⮎⺷⎰ⓙ㗪炻ㆹᾹ⼰⭡㖻゛⁷↢炻攨⼺Ᾱ㤝⹎ᶵ⬱⛘⓷

俞䧴烉ˬᷣ⓲炻㗗ㆹ╶烎˭(Herr bin ich?) 䘬ね㘗ˤ)

䫔 16 㚚 (Nr. 16, Choral) 俾娈⎰ⓙ (I ␴ II炻旵 ł ⣏婧炻4/4 ㉵⫸)

㗗ㆹ炻娚塓㆚优䘬㗗ㆹˤㆹ䘬ㇳ儛炻悥娚塓䴩⛐⛘䋬墉炻㍍⍿㆚优ˤ䤊

㇨⽵⍿䘬㆚优␴㜇䷃炻ㅱ娚䓙ㆹ䘬曰櫪⍣㈧㑼ˤ

ĩ忁㭝俾娈⎰ⓙ炻⛐䫔 44 㚚ᷕ⍰㚫↢䎦ˤ忁㚚婧⍇㗗Ẳ㱁⃳ (1450-1517)

䘬ἄ⑩炻旬㚱ᶾ὿䘬㫴娆ˤ)

䫔 17 㚚 (Nr. 17, Rezitativ, 26: 23 - 29) ⭋㔀婧 (楔⣒ 26: 23 - 29)

26

䤷枛⎚⭞烉俞䧴⚆䫼烉嶇ㆹᶨ崟⛐䡇⫸墉慖梭⎫䘬恋ᾳṢ天↢岋ㆹˤ㬋

⤪俾䴻ᶲ㇨婒䘬炻Ṣ⫸天⍿⭛炻⎗㗗恋↢岋Ṣ⫸䘬Ṣ㚱䤵Ḯ炰Ṿ㰺㚱↢

䓇Ὰ⤥炰

䤷枛⎚⭞烉↢岋俞䧴䘬䋞⣏ḇ攳⎋⓷烉侩ⷓ炻ᶵ㗗ㆹ⏏烎

䤷枛⎚⭞烉俞䧴婒烉ᶵ炻⯙㗗Ἀ炰

䤷枛⎚⭞烉ṾᾹ⎫梗䘬㗪῁炻俞䧴㊧崟梭Ἦ炻⃰ デ嫅䘬䥙⏲炻䃞⼴㒀

攳炻↮䴎攨⼺婒烉ἈᾹ㊧崟Ἦ⎫炻忁㗗ㆹ䘬幓橼ˤ

䤷枛⎚⭞烉㍍叿炻Ṿ⍰㊧崟㜗⫸Ἦ炻⎹ᶲⷅデ嫅⼴炻怆䴎ṾᾹ炻婒烉Ἀ

Ᾱ╅⏏炻忁㗗ㆹ䘬埨ˤ㗗⌘嫱ᶲⷅ嶇Ṣ䩳䲬䘬埨炻䁢Ḯἧ姙⣂Ṣ䘬伒⼿

⇘崎⃵侴㳩䘬ˤㆹ⏲姜ἈᾹ炻ㆹ㰢ᶵℵ╅忁惺炻䚜⇘ㆹ嶇ἈᾹ⛐ㆹ䇞奒

䘬⚳⹎墉╅㕘惺䘬恋ᶨ⣑ˤ

䫔 18 㚚 (Nr. 18, Rezitativ, Sopran) ⭋㔀婧 (I炻⤛檀枛ˣ㝼枛䭉Ḵˣ㔠⫿

Ỷ枛ˤņ⮷婧ˣ4/4㉵⫸)

ㆹ䘬⽫㴠㽽⛐䛤㶂塷炻䁢Ḯ俞䧴天暊攳ㆹᾹ侴ず 炻Ữ俞䧴䘬䩳䲬炻⌣

ἧㆹᾹ檀冰ˤṾ㈲冒⶙䘬幓橼␴埨炻ẍ⍲䣪䘬⮲㥖炻Ṍ㈀䴎ㆹᾹˤ⯙⁷

Ṣᶾ攻䳽⮵㰺㚱侩ⷓ㈲冒⶙䘬⬠䓇゛ㆸ㗗⢆Ṣ恋㧋炻䚜⇘㚨⼴Ṿ怬㗗ッ

叿攨⼺Ᾱˤ

䫔 19 㚚 (Nr. 19, Arie, Sopran) 娈▮婧 (䶐⇞ᶲ冯ᶲ㚚⎴ˤG ⣏婧ˣ6/8 ㉵

⫸)

ㆹ天㈲⽫䌣䴎䤊炻ㆹ䘬㊗㓹侭␝炻婳㈲䤊䘬䌱ỻ幢⛐忁墉ˤㆹ天㈲幓橼

㰱⇘䤊塷朊ˤ⮵䤊Ἦ婒炻忁ᶾ䓴⤥⁷⣒⮷炻⎗㗗䤊⮵ㆹ侴妨⌣㭼Ṣᶾ␴

ᶲ呤⎰Ἕ崟Ἦ怬㚜⣏ˤ

27

㧬㪾Ⱉ

䫔 20 㚚 (Nr. 20, Rezitativ, 26: 30 - 32) ⭋㔀婧 (楔⣒ 26: 30 - 32)

䤷枛⎚⭞烉ṾᾹⓙḮᶨ椾娑炻⯙↢Ἦ炻⇘㧬㪾Ⱉ⍣ˤ忁㗪俞䧴⮵攨⼺婒烉

Ṳ⣑㘂ᶲ炻ἈᾹ悥天䁢ㆹ䘬䶋㓭暊㡬ㆹ烊⚈䁢俾䴻婒烉ˬᶲⷅ天㑲㭢䈏Ṣ炻

伲佌⯙↮㔋Ḯˤ˭Ữ㗗ㆹ⽑㳣ẍ⼴炻天㭼ἈᾹ⃰⇘≈⇑⇑⍣ˤ

ĩ䔞ⓙ⇘ˬ伲佌⯙↮㔋Ḯ˭嗽炻惵ẍ⻎㦪␴㔠⫿Ỷ枛ᶨ崟䓐↮妋␴⻎⎹ᶲ

ᶳ㒜㔋Ờ⣷炻侴ᶼ㊯䣢䁢ˬ䓂⾓㜧˭(vivace)ˤ)

䫔 21㚚 (Nr. 21, Choral) 俾娈⎰ⓙ (䶐⇞冯䫔Ĵ㚚⎴)

婳㈧娵ㆹ炻ㆹ䘬⬰嬟侭炻ㆹ䘬䈏Ṣ炻婳ⷞ柀ㆹˤ䤊㗗㇨㚱┬列䘬㸸㱱炻

ḇ岄䴎ㆹ姙⣂┬ḳˤ䤊䘬◜炻䓐歖ḛ␴⤥⎫䘬梇䈑炻䴎ㆹ⃫㯋炻䤊䘬俾

曰䁢ㆹⷞἮ姙⣂⣑⚳䘬⸠䤷ˤ

䫔 22 㚚 (Nr. 22, Rezitativ, 26: 33 - 35) ⭋㔀婧 (楔⣒ 26: 33 - 35)

䤷枛⎚⭞烉⼤⼿⮵俞䧴婒烉⌛ἧ℞Ṿ䘬Ṣ悥暊㡬Ἀ炻ㆹ䳽⮵ᶵ㚫暊㡬Ἀ炰

䤷枛⎚⭞烉俞䧴⮵⼤⼿婒烉ㆹ⏲姜Ἀ炻Ṳ⣑㘂ᶲ炻暆⎓ẍ⇵炻Ἀ㚫ᶱ㫉

ᶵ㈧娵ㆹˤ

䤷枛⎚⭞烉⼤⼿⚆䫼烉⌛ἧㆹ⽭枰嶇Ἀ⎴㬣炻ㆹḇᶵ㚫ᶵ㈧娵Ἀ炰

䤷枛⎚⭞烉℞Ṿ䘬攨⼺ḇ悥忁湤婒ˤ

䫔 23 㚚 (Nr. 23, Choral) 俾娈⎰ⓙ (I ␴ IIˤ旵 E ⣏婧ˣ4/4 ㉵⫸)

ㆹ␴䤊⛐ᶨ崟炻婳ᶵ天庽夾ㆹ炻⌛ἧ䤊䘬⽫㚫暊攳䤊䘬幓橼炻ㆹḇᶵ㚫

暊攳䤊ˤ䔞Ἀ䘬⽫怕忯㚨⼴䘬㬣䘬堅㑲炻嬲⼿曺䘥䘬㗪῁炻ㆹ㚫㈲䤊㉙

⛐ㆹ䘬兪ᶲˣ充ᶲˤ

ĩ䫔 21 㚚␴䫔 23 㚚炻枛㦪⸦᷶㗗ᶨ㧋䘬炻忁ᾳ俾㫴㚚婧炻ᷫ㗗⼊ㆸ楔⣒

28

⍿暋㚚ᷕ⽫䘬俾娈⎰ⓙ炻ẍ⼴⛐䫔 53ˣ63ˣ72 㚚ᶲ⍰㚫䓐ᶲˤ㬌㚚䘬⍇

娑ˬ㺧塓埨∝䘬俾椾˭炻㗗‹⑰䈡㇨⮓䘬炻⎗㗗㚚婧⌣㗗⑰㕗≺ἄ㚚䘬ᶾ

὿㫴㚚ˤ)

⭊大楔⯤⚺䘬䥙⏲

䫔 24 㚚 (Nr. 24 Rezitativ, 26: 36 - 38) ⭋㔀婧 (楔⣒ 26: 36 - 38)

䤷枛⎚⭞烉俞䧴␴攨⼺Ἦ⇘ᶨᾳ⛘㕡炻⎵⎓⭊大楔⯤烊Ṿ⮵ṾᾹ婒烉Ἀ

Ᾱ⛐忁墉⛸炻ㆹ⍣恋怲䥙⏲ˤ

䤷枛⎚⭞烉㕤㗗Ṿⷞ叿⼤⼿␴大ⸯ⣒䘬ℑᾳ⃺⫸ᶨ崟⍣ˤṾ攳⥳ㄪォ暋

忶炻⮵ṾᾹ婒烉ㆹ䘬⽫朆ⷠ䖃劎炻⸦᷶天䠶塪ˤἈᾹ⛐忁墉炻嶇ㆹᶨ崟

嬎愺⏏炰

䫔 25 㚚 (Nr. 25, Rezitativ, Tenor mit Choral) ⭋㔀婧 (I炻䓟檀枛炻攟䫃Ḵˣ

㝼枛䭉Ḵˣ㔠⫿Ỷ枛ˤII炻⚃悐⎰ⓙ炻⻎㦪悐炻㔠⫿Ỷ枛ˤŇ ⮷婧ˣ4/4

㉵⫸ )

䓟檀枛烉⒎炻忁䖃劎炰⚈䖃劎侴栓レ䘬⽫炰忁柮⽫㗗⣂湤㰱䖃炻忁⻝共

㗗⣂湤曺䘥炰塩⇌侭㈲俞䧴ⷞ⇘㱽⹕ˤ⛐恋塷炻㰺㚱ảỽ⬱ㄘ炻㰺㚱Ṣ

゛⸓≑Ṿˤ俞䧴㈧㑼Ḯᶨ↯⛘䋬䘬ず劎炻Ṿ天岾⚆⇍Ṣ㇨䩲䚄䘬ˤ⓲炻

⤪㝄ㆹ䘬ッ炻ㆹ䘬㊗㓹␝炰傥⣈㰾㶉䤊䘬栓レ␴⿸ㆤ炻傥㚧䤊⽵⍿忁ᶨ

↯炻ㆹ娚㚫⣂湤⾓㦪炰

俾娈⎰ⓙ烉忁㧋⍿劎䘬⍇⚈㗗䓂湤␊烎⓲炻㗗䓙㕤ㆹ䘬伒ㇻ㑲Ḯ䤊ˤ⓲炻

ᷣ俞䧴炻䤊䘬䖃劎㗗⚈ㆹ㇨䉗䘬伒侴Ἦˤ

ĩ⛐䫔 24 㚚ᷕ炻䁢俞䧴㇨婒䘬ˬㆹ䘬⽫䖃劎⼿天䠶塪˭ ↢䘬㔠⫿Ỷ枛

䘬Ờ⣷炻⍰≈ℍḮˬ栓レ˭炻䁢攟䫃␴暁䯏䭉䘬ず↯䘬㦪⎍Ờ⣷ˤẍ忁Ờ

⣷ἄ䁢側㘗ⓙ↢䘬䓟檀枛炻㗗⛐堐忼䛤夳俞䧴⍿劎侴⽫Ḫ䘬拓⬱䘬⥹⧀

29

Ᾱˤᷕ徼䓙䫔Ḵ⎰ⓙ㍺忚⍣䘬俾娈⎰ⓙ (嶇䫔 Ĵ 㚚⎴ᶨ㚚婧Ī炻㗗⛐堐䣢

ᾉ⼺Ᾱ䘬⍵䚩ˤ)

䫔 26 㚚 (Nr. 26, Arie, Tenor mit Chor ) 娈▮婧 (I炻䓟檀枛ˤ暁䯏䭉ˣ㔠⫿

Ỷ枛ˤII炻⚃悐⎰ⓙ炻攟䫃Ḵˣ⻎㦪悐ˣ㔠⫿Ỷ枛ˤ埴㜧炻ń ⮷婧ˣ4/4

㉵⫸)

䓟檀枛烉ㆹᾹ天嶇俞䧴ᶨ崟愺叿ˤ

⎰ⓙ烉忁㧋ㆹᾹ䘬伒⯙㚫㰱䜉ˤ

䓟檀枛烉⤪㝄ᷣ䘬䖃劎㉝⃇ㆹᾹ䘬㬣炻ᷣ䘬ず 㚫ἧㆹᾹ⃭㺧╄㦪ˤ

⎰ⓙ烉⚈㬌炻ᷣ恋⮲屜䘬劎暋炻晾䃞⮵ㆹᾹ婒Ἦ㗗劎䘬炻⌣ḇ㗗䓄伶䘬ˤ

ĩ䓙⇵ᶨ㚚ᶨ䚜㳩㾱忶Ἦ䘬忁㭝娈▮婧炻嶇⇵㚚ᶨ㧋炻䓙䌐ⓙ␴⎰ⓙṌ㚧

侴ㆸ炻Ữᶵℵ⎒㗗⛐ず▮ˤ⛐暁䯏䭉⃒伶䘬䌐⣷⺽⮶ᶳ炻䓟檀枛ⓙ↢䘬

㚚婧㗗⼰偗⭂䘬ˤ)

䫔27㚚 (Nr. 27, Rezitativ, 26: 39) ⭋㔀婧 (楔⣒ 26: 39)

䤷枛⎚⭞烉Ṿ䦵⼨⇵崘炻ᾗặ⛐⛘ᶲ炻䥙⏲婒烉ㆹ䘬䇞奒⏨炻`ἧ⎗ẍ炻

㯪Ἀᶵ天嬻ㆹ╅忁劎㜗⏏炰⎗㗗炻ᶵ天䄏ㆹ䘬シ⿅炻⎒天䄏Ἀ䘬㖐シˤ

䫔 28 㚚 (Nr. 28, Rezitativ, Bass) ⭋㔀婧 (II炻䓟Ỷ枛炻⻎㦪悐炻㔠⫿Ỷ枛ˤ

D ⮷婧ˣ4/4 ㉵⫸) 㓹ᷣᾗặ⛐⣑䇞ᷳ⇵炻啱㬌㈲ㆹᾹ㇨㚱䘬Ṣ炻⽆ㆹᾹ

䘬⡖句ᷕ炻ℵ⹎㍸⋯⇘䤆䘬】℠ᷕˤᷣ䷥㗗㸾⁁ケ⾓⛘╅ᶳ㲐㺧ᶾ攻伒

忶ˣ㔋䘤⇢滣ら冕䘬㜗⫸炻㬣䘬䖃劎䘬㜗⫸ˤ忁㗗㔔ッ䘬䤆⶚䴻䲬⭂Ḯ

䘬ˤ

ĩ⻎㦪恋ᶵ攻㕟⛘⍵央䘬ᶲᶳ埴↮妋␴⻎炻嶇ˬᾗặ˭␴ˬ㍸⋯˭䘬㫴娆

⼤㬌␤ㅱˤ)

30

䫔 29 㚚 (Nr. 29, Arie, Bass) 娈▮婧 (II炻䓟Ỷ枛炻滲⣷⮷㍸䏜炻㔠⫿Ỷ枛ˤ

ň⮷婧ˣ3/8㉵⫸)

ㆹ゛ἧ冒⶙⇵忚炻㍍⍿⋩⫿㝞␴劎㜗炻⛐ᷣ梚忶ᷳ⼴╅⬫ˤ䓙㕤⽆ᷣ䘬

◜塷炻㚫㳩↢歖ḛ␴嚪囄炻⎒⚈㚨⇅䘬ᶨ⎋炻⯙㚫⇘㜗⸽炻ἧ劎暋␴♜

感䘬」彙炻悥⊾ㆸ䓄囄䘬ˤ

ĩ忁㗗䓙䓟Ỷ枛䌐ⓙˣ滲⣷⮷㍸䏜␴㔠⫿Ỷ枛炻ẍ㧉ầ⺷⮵娙ἄㆸ䘬ˬᶱ

慵⣷˭ˤ)

䫔 30 㚚 (Nr. 30, Rezitativ, 26: 40 - 42) ⭋㔀婧 (楔⣒ 26: 40 - 42)

䤷枛⎚⭞烉Ṿ⚆⇘䫔ᶱᾳ攨⼺恋墉炻䘤䎦ṾᾹ悥䜉叿Ḯ炻⯙⮵⼤⼿婒烉

ἈᾹᶵ傥嶇ㆹ嬎愺ᶨᾳ揀柕╶烎天嬎愺䥙⏲炻⃵⼿星ℍ徟べˤἈᾹ⽫曰

晾䃞栀シ炻倱橼⌣㗗庇⻙䘬ˤ

䤷枛⎚⭞烉䫔Ḵ㫉俞䧴ℵ⍣䥙⏲婒烉䇞奒⏨炻⤪㝄忁劎㜗ᶵ傥暊攳ㆹ炻

ᶨ⭂天ㆹ╅ᶳ炻栀Ἀ䘬㖐シㆸℐ⏏炰

↢岋

䫔 31 㚚 (Nr. 31, Choral) 俾娈⎰ⓙ (I ␴ II炻䶐⇞冯䫔 Ĵ 㚚⎴ˤŅ ⣏婧ˣ

4/4㉵⫸)

䤆䘬㖐シᶨ⭂ㆸℐ炻䤆䘬㖐シ㗗㚨⤥䘬ˤ䤆䷥㗗⸓≑➭⭂⛘ᾉẘ䣪䘬Ṣˤ

㬋佑䘬䤆炻㚫⽆劎暋㓹↢炻䴎Ḱ怑䔞䘬㆚优ˤᾉẘ䤆炻ὅ月䤆䘬Ṣ炻䳽

⮵ᶵ㚫塓怢㡬ˤ

䫔 32 㚚 (Nr. 32 Rezitativ, 26: 43 - 50) ⭋㔀婧 (楔⣒ 26: 43 - 50)

䤷枛⎚⭞烉Ṿℵ⚆⇘攨⼺恋墉炻䚳夳ṾᾹ⍰䜉叿Ḯ炻ṾᾹ忋䛤䜃ḇ䜄ᶵ

攳ˤ俞䧴ℵ暊攳ṾᾹ炻⍣ἄ䫔ᶱ㫉䘬䥙⏲炻㇨婒䘬嶇⃰⇵䘬ᶨ㧋ˤ䃞⼴

31

Ṿ⍰⚆⇘攨⼺恋墉ˤ俞䧴婒烉ἈᾹ怬⛐䜉奢ˣ怬⛐ẹ〗╶烎䚳⒒炻Ṣ⫸

塓Ṍ⛐伒Ṣㇳᷕ䘬㗪῁⇘Ḯˤ崟Ἦ炻ㆹᾹ崘⏏炰䚳⒒炻恋↢岋ㆹ䘬ṢἮ

Ḯ炰

䤷枛⎚⭞烉俞䧴怬⛐婒娙䘬㗪῁炻⋩Ḵ攨⼺ᷳᶨ䘬䋞⣏ἮḮˤ㚱ᶨ⣏佌

Ṣⷞ叿↨㡺嶇Ṿᶨ崟Ἦ烊ṾᾹ㗗䤕⎠攟␴㮹攻䘬攟侩㳦Ἦ䘬ˤ恋↢岋俞

䧴䘬枸⃰䴎ṾᾹᶨᾳ㘿嘇炻婒烉ˬㆹ嶇婘奒⏣炻婘⯙㗗ἈᾹ㇨天䘬Ṣ炻Ἀ

Ᾱ⯙㈻ỷṾˤ˭䋞⣏ᶨ⇘炻䩳⇣崘⇘俞䧴嶇⇵ˤ

䋞⣏烉侩ⷓ炻Ἀ⤥炰

䤷枛⎚⭞烉䃞⼴嶇Ṿ奒⏣ˤ

俞䧴婒烉㚳⍳炻Ἀ゛ 䘬炻崽⾓ ⏏炰

䤷枛⎚⭞烉㕤㗗恋ṃṢᶲ⇵炻㈻ỷ俞䧴炻㈲Ṿ䴩崟Ἦˤ

䫔 33 㚚 (Nr. 33 Duett, Soprano und Alt mit Chor) Ḵ慵ⓙ (I炻⤛檀枛炻攟䫃

Ḵ炻暁䯏䭉Ḵˣ⻎㦪悐ˣ㔠⫿Ỷ枛ˤII炻⚃悐⎰ⓙ炻㦪☐冯 I ⎴ˤ埴㜧ˣ

ņ⮷婧ˣ4/4㉵⫸)

Ḵ慵ⓙ烉㕤㗗俞䧴塓㋽Ḯ炻㚰␴⃱⚈ず 侴㴰⣙ˤ忁㗗⚈ㆹᾹ䘬俞䧴塓

㋽Ḯˤ俞䧴塓㈻⍣炻塓䴩崟Ἦˤ

⎰ⓙ烉㈲ᷣ㓦㌱炻⇞㬊⏏炻⇍䴩Ṿ炰攫暣␝炻暟沜␝炻ἈᾹ㴰⣙⛐暚攻

╶烎⒎炻⛘䋬╚炻ㇻ攳䀓䃘䘬㳆䨜炻㈲嘃`䘬↢岋侭炻ẍ⍲恋㭀⽵䘬埨

䰱䠶ˣ㴰㹭ˣ⏆▄炻䩳⇣䉪⾺叿㈲Ṿㇻ䠶炰

ĩ忁塷炻䓙攟䫃␴暁䯏䭉⣷↢ず↯䘬ᷣ柴炻ẍ↯↮枛ㇻ叿㲊㴒凔䘬⻎㦪

☐炻堐䣢塓㋽䘬俞䧴ˤ忁㗗埴㜧䘬⇵⋲㭝ˤᶵᷭ炻⽆ˬ攫暣␝ˣ暟沜␝˭

䘬⛘㕡炻䨩䃞嬲ㆸ 3/8 ㉵⫸䘬䓂⾓㜧炻忁㗪炻ℑ䳬⎰ⓙ⛀⎰侴䁢ᶨ炻⯽

䎦↢㌺ⰙᾺ㴟凔䘬⎰ⓙˤず䖃㴰⣙Ḯ炻䓙䆮䘤䘬ㅌ⾺㚧ẋḮˤ)

32

䫔 34 㚚 (Nr. 34, Rezitativ, 26: 51 - 56) ⭋㔀婧 (楔⣒ 26: 51 - 56)

䤷枛⎚⭞烉嶇俞䧴⛐ᶨ崟䘬Ṣᷕ炻㚱ᶨᾳ㉼↢↨Ἦ炻⎹⣏䤕⎠䘬⤜⁽䞵

⍣炻㈲Ṿ䘬ᶨ晣俛㛝⇲㌱ˤ俞䧴⮵Ṿ婒烉㈲↨㓞崟Ἦ炻⚈䁢↉≽↨䘬炻

ᶨ⭂⛐↨ᶳ╒␥ˤ暋忻Ἀᶵ䞍忻ㆹ⎗ẍ⎹ㆹ䇞奒㯪㎜炻侴Ṿ㚫䩳⇣婧Ἦ

⋩Ḵ䆇䘬⣑ἧ╶烎⤪㝄ㆹ忁㧋 炻俾䴻ᶲ㇨婒ˣḳね⽭枰忁㧋䘤䓇䘬恋

ṃ娙⍰⾶傥⮎䎦␊烎

䤷枛⎚⭞烉㍍叿炻俞䧴⎹恋ᶨ佌Ṣ婒烉ἈᾹⷞ叿↨∵㡵㡺↢Ἦ㈻ㆹ炻㈲

ㆹ䔞ἄ⻟䚄╶烎ㆹ⣑⣑⛸⛐俾㭧塷㔁妻Ṣ炻ἈᾹ᷎ᶵᶳㇳˤᶵ忶炻忁ᶨ

↯ḳね䘬䘤䓇炻悥㗗天⮎䎦⃰䞍⛐俾䴻ᶲ㇨婒䘬娙ˤ

䤷枛⎚⭞烉忁㗪῁炻㇨㚱䘬攨⼺悥暊攳Ṿ徫崘Ḯˤ

䫔 35 㚚 (Nr. 35, Choral) 俾娈⎰ⓙ (䶐⇞␴䫔 IJ 㚚⎴ˤņ ⣏婧ˣ4/4 ㉵⫸炻

⇵⣷炻俾娈⎰ⓙ)

⒎炻ṢᾹ炻ず▮Ἀ䘬伒ỽ℞⣏炻䓙㕤忁ṃ伒炻俞䧴暊攳Ṿ䇞奒䘬充㕩炻

Ἦ⇘忁⛘ᶲˤ䁢Ḯㆸ䁢䤆␴Ṣᷳ攻䘬婧妋侭炻䓙㶭䲼␴喡䘬嗽⤛炻䁢ㆹ

Ᾱ䓇ᶳˤ➢䜋䴎㬣侭䓇␥炻ἧ䕭Ṣ䕲䗺炻ㆸ䁢ㆹᾹ䘬䉏䈚炻側屈ㆹᾹ恋

㰱慵䘬伒炻天塓憀ᶲ⋩⫿㝞䘬㗪攻炻徸㻠忤役Ḯˤ

ĩ崟⇅炻⶜崓妰䔓㊧㘖忂䘬ˣ╖䲼䘬俾娈⎰ⓙ⛀ἧ䫔ᶨ悐䳸㜇炻⼴Ἦ㓡嬲

ᷣシ炻⍾䓐忁ᾳ⍇⃰䔞䲬侘⍿暋㚚⮶ℍ⎰ⓙἄ㚚䘬俾娈⎰ⓙˤ㬌栆俾㫴炻

⎓ ˬ俾娈⸣゛㚚˭ˤ俾㫴㕳⼳ᶨ埴埴塓↯㕟炻ẍ冒䓙䘬␴倚䓙⎰ⓙ⛀ⓙ

↢炻䭉⻎㦪⛀䁢⬫惵ᶲ⇵⣷ˣ攻⣷␴⯦⣷ˤ

攟䫃␴暁䯏䭉⣷↢䘬枛✳炻⯙㗗㇨媪䘬ˬ┄㲋˭䘬≽㨇ˤṢᾹ㖑⶚ᶵℵ

⮵↢岋侭䘤↢⾺⏤炻ḇᶵℵ嬜屔䔁ᶳ俞䧴徫崘䘬攨⼺ˤ⍇⚈㗗炻ṾᾹ䘤

奢冒⶙⯙㗗䋞⣏炻⯙㗗攨⼺ˤ恋┄㲋䘬≽㨇炻⯙㗗⛐堐䎦ṢᾹ゛⇘忁ᶨ

33

ẞḳ㗪炻䓙ℏ⽫㳩曚↢䘬ず㫶倚ˤ)

䫔Ḵ悐ġ⸷ⷽ

䫔 36 㚚 (Nr. 36, Arie, Alt mit Chor) 娈▮婧 (I炻⤛Ỷ枛ˣ攟䫃ˣ㝼枛䭉ˣ

⻎㦪悐ˣ㔠⫿Ỷ枛ˤII炻⚃悐⎰ⓙˣ⻎㦪悐ˣ㔠⫿Ỷ枛ˤŃ ⮷婧ˣ4/4 ㉵

⫸)

⤛Ỷ枛烉⓲炻ㆹ䘬俞䧴塓ⷞ崘Ḯˤ

⎰ⓙ烉Ἀ䘬㚳⍳⇘⒒塷⍣Ḯ烎⤛Ṣᷕ㚨伶渿䘬ˤ

⤛Ỷ枛烉ㆹ傥䚳ỷ俞䧴╶烎

⎰ⓙ烉Ἀ䘬㚳⍳⇘⒒塷⍣Ḯ烎

⤛Ỷ枛烉⓲炻句ℍ嗶䇒ᶳ䘬ˣㆹ䘬⮷伲␝炻⓲炻ㆹ䘬俞䧴⒒塷⍣Ḯ烎

⎰ⓙ烉恋湤炻ㆹᾹ⯙嶇Ἀᶨ崟㈦俞䧴⏏ˤ

ĩ忁㗗⛐㍷徘拓⬱䘬ᾉ⼺Ᾱ叿⿍⛘⮳㈦㓹ᷣ䘬ね㘗炻攳柕悐↮炻ᶵ⬱䘬⋲

枛昶≽㨇⇘嗽↢䎦炻⛐⼴⋲塷炻嗶ˬ䇒˭㗗⇑䓐剙僼⻟婧䘬ˤ)

⛐嬘㚫⍿⮑⓷

䫔 37 㚚 (Nr. 37, Rezitativ, 26: 57 - 59) ⭋㔀婧 (楔⣒ 26: 57 - 59)

䤷枛⎚⭞烉恋ṃ㋱㊧俞䧴䘬Ṣ炻㈲俞䧴ⷞ⇘⣏䤕⎠娚Ṇ㱽䘬⹄恠⍣ˤ⛐恋塷炻

䴻⬠㔁ⷓ␴攟侩㬋⛐倂㚫ˤ⼤⼿怈怈⛘嶇叿俞䧴炻⇘Ḯ⣏䤕⎠䘬昊⫸ˤ⼤⼿

忚昊⫸⍣炻嶇嬎堃⛸⛐ᶨ崟炻天䚳忁ḳ⾶湤Ḯ䳸ˤ䤕⎠攟␴ℐ嬘㚫姕㱽㈦`

嫱㒂炻天㍏⏲俞䧴炻伖Ṿ㕤㬣⛘ˤ

䫔38㚚 (Nr. 38, Choral) 俾娈⎰ⓙ (I ␴IIˤ旵B ⣏婧ˣ4/4㉵⫸)

Ṣᶾ㫢槁Ḯㆹ炻ẍ嘃`䘬ˣ‥忈䘬ḳ炻㈽ᶳ姙⣂䵚␴䦀⭮䘬⚰⣿ˤᷣ⓲炻婳

娵↢䪁⛐忁⌙㨇䘬ㆹ炻⽆⎬䧖⤠妰ᷕᾅ嬟ㆹˤ

34

䫔 39 㚚 (Nr. 39, Rezitativ, 26: 60 - 63) ⭋㔀婧 (I炻Ữ‥嫱侭㗗 IIˤ⤛Ỷ枛ˣ䓟

檀枛ˣ㔠⫿Ỷ枛ˤ楔⣒ 26: 60 - 63)

䤷枛⎚⭞烉晾䃞㚱⼰⣂Ṣ婋⏲Ṿ炻Ữ㗗㈦ᶵ↢嫱㒂Ἦˤ㚨⼴炻㚱ℑᾳṢᶲ⇵

㊯䧙婒烉忁ᾳṢ婒忶烉ˬㆹ傥⣈㉮㭨ᶲⷅ䘬俾㭧炻ᶱ⣑ℏ⍰㈲⬫慵⺢崟Ἦˤ˭

䤷枛⎚⭞烉㕤㗗⣏䤕⎠䪁崟Ἦ炻⓷俞䧴 (⣏䤕⎠炻䓟Ỷ枛炻㔠⫿Ỷ枛Ī烉Ṿ

Ᾱ⮵Ἀ䘬㍏⏲炻Ἀ㰺㚱䓂湤䫼彗╶烎

䤷枛⎚⭞烉Ữ㗗俞䧴⌣満ᶵἄ倚ˤ

ĩ⶜崓嬻ℑ⎵‥嫱侭䓐滲ⓙ⌉彚ⓙ↢Ἦ炻㬌ḳ⛐堐䣢炻ṾᾹ䘬‥嫱㗗ḳ⃰姕

妰⤥䘬ˤ)

䫔 40 㚚 (Nr. 40, Rezitativ, Tenor) ⭋㔀婧 (II炻䓟檀枛ˣ暁䯏䭉Ḵˣ㝼枛䭉ˣ

㔠⫿Ỷ枛ˤŅ⮷婧ˣ4/4㉵⫸)

ㆹ䘬俞䧴⮵‥嫱ᾅ㊩䶀満炻忁㗗⏲姜ㆹᾹ炻䓙㕤⃭㺧ヰず䘬⽫炻㚧ㆹᾹ㈧㑼

Ḯ劎暋炻䔞ㆹᾹ怕忯⎴㧋䘬䖃劎㗪炻ḇ⽭枰嶇俞䧴ᶨ㧋炻⌛ἧ⍿⇘従⭛炻ḇ

天満ᶵἄ倚ˤ

ĩỜ⣷ᷕ炻䓙㕟⣷␴⻎⇣∫䘬╖䲼䭨⣷炻⛐㘿䣢ᷣ恋♜倭䘬㰱満ˤ)

䫔 41 㚚 (Nr. 41, Arie, Tenor) 娈▮婧 (II炻䓟檀枛炻㔠⫿Ỷ枛ˤł ⮷婧ˣ4/4

㉵⫸)

⽵侸ˣ⽵侸炻⌛ἧ㗗㐺媲䘬冴柕⇢ ㆹᾹˤ⤪㝄ㆹ傥ᶵ䎮㚫ㆹ䘬伒炻⍣⽵侸

ὖ彙冯◚⺬炻㔔ッ䘬䤆炻ᶨ⭂㚫⟙⃇ㆹ恋呁⅌䘬⽫ˤ

ĩᷣ恋➭⻟䘬⽵侸冯㰱満炻⛐㬌嗽㔠⫿Ỷ枛䘬忚埴ᷕḇ傥デ⍿⇘ˤ扛⇑䘬旬

溆䭨⣷炻⤥⁷⛐㘿䣢ˬ⇢Ṣ˭䘬ˬ㐺媲䘬冴˭ˤ侴忁䭨⣷炻㗗嶇㹓␴䘬ᷣ柴

Ṍ㚧↢䎦䘬ˤ)

35

䫔 42 㚚 (Nr. 42, Rezitativ, 26: 63 - 66) ⭋㔀婧 (楔⣒ 26: 63 - 65)

䤷枛⎚⭞烉⣏䤕⎠ℵᶨ㫉⮵Ṿ婒烉ㆹ㊯叿㯠䓇ᶲⷅ䘬⎵炻␥ẌἈ䘤娻⏲姜ㆹ

Ᾱ炻Ἀ㗗ᶵ㗗➢䜋ˣᶲⷅ䘬⃺⫸烎

䤷枛⎚⭞烉俞䧴⚆䫼烉忁㗗Ἀ婒䘬ˤỮ㗗ㆹ天⏲姜ἈᾹ炻㬌⼴炻ἈᾹ天䚳夳

Ṣ⫸⛸⛐ℐ傥侭䘬⎛怲炻楽叿⣑ᶲ䘬暚旵冐炰

䤷枛⎚⭞烉⣏䤕⎠倥Ḯ⯙㐽塪冒⶙䘬堋㚵婒烉Ṿὖ彙Ḯᶲⷅ炻ㆹᾹℵḇᶵ暨

天嫱ṢḮˤἈᾹ悥倥夳Ṿὖ彙Ḯᶲⷅ炻ἈᾹ娵䁢⾶㧋烎

䤷枛⎚⭞烉ṾᾹ⚆䫼 (佌䛦炻⎰ⓙ炻I ≈II)烉Ṿ娚㬣炰

ĩ晾䃞⎒㗗Ḽ⮷䭨䘬⎰ⓙ炻⎗㗗ㆹᾹ⎗ẍ゛⁷佌䛦⤪ỽ暄Ḫ⛘≈ℍ炻侴ᶼ檀

┲叿ˬṾ娚㬣˭䘬ね㘗ˤ)

䫔 43 㚚 (Nr. 43, Rezitativ, 26: 67 - 68) ⭋㔀婧 (楔⣒ 26: 67 -68)

䤷枛⎚⭞烉ṾᾹ⯙㛅Ṿ共ᶲ⎸⎋㯜炻⍰䓐㊛柕ㇻṾˤ恋ṃㇻṾ俛⃱䘬Ṣ婒 (⎰

ⓙ炻I 冯 II炻䶐⇞␴䫔 Ķ 㚚⎴Ī烉➢䜋⓲炰Ἀ㗗ᾳ⃰䞍ˤ婒婒䚳炻婘ㇻἈ␊烎

ĩ嶇䫔 42 㚚 ţ ᶨ㧋炻忁塷⍰䱦⼑⛘㍷⮓↢㽨䁰䘬佌䛦䘬䉪⎓ˤℑ昲⎰ⓙ⛀䘬

␤ㅱ炻㓰㝄䈡⇍⤥ˤ)

䫔 44 㚚 (Nr. 44, Choral) 俾娈⎰ⓙ (I ␴ II炻䶐⇞␴䫔 Ĵ 㚚⎴ˤŇ ⣏婧ˣ4/4

㉵⫸)

婘㈲䤊ㇻ⼿恋湤慵烎ㆹ䘬㓹ᷣ⓲炻㗗婘ἧ䤊怕⍿忁劎柕烎䤊ᶵ⁷ㆹᾹ炻ㆾㆹ

Ᾱ䘬⬑⫸恋㧋㗗伒Ṣ炻䤊ᶵ䞍忻Ṩ湤㗗ら埴ˤ

ĩ忁㭝俾㫴㚚婧炻嶇䫔 16 㚚ᶨ㧋炻忁ᾳ⎰ⓙἧ⼿忁⟜朊⃭㺧㶙⇣䘬デ≽ˤ)

⼤⼿䘬⏎娵

䫔45㚚 (Rezitativ, 26: 69 - 73) ⭋㔀婧 (楔⣒ 26: 69 - 73)

36

䤷枛⎚⭞烉⼤⼿⛐⢾朊䘬昊⫸塷⛸叿烊㚱⣏䤕⎠䘬ᶨᾳ⨊⤛崘忶Ἦ炻婒 (䫔

ᶨ⨊⤛炻⤛檀枛炻㔠⫿Ỷ枛Ī烉Ἀ嶇恋≈⇑⇑Ṣ俞䧴㗗ᶨ⣍䘬ˤ

䤷枛⎚⭞烉⼤⼿⛐⣏⭞朊⇵⏎娵ḮˤṾ婒烉ㆹᶵ䞍忻Ἀ⛐婒ṃṨ湤ˤ

䤷枛⎚⭞烉䃞⼴崘↢⍣炻⇘Ḯ昊⫸䘬攨⎋ˤ⍰㚱ᶨᾳ⨊⤛䚳夳ḮṾ炻⎹⛐恋

塷䘬Ṣ婒 (䫔Ḵ⨊⤛Ī烉忁ᾳṢ嶇㊧㐺≺䘬俞䧴㗗⎴⣍䘬ˤ

䤷枛⎚⭞烉⼤⼿⍰ᶵ㈧娵炻䘤娻婒烉ㆹ㟡㛔ᶵ娵嬀恋ᾳṢ炰

䤷枛⎚⭞烉忶Ḯᶨ㚫⃺炻㕩怲䪁叿䘬ṢᶲἮ炻⮵⼤⼿婒 (佌䛦炻⎰ⓙ II)烉Ἀ

嶇ṾᾹ䡢㗗ᶨ⣍䘬炻Ἀ䘬⎋枛ἧἈ曚↢Ḯ楔儛ˤ

䫔46㚚 (Nr. 46, Rezitativ, 26: 74 -75) ⭋㔀婧 (⎰ⓙI)

䤷枛⎚⭞烉Ṿℵᶨ㫉䘤娻婒烉ㆹᶵ娵嬀恋ᾳṢˤ

䤷枛⎚⭞烉ġ ⯙⛐忁ᾳ㗪῁炻暆⎓Ḯˤ⼤⼿忁ㇵ゛崟俞䧴䘬娙烉ˬ暆⎓ẍ⇵炻

Ἀ㚫ᶱ㫉ᶵ㈧娵ㆹˤ˭Ṿ⯙崘↢⍣炻䤩ᶵỷ䖃⒕崟Ἦˤ

ĩ忁㗪炻㌨崟ᶨᾳ檀㼖ˤ䖃劎䘬晾䃞㗗⼤⼿炻ḳ⮎ᶲ㗗䓙䤷枛⎚⭞⒕㲋叿㔀

徘⼤⼿䘬ḳˤᶵ炻ᶵ㗗䤷枛⎚⭞⛐⒕炻ᶳᶨ椾娈▮婧ḇ⛐⒕ˤ)

䫔 47 㚚 (Nr. 47, Arie, Alt) 娈▮婧 (⎰ⓙ I炻⤛Ỷ枛炻䌐⣷⮷㍸䏜炻⻎㦪⎰⣷炻

㔠⫿Ỷ枛)

ㆹ䘬䤆炻䓙㕤ㆹ㇨㳩䘬䛤㶂炻婳✪ㄸㆹ炻婳ᾗ夾ㆹˤ婳䚳䚳炻忁柮⽫␴忁暁

䛤䜃炻⛐䤊朊⇵ず↯⛘⒕㲋ˤ婳✪ㄸㆹˤ

(B ⮷婧ˣ12/8 ㉵⫸ˤ忁娈▮婧䘬攳柕炻㚚婧嶇⼤⼿䘬ˬㆹ㟡㛔ᶵ娵嬀恋ᾳ

Ṣ˭䘬㕳⼳⼰䚠Ụ炻侴忁ẞḳ䳽朆„䃞ˤ⍇⚈㗗炻⤛Ỷ枛㈲⼤⼿䘬ㆢ〼炻䔞

冒⶙䘬ㆢ〼炻䓙㕤䌐⣷⮷㍸䏜䱦⼑䘬⋼≑炻ἧ⼿忁椾㚚⫸炻㚜⃭㺧Ḯデ≽

≃ˤ)

37

䫔48㚚 (Nr. 48, Choral) ⎰ⓙ (I + II炻ł⣏婧ˣ4/4㉵⫸)

ㆹ晾䃞暊攳忶䤊炻䎦⛐⍰↢䎦⛐䤊朊⇵ˤ⍇⚈㗗炻䓙㕤Ἀ䘬幓橼㇨⍿䘬⿸⾾

冯㬣䘬䖃劎炻ἧㆹᾹ␴妋Ḯˤ⎗㗗ㆹᶵ⏎⭂冒⶙䘬伒ˤㆹ䴻ⷠ䘤䎦炻䤊䘬ヰ

ッ冯】⮝炻㭼ㆹᾹ䘬伒天㚜≈䘬⣏ˤ

ĩㆢ〼䘬Ṣ炻⇘忁椾俾娈⎰ⓙ㗪炻ㇵ䫔ᶨ㫉⮳㈦⇘⬱ㄘˤ)

䋞⣏ᷳ㬣

䫔 49 㚚 (Nr. 49, Rezitativ, 27: 1 - 4) ⭋㔀婧 (⎰ⓙ I炻楔⣒ 27: 1 - 4)

䤷枛⎚⭞烉㶭㖑炻㇨㚱䘬䤕⎠攟␴䋞⣒Ṣ䘬攟侩⓮嬘炻天嗽㬣俞䧴ˤṾᾹ㈲

俞䧴䴩崟Ἦ炻妋䴎伭楔䷥䜋⼤㉱⣂ˤ↢岋侭䋞⣏䚳夳俞䧴塓⭂伒炻⼴〼Ḯ炻

⯙㈲ᶱ⋩⟲戨⸋㊧⍣怬䴎䤕⎠攟␴攟侩炻婒烉ㆹ䉗Ḯ伒炻↢岋Ḯ䃉彄侭䘬埨炰

䤷枛ἧ侭烉ṾᾹ⚆䫼婒 (䤕⎠攟␴攟侩Ᾱ炻⎰ⓙ I + II)烉恋㗗Ἀ冒⶙䘬ḳ炻

嶇ㆹᾹ㚱䓂湤斄Ὢ烎

䫔50㚚 (Nr. 50, Rezitativ, 27: 5 - 6) ⭋㔀婧 (⎰ⓙ I)

䤷枛⎚⭞烉䋞⣏㈲拊᷇⛐俾㭧塷炻崘↢⍣炻ᶲ⎲冒㭢ˤ䤕⎠攟㈲拊㑧崟Ἦ炻

婒 (ℑ⎵䤕⎠Ī烉忁㗗埨拊炻䄏ㆹᾹ䘬㱽⼳ᶵ⎗㓦⛐⣱䌣䭙ˤ

䫔 51 㚚 (Nr. 51, Arie, Bass) 娈▮婧 (⎰ⓙ II炻䓟Ỷ枛炻䌐⣷⮷㍸䏜炻⻎㦪⎰

⣷炻㔠⫿Ỷ枛)

㈲ㆹ䘬俞䧴怬䴎ㆹᾹ炰䚳⒒炻恋ᾳ塓㉳㡬䘬⸜庽Ṣ炻㈲㭢Ṣ䘬愔慹炻᷇⇘Ἀ

Ᾱ䘬儛ᶳḮˤ

(G ⣏婧炻4/4 ㉵⫸ˤ↢岋侭䘬䳸⯨㗗⎗゛侴䞍䘬炻䤕⎠攟␴攟侩Ᾱ䘬娙 (⎰

ⓙ) 㗗⣂湤⅟感炻㍍叿炻忁椾娈▮婧⯙䘣⟜Ḯˤ⼰栗䃞⛘炻塓㊯屔䘬炻昌䋞

⣏⢾炻怬㚱㉺䳽䋞⣏䘬ㆢ〼䘬䤕⎠攟␴攟侩Ᾱˤ忁㭝娈▮婧䘬ᷣ柴㗗炻㭢Ṣ

38

䘬愔慹ᶵ㗗怬Ḯ╶烎恋湤炻㈲俞䧴怬䴎ㆹᾹˤ⣏ⷭ⹎⛘㎾㚛䘬䌐⣷⮷㍸䏜炻

⼟⼧⛐堐䣢⒕㲋叿㒚怬ᶱ⋩ᾳ戨⸋䘬䋞⣏ˤ)

⼤㉱⣂䘬⮑⓷

䫔 52 㚚 (Rezitativ, 27: 7 - 14) ⭋㔀婧 (⎰ⓙ I炻楔⣒ 27: 7 - 14)

䤷枛⎚⭞烉⓮嬘䘬䳸㝄炻ṾᾹ⎴シ㊧忁拊⍣岤屟昞⋈䘬ᶨ⟲⛘䙖炻ἄ䁢❳吔

⢾⚳Ṣ䘬⡛⛘ˤ⚈㬌炻⇘Ṳ⣑Ṣ⭞怬⎓忁⟲⛘䁢埨䓘ˤ忁ẞḳ䘬䴻忶⮎䎦Ḯ

⃰䞍俞⇑䰛婒忶䘬娙烉ˬṾᾹ㊧Ḯᶱ⋩⟲戨⸋炻⯙㗗ẍ刚↿Ṣ⎴シ䁢ṾẀ↢

䘬₡拊炻屟Ḯ昞⋈䘬⛘䙖烊忁㗗ὅ䄏ᷣ㇨␥Ẍㆹ䘬ˤ˭俞䧴䪁⛐䷥䜋朊⇵炻

䷥䜋⓷Ṿ (⼤㉱⣂炻䓟ᷕ枛炻╖㔠⫿Ỷ枛Ī烉Ἀ㗗䋞⣒Ṣ䘬䌳╶烎

俞䧴 (䓟檀枛炻╖㔠⫿Ỷ枛Ī烉Ἀ婒䘬㗗ˤ

䤷枛⎚⭞烉⎗㗗䤕⎠攟␴攟侩⮵Ṿ䘬㍏⏲炻Ṿᶨ㤪ᶵ⚆䫼ˤ⚈㬌⼤㉱⣂⮵Ṿ

婒烉Ἀ㰺倥夳ṾᾹ㍏⏲Ἀ忁湤姙⣂ḳ╶烎

䤷枛⎚⭞烉俞䧴ṵ䃞ᶨ⎍娙ḇᶵ⚆䫼烊⼤㉱⣂朆ⷠ娓䔘ˤ

䫔53㚚 (Choral) 俾娈⎰ⓙ (⎰ⓙI + II炻䶐⇞冯䫔Ĵ㚚⎴)

㈲Ἀ䘬忻嶗炻ẍ⍲Ἀ䘬劎゙炻⥼妿䴎䴙䌯呤⣑䘬ˣ㚨婈⮎䘬ᾅ嬟侭ˤ恋ỵ䴎

Ḱ㴖暚ˣ䨢㯋␴⽖桐炻㚱忻嶗冯㕡⎹䘬Ṣ炻ḇ㚫㊯䣢Ἀ䘬儛⎗ẍ怩忚䘬✎徼ˤ

ĩ忁㭝 Ņ ⣏婧ˣ4/4 ㉵⫸䘬俾娈㕳⼳炻⛐䫔 21 㚚ᷕ⶚䴻ἧ䓐忶ˤ)

䫔 54 㚚 (Nr. 54, Rezitativ, 27: 15 - 22 ) ⭋㔀婧 (⎰ⓙ Ŋ炻楔⣒ 27: 15 - 22 )

䤷枛⎚⭞烉㭷忊忦崲䭨炻䷥䜋䄏ㄋἳ䴎佌䛦慳㓦ᶨᾳṾᾹ婳㯪慳㓦䘬⚂䉗ˤ

恋㗪炻㚱ᶨᾳ↢⎵䘬⚂䉗⎓⶜㉱⶜ˤ佌䛦倂普䘬㗪῁炻⼤㉱⣂⓷烉ἈᾹ天ㆹ

慳㓦婘␊烎㗗⶜㉱⶜␊炻怬㗗䧙䁢➢䜋䘬俞䧴烎

䤷枛⎚⭞烉⼤㉱⣂㖶㖶䞍忻ṾᾹ㗗↢㕤⤺⽴ㇵ㈲俞䧴Ṍ䴎Ṿ䘬ˤ⼤㉱⣂攳⹕

39

⮑⇌䘬㗪῁炻Ṿ䘬⥣⫸㳦ṢἮ⏲姜Ṿ婒 (⼤㉱⣂⥣⫸炻⤛檀枛炻㔠⫿Ỷ枛Ī烉

忁佑Ṣ䘬ḳ炻Ἀᶵ天䭉ˤ⚈䁢ㆹ㗐㘂⛐⣊ᷕ䁢Ṿ⎫䚉劎柕ˤ

䤷枛⎚⭞烉⎗㗗炻䤕⎠攟␴攟侩Ᾱ炻⌣⒮ἧ㮹䛦炻ṾᾹ⯙天㯪⼤㉱⣂慳㓦⶜

㉱⶜炻㈲俞䧴嗽㬣ˤ䷥䜋⓷ṾᾹ婒烉忁ℑᾳṢ䔞ᷕ炻ἈᾹ天ㆹ慳㓦⒒ᶨᾳ␊烎

䤷枛⎚⭞烉ṾᾹ⚆䫼婒 (佌䛦炻⎰ⓙ⛀ I + II烊⤛檀枛ˣ⤛Ỷ枛ˣ䓟檀枛ˣ

䓟ᷕ枛ˣ㔠⫿Ỷ枛Ī烉⶜㉱⶜炰

䤷枛⎚⭞烉⼤㉱⣂⓷ṾᾹ烉恋湤炻ㆹ娚⾶湤嗽䎮䧙䁢➢䜋䘬俞䧴␊烎

䤷枛⎚⭞烉ṾᾹ悥┲忻 (佌䛦炻⎰ⓙ I + II炻ġ ⚃ỵ䌐ⓙ侭炻攟䫃ˣ暁䯏䭉ˣ

⮷㍸䏜ˣᷕ㍸䏜⎬Ḵˣ㔠⫿Ỷ枛Ī烉㈲Ṿ憀⋩⫿㝞炰

䫔 55 㚚 (Nr. 55, Choral) 俾娈⎰ⓙ (⎰ⓙ I + II炻䶐⇞冯䫔 Ĵ 㚚⎴)

忁㗗ỽ䫱䃉䎮䘬㆚优炻⤥䈏Ṣ⚈伲⍿劎ˤ㛔㗗佑Ṣ䘬ᷣ炻㚧ㆹᾹ⃇怬⁝ˤ

䫔 56 㚚 (Nr. 56, Rezitativ, 27: 23) ⭋㔀婧 (⎰ⓙ I炻楔⣒ 27: 23)

䤷枛⎚⭞烉⼤㉱⣂⓷烉Ṿ ḮṨ湤⢆ḳ␊烎

䫔 57 㚚 (Nr. 57, Rezitativ, Sopran) ⭋㔀婧 (⎰ⓙ I炻⤛檀枛炻䌝䭉Ḵ㓗炻㔠

⫿Ỷ枛)

Ṿ㔁ㆹᾹ埴┬ḳˤἧ䜶⫸⽑㖶炻ἧ䗠⫸傥崘嶗ˤṾ⏲姜ㆹᾹ⣑䇞䘬娙炻䁢ㆹ

Ᾱ槭崘櫼櫤ˤ䁢ず 侭ㇻ㯋炻㍍䲵冯⮔⿽伒ṢˤㆹᾹ䘬俞䧴炻昌忁ṃᷳ⢾炻

Ṩ湤ḇ㰺 ˤ

䫔 58 㚚 (Nr. 58, Arie, Soprano) 娈▮婧 (⎰ⓙ I炻⤛檀枛炻攟䫃䌐⣷炻䌝䭉Ḵ炻

䃉㔠⫿Ỷ枛)

⚈ッ炻ㆹ㓹ᷣㇵ⯙㬣炻ᷣᶵ䞍㚱㇨媪䘬伒炻恋㗗䁢Ḯἧ㯠⿮䘬䟜㹭炻ἧ⮑⇌

䘬㆚优炻䴚㮓ᶵ䔁⬀⛐ㆹᾹ䘬⽫ᶲˤ

40

ĩ忁㗗 ł ⮷婧ˣ4/4 ㉵⫸䘬㦪㚚ˤ)

䫔 59 㚚 (Nr. 59, Rezitativ, 27: 23 - 26) ⭋㔀婧 (⎰ⓙ Ŋ炻楔⣒ 27: 23 - 26)

䤷枛⎚⭞烉ṾᾹ㚜⣏倚┲⎓ (佌䛦炻嶇䫔 Ķ 㚚⎴䶐⇞䘬⎰ⓙ I + ⎰ⓙ II)烉㈲

Ṿ憀⋩⫿㝞炰

䤷枛⎚⭞烉⼤㉱⣂䚳恋ね⼊炻䞍忻ℵ婒ḇ㰺㚱䓐炻⍵侴⎗傥㽨崟㙜≽炻⯙㊧

㯜⛐佌䛦朊⇵㲿ㇳ炻婒烉忁Ṣ㇨㳩䘬埨炻屔ảᶵ䓙ㆹ屈炻ἈᾹ㈧㑼⏏炰

䤷枛⎚⭞烉佌䛦䔘⎋⎴倚婒 (嶇䫔 Ķ 㚚⎴䶐⇞䘬⎰ⓙ I + ⎰ⓙ II)烉忁ᾳṢ䘬

埨炻䓙ㆹᾹ␴ㆹᾹ䘬⫸⬓屈屔炰

䤷枛⎚⭞烉⼤㉱⣂⯙慳㓦⶜㉱⶜䴎ṾᾹ炻⍰␥Ẍ㈲俞䧴杕ㇻḮ炻䃞⼴Ṍ䴎Ṣ

⍣憀⋩⫿㝞ˤ

䫔 60 㚚 (Nr. 60, Rezitativ, Alt) ⭋㔀婧 (⎰ⓙ II炻⤛Ỷ枛炻⮷㍸䏜炻ᷕ㍸䏜炻

㔠⫿Ỷ枛)

婳✪ㄸ炻䤆⓲炰⛐忁塷㓹ᷣ塓䴩炻塓杕ㇻ炻塓㭮ㇻ炻⒎炻恋 ⎋炰↹⎷Ᾱ⒎炻

婳ỷㇳ炰ἈᾹᶵ塓Ṿℏ⽫䘬䖃劎ˣ劎゙䘬堐ね侴≽⽫╶烎⤥炻ἈᾹ⤪㝄怬㚱

ᶨ柮⽫炻恋湤⬫⯙⁷㊟ㇻ㡺炻ᶵ炻ᶨ⭂㗗㭼忁㚜⅟感䘬⽫ˤ婳⎗ㄸṾ炻 㬊

⏏炰

䫔 61 㚚 (Nr. 61, Arie, Alt) 娈▮婧 (⎰ⓙ II炻⤛Ỷ枛炻⮷㍸䏜Ḵ滲⣷炻㔠⫿Ỷ

枛)

⤪㝄㳩句共柘䘬䛤㶂炻䘤䓇ᶵḮἄ䓐炻恋湤婳⍾崘ㆹ忁柮⽫炰䔞ᷣ䘬 ⎋㳩

↢埨炻侴ᶼ㹊ㆸ㺧㼖㗪炻婳嬻ㆹ䘬⽫炻䔞ἄ㈧⍿俾埨䘬戊ˤ

ĩ忁㗗 ň ⮷婧ˣ3/4 ㉵⫸䘬㚚⫸ˤ)

䫔 62 㚚 (Nr. 62 Rezitativ, 27: 27 - 29) ⭋㔀婧 (⎰ⓙ Ŋ炻楔⣒ 27: 27 - 29)

41

䤷枛⎚⭞烉⼤㉱⣂䘬ℝ⢓㈲俞䧴ⷞ忚䷥䜋⹄炻ℐ昲普⎰⛐Ṿ␐⚵炻ṾᾹ∅ᶳ

俞䧴䘬堋㚵炻䴎Ṿ䨧ᶲᶨẞ㶙刚䘬堵⫸炻⍰䓐勲㢀䶐Ḯᶨ枪ⅈ䴎Ṿ㇜ᶲ炻㊧

ᶨ㟡喌㡅㓦⛐Ṿ䘬⎛ㇳ炻䃞⼴嶒⛐Ṿ朊⇵㇚⺬Ṿ炻婒 (ℝ⢓Ᾱ炻嶇䫔 Ķ 㚚⎴

䶐⇞䘬⎰ⓙI + II)烉䋞⣒Ṣ䘬䌳叔㬚炰

䤷枛⎚⭞烉ṾᾹ⍰⎹Ṿ⎸⎋㯜炻㊧后㠧ㇻṾ䘬柕ˤ

䫔 63 㚚 (Nr. 63, Choral) 俾娈⎰ⓙ (⎰ⓙ I + II炻䶐⇞冯䫔 Ĵ 㚚⎴)

⒎炻㳩埨⍿ ˣ⃭㺧䖃劎冯◚⺬䘬柕炰⒎炻⚈⍿ヂ⺬塓㇜ᶲ勲ⅈ䘬柕炰⒎炻

⍇⃰塓嬥䁢㚨檀㥖侨䘬ˣ溆䵜⼿⼰伶䘬柕炻侴Ṳ⌣塓ˬ叔㬚炻叔㬚˭⛘彙伝ˤ

⒎炻䔞ᶾ䓴⍿⮑⇌㗪炻⮯ἧṢ⿸ㆤˣ幚性䘬檀屜䘬共␝炰䤊䁢Ṩ湤天塓⎸⎋

㯜烎䤊䁢Ṩ湤共刚䘤曺烎⽆⇵ảỽ⃱刺悥䃉㱽䚠㭼䘬䤊䘬䛤䤆炻㗗婘ἧ⬫怕

⍿⤪㬌㭀感䘬䖃劎烎

ĩ忁㗪炻ず∯徸㻠㍍役檀㼖ˤ⽆ˬ㈲Ṿ憀ᶲ⋩⫿㝞˭䘬⎓倚攳⥳炻佌䛦䘬⎰

ⓙᷫℐ悐㍉䓐⣏䶐⇞䘬Ḵ慵⎰ⓙ炻㕤㗗㯋㯃㚜≈㽨䁰ˤ崲㗗㍍役檀㼖炻俾娈

⎰ⓙㆾ冒䓙㫴娆䘬⭋㔀婧冯娈▮婧䘬姣慳ḇ㚜⣂ˤ忚ℍ忁⟜朊⼴炻俾娈⎰ⓙ

↢䎦Ḯᶱ㚚ˤ⎗㗗⇘䫔 63 㚚㗪炻⛐⇵朊䫔 21炻23 㚚ᷕ倥忶䘬俾娈⎰ⓙ䘬㚚

婧炻⍰⛐䫔ᶨˣḴ䭨䘬㫴娆ᶲⓙ↢Ἦˤ⎰ⓙ悥䓐⣏䶐⇞㽨䁰⛘ⓙ↢ˤ䫔 59

㚚ᷕ炻檀⎓叿ˬ㈲Ṿ憀⋩⫿㝞˭䘬佌䛦⎰ⓙ炻ˬ⋩⫿㝞˭㗗ἧ䓐䴎Ṣ㶙⇣⌘

尉䘬ˣ℟㚱尉⽝⿏䘬≽㨇ἄㆸ䘬ˤ⎰ⓙ Ŋ ␴ II ẍ滲倚檀ⓙ↢ˬ忁ᾳṢ䘬埨炻

䓙ㆹᾹ␴ㆹᾹ䘬⫸⬓屈屔˭䘬⎍⫸炻㗗⣂湤⃭㺧冒ᾉ炰

⛐忁忤䛇䘬㇚∯⯽攳ᷳ⼴炻⶜崓㍺ℍḮℑ䳬⭋㔀婧␴娈▮婧ˤ䫔ᶨᾳ⯙㗗䫔

57炻58 㚚ˤ忁㗗⛐⼤㉱⣂⓷ˬṾ ḮṨ湤⢆ḳ␊˭⼴炻ẍ⚆䫼䘬㕡⺷↢䎦

䘬ˤ䫔 57 㚚ᶨ怲䓐㫴倚㔀徘俞䧴䘬䧖䧖┬埴炻ᶨ怲䓐䌝䭉 (Oboe da caccia)

䘬㚚婧㍷⮓俞䧴ˤ晐⼴⛐㔀徘㓹ᷣᷳˬッ˭䘬䫔 58 㚚炻⌣ἳ⢾⛘ᶵ≈ℍ㔠

⫿Ỷ枛ˤ䫔Ḵᾳㆸ⮵䘬䫔 60炻61 㚚ᷕ炻⇯㍷⮓䚖䜡㓹ᷣ⍿劎ね㘗䘬ᾉ⼺㇨

42

堐䣢↢Ἦ䘬䖃劎ˤ㓗惵忁ℑ㚚䘬旬溆䭨⣷炻㘿䣢⣑嬜⌛⮯Ἦ冐ˤ)

枋橷ⲿ

䫔 64 㚚 (Nr. Rezitativ, 27: 31 - 32) ⭋㔀婧 (⎰ⓙ炻楔⣒ 27 : 31 - 32)

䤷枛⎚⭞烉ṾᾹ㇚⺬⬴Ḯ炻㈲Ṿ幓ᶲ䘬堵⫸∅ᶳ炻ℵ䴎Ṿ䨧ᶲ冒⶙䘬堋㚵炻

䃞⼴㈲Ṿⷞ↢⍣憀⋩⫿㝞ˤṾᾹ↢Ἦ䘬㗪῁炻忯夳ᶨᾳ⎌⇑⣰Ṣ炻⎓大攨炻

⯙⻟従Ṿ側俞䧴䘬⋩⫿㝞ˤ

䫔 65 㚚 (Nr. 65, Rezitativ, Bass) ⭋㔀婧 (⎰ⓙ Ŋ炻䓟ᷕ枛炻攟䫃Ḵ炻⎌ᷕ㍸䏜炻

㔠⫿Ỷ枛)

㗗䘬炻ㆹᾹ幓ᶲ䘬倱␴埨炻ⶴ㛃塓憀⛐⋩⫿㝞ᶲˤ⤪㝄ㆹ䘬曰櫪崲㗗忁㧋䚤

㛃炻㬌ḳ⯙崲匲♜ˤ

䫔 66 㚚 (Nr. 66, Arie, Bass) 娈▮婧 (⎰ⓙ Ŋ炻䓟ᷕ枛炻⎌ᷕ㍸䏜䌐⣷炻㔠⫿

Ỷ枛)

Ἦ⏏炻䓄囄䘬⋩⫿㝞炻ㆹ栀シ婒ˤㆹ䘬俞䧴␝炻㈲⬫Ṍ䴎ㆹˤㆹᾹ䘬䖃劎炻

⤪㝄⅟感⼿䃉㱽㈧㑼炻恋湤婳⸓≑ㆹ傥奒冒⽵⍿ᶳἮˤ

(D ⮷婧ˣ4/4 ㉵⫸ˤ倥⇘䤷枛⎚⭞婒炻大攨塓従側屈⋩⫿㝞⼴炻ᾉ⼺⯙堐䣢

冒⶙⼰㦪㕤側屈⬫ˤ⎚㆟⒚娵䁢炻⭋㔀婧ᷕ䘬攟䫃Ờ⣷炻㗗⛐㍷⮓側⋩⫿㝞

䘬俞䧴炻恋帋嶂⛘ˣ㎾㗫⛘⇵忚䘬㧉㧋ˤ侴娈▮婧䘬Ờ⣷炻⯙㗗⛐⇣∫大攨

側⋩⫿㝞⼴炻ὅ䃞⼰䨑‍䘬㬍Ẹˤ⎗㗗⎌ᷕ㍸䏜 (Viola da gamba) 恋⣏ⷭ⹎

䘬㎾㚛㧉㧋炻Ụ᷶ḇ⎗ẍ妋慳ㆸ炻忁㗗大攨╀叿㯋炻䇔ᶲ␥忳ᷳⲿ䘬朊⼙ˤ)

䫔 67 㚚 (Nr. 67, Recitativ, 27: 33 - 43) ⭋㔀婧 (楔⣒ 27: 33 - 43)

䤷枛⎚⭞烉ṾᾹἮ⇘ᶨᾳ⛘㕡炻⎓⎬⎬Ṿ炻シ⿅⯙㗗ˬ枋橷ⲿ˭ˤṾᾹ㊧叿

㓁叿劎入䘬惺䴎俞䧴╅炻俞䧴☸Ḯ炻⌣ᶵ偗╅ˤ㕤㗗ṾᾹ㈲俞䧴憀⛐⋩⫿㝞

43

ᶲ炻⍰㉥䰌↮ḮṾ䘬堋㚵炻䃞⼴⛸⛐恋塷䚳⬰ṾˤṾᾹ⛐Ṿ柕ᶲ⬱叿ᶨ朊伒

䉨䇴炻䇴ᶲ⮓叿烉ˬ䋞⣒Ṣ䘬䌳俞䧴ˤ˭ṾᾹ⍰憀Ḯℑᾳ⻟䚄⛐⋩⫿㝞ᶲ炻

ᶨᾳ⛐Ṿ⎛怲炻ᶨᾳ⛐Ṿⶎ怲ˤ⽆恋塷䴻忶䘬Ṣὖ彙俞䧴炻㎾叿柕婒 (佌䛦炻

嶇䫔 Ķ 㚚⎴䶐⇞䘬⎰ⓙ I + II)烉Ἀ忁㉮㭨俾㭧炻ᶱ⣑ℏ㈲⬫慵⺢崟Ἦ䘬炰⤪

㝄Ἀ㗗ᶲⷅ䘬⃺⫸炻㓹㓹冒⶙炻⽆⋩⫿㝞ᶲᶳἮ⏏炰

䤷枛⎚⭞烉䤕⎠攟ˣ䴻⬠㔁ⷓ␴攟侩ḇ⎴㧋嫷䪹Ṿ炻婒 (嶇䫔 Ķ 椾⎴䶐⇞䘬

⎰ⓙ I + II)烉Ṿ㓹Ḯ⇍Ṣ炻Ὰᶵ傥㓹冒⶙炰Ṿᶵ㗗ẍ刚↿䘬䌳╶烎⤪㝄Ṿ䎦

⛐⽆⋩⫿㝞ᶲᶳἮ炻ㆹᾹ⯙㚫ᾉṾ炰Ṿᾉ月ᶲⷅ炻冒䧙䁢ᶲⷅ䘬⃺⫸ˤ⤥⏏炻

䎦⛐嬻ㆹᾹ䚳䚳ᶲⷅ天ᶵ天Ἦ㓹Ṿ炰

䫔68㚚 (Nr. 68, Rezitativ, 27 : 44) ⭋㔀婧 (楔⣒ 27 : 44)

䤷枛⎚⭞烉ᶨ崟塓憀⋩⫿㝞䘬⻟䚄炻ḇ⎴㧋彙伝Ṿˤ

ĩ忁ᾳ㽨≽䘬佌䛦⎰ⓙ炻㗗楔⣒⍿暋㚚ᷕ㚨䋃䁰䘬炻䴎Ṣ㶙⇣⌘尉ˤ⁷⼨ἳ炻

ℑᾳ⎰ⓙ⛀攳⥳㗪ḇṌ㚧㫴ⓙ炻䃞⼴ᶨ崟檀㫴炻㌨崟檀㼖ˤ䫔Ḵᾳ⎰ⓙ䘬㚨

⼴炻㗗ẍ滲ⓙⓙ↢ˬἈ㗗ᶲⷅ䘬⃺⫸˭ˤ

ᶵᷭ炻◚⺬俞䧴䘬佌䛦⶚䴻暊⍣炻㾽㬣䘬⻟䚄炻ḇ㰱満ᶳἮˤ䔞⋩⫿㝞⚃␐

⸛朄ᶳἮ⼴炻拓⬱攳⥳ⓙ↢ˬ⓲炻⎬⎬Ṿ˭ˤ)

䫔 69 㚚 (Nr. 69, Rezitativ, Alt) ⭋㔀婧 (⎰ⓙ Ŋ炻⤛Ỷ枛炻䌝䭉Ḵ㓗炻㔠⫿Ỷ

枛)

⓲炻⎬⎬Ṿ炻塓␺娃䘬⎬⎬Ṿ炰䁢ỽ㥖侨䘬ᷣ炻⽭枰⛐㬌⍿彙ˣ㬣⍣烎䁢ỽ

⍿ᶾṢ䤅䤷䘬㊗㓹侭炻⌣ァἮ䀥䤵炻塓憀⋩⫿㝞ᶲ烎⣑冯⛘䘬∝忈ᷣ炻⌣塓

⤒⍣⣏⛘冯䨢㯋炻䃉伒侭嬲ㆸ㚱伒侴㬣⍣ˤ忁ṃḳ⇢䖃Ḯㆹ䘬⽫曰ˤ⓲炻⎬

⎬Ṿ炻塓␺娃䘬⎬⎬Ṿˤ

ĩ旵 ł ⣏婧ˣ4/4 ㉵⫸ˤ䌝䭉堐忼↢⃭㺧ず 䘬デね炻㔠⫿Ỷ枛倥崟Ἦ⼰⁷㗗

44

吔䥖䘬揀倚ˤ)

䫔 70 㚚 (Nr. 70, Arie, Alt mit Chor) 娈▮婧 (⎰ⓙ Ŋ炻⤛Ỷ枛炻䌝䭉Ḵ炻㔠⫿

Ỷ枛ˤ⎰ⓙ II炻⚃ỵ䌐ⓙ侭炻暁䯏䭉Ḵ炻⮷㍸䏜Ḵ炻ᷕ㍸䏜炻㔠⫿Ỷ枛)

⎰ⓙ I (⤛Ỷ枛Ī烉Ἀ炻俞䧴䁢Ḯ㑩㉙ㆹᾹ炻Ỡ↢Ṿ䘬ㇳˤἮ⏏炰

⎰ⓙII (⎰ⓙĪ烉⇘⒒塷烎

⎰ⓙ I (⤛Ỷ枛Ī烉⛐俞䧴䘬ㇳ兪ᷕ炻䌚⼿ὅ月䘬ṢᾹ␝炻⛐㬌䓇ˣ㬣ˣ⬱〗ˤ

䔁㬍⏏ˤ

⎰ⓙII (⎰ⓙĪ烉⛐⒒塷烎

⎰ⓙI (⤛Ỷ枛Ī烉⛐俞䧴䘬ㇳ兪ᷕˤ

ĩ忁㗗旵 ņ ⣏婧ˣ4/4 ㉵⫸䘬㦪㚚ˤ)

ᶱ溆揀

䫔 71 㚚 (Nr. 71, Rezitativ, 27: 45 - 50) ⭋㔀婧 (楔⣒ 27: 45 – 50)

䤷枛⎚⭞烉ᷕ⋰䘬㗪῁炻湹㘿⢇休⣏⛘炻䲬㚱ᶱ⮷㗪ᷳᷭˤ⇘Ḯᶳ⋰ᶱ溆揀

ⶎ⎛炻俞䧴⣏倚␤┲ (䓟ᷕ枛炻㔠⫿Ỷ枛Ī烉ẍ⇑炰ẍ⇑炰㉱楔㐺⶜⎬⣏⯤烎

䤷枛⎚⭞烉シ⿅㗗烉ˬㆹ䘬ᶲⷅ炻ㆹ䘬ᶲⷅ炻Ἀ䁢Ṩ湤暊㡬ㆹ烎˭㚱ṃ䪁⛐

恋塷䘬Ṣ倥夳Ḯ婒 (佌䛦炻⎰ⓙ䌐ⓙ侭炻暁䯏䭉Ḵ炻⮷㍸䏜Ḵ炻ᷕ㍸䏜炻㔠

⫿Ỷ枛Ī烉Ṿ⛐␤╂ẍ⇑Ṇ␊炰

䤷枛⎚⭞烉℞ᷕ㚱ᶨᾳṢ䩳⇣嵹忶⍣炻㊧ᶨ⟲㴟䵧炻㴠⛐愠惺塷炻䃞⼴䴩⛐

喌㡅ᶲ炻天嬻Ṿ╅ˤ℞Ṿ䘬Ṣ婒 (佌䛦炻␴䫔 Ķ 㚚⎴䶐⇞䘬⎰ⓙ II)烉䫱叿炻

ㆹᾹ䚳ẍ⇑Ṇ㚫ᶵ㚫Ἦ㓹Ṿ炰

䤷枛⎚⭞烉俞䧴⍰⣏┲ᶨ倚炻⯙㕟Ḯ㯋ˤ

䫔 72 㚚 (Nr. 72, Choral) 俾娈⎰ⓙ (⎰ⓙ I + II炻冯䫔 Ĵ 㚚䶐⇞⎴)

45

㝸㖍䔞ㆹ⮯㬣䘬㗪῁炻婳ᶵ天暊攳ㆹˤ⛐ㆹ嶇㬣䚠忯㗪炻婳Ἀ栗䎦⮲⭡ˤ䔞

ㆹ䘬⽫㤝䪗䖃劎䘬㗪῁炻婳㈲ㆹ⽆⿸⾾ᷕ㓹↢ˤ

(A ⮷婧ˣ4/4 ㉵⫸ˤẍ俞䧴㚨⼴䘬娙ˬẍ⇑炻ẍ⇑炻㉱楔㐺⶜⎬⣏⯤˭䁢↮

䓴䶂炻⶜崓㈲俞䧴婒娙㗪炻⽭⭂旬≈䘬⻎㦪Ờ⣷⍾㴰Ḯ炻侴ᶼ惵ᶲず䖃䘬㕳

⼳ˤ忁⎍娙炻䔞䤷枛⎚⭞≈ẍ侣嬗㗪炻㍸檀⚃⹎慵ⓙᶨ㫉⼴炻恋ず䖃䘬デ奢

㚜䁢≈㶙ˤ⎴㗪炻䤷枛⎚⭞婒↢ˬ俞䧴⯙㕟Ḯ㯋˭䘬悐↮炻ḇẌṢ偅儠⮠㕟ˤ

侴晐⼴䘬 72 㚚俾娈⎰ⓙ炻䴎Ṣ⌘尉ỽ䫱㶙⇣炰忁ᾳ⍵央ⓙ忶⣂㫉䘬俾娈㕳

⼳炻忁㗗㚨⼴ᶨ㫉ˤ)

䫔 73 㚚 (Nr. 73, Rezitativ, 27: 51 - 58) ⭋㔀婧 (楔⣒ 27: 51 -58)

䤷枛⎚⭞烉忁㗪῁炻ㆠ㍃⛐俾㭧塷䘬ⷼ⫸炻⽆ᶲ⇘ᶳ塪ㆸℑ⋲ˤ⣏⛘暯≽炻

⵾䞛ⳑ塪炻⡛⠻ḇ䴎暯攳Ḯ炻姙⣂⶚䴻㬣Ḯ䘬ᶲⷅ䘬⫸㮹悥⽑㳣崟ἮˤṾᾹ

暊攳Ḯ⡛⠻炻⛐俞䧴⽑㳣ẍ⼴忚俾❶炻⛐恋塷㚱姙⣂Ṣ䚳夳ṾᾹˤ䚳⬰俞䧴

䘬䘦⣓攟␴ℝ⢓䚳夳Ḯ⛘暯␴㇨䘤䓇䘬ᶨ↯ḳ炻悥朆ⷠ⭛⾽炻婒 (䘦⣓攟

Ᾱ炻⎰ⓙ I + II炻⚃⎵䌐ⓙ侭炻暁䯏䭉ˣ⮷㍸䏜⎬Ḵ炻ᷕ㍸䏜炻㔠⫿Ỷ枛Ī烉

Ṿ䛇㗗ᶲⷅ䘬⃺⫸炰

䤷枛⎚⭞烉恋塷怬㚱⤥ṃ⨎⤛⽆怈嗽奨䚳炻⤡Ᾱ㗗⽆≈⇑⇑嶇叿俞䧴Ἦ㚵ḳ

Ṿ䘬ˤ℞ᷕ㚱㉡⣏㉱䘬楔⇑Ṇˣ晭⎬␴䲬䐇䘬㭵奒楔⇑Ṇ炻␴大ⸯ⣒ℑᾳ⃺

⫸䘬㭵奒ˤ

‵㘂䘬㗪῁炻㚱ᶨᾳṆ⇑楔⣒䘬屉ᷣἮḮ炻Ṿ⎵⎓䲬䐇炻ḇ㗗俞䧴䘬攨⼺ˤ

Ṿ⍣夳⼤㉱⣂炻天㯪㓞㔪俞䧴䘬怢橼ˤ⼤㉱⣂⯙⏑␸㈲俞䧴䘬怢橼Ṍ䴎Ṿˤ

䫔 74 㚚 (Nr. 74, Rezitativ, Bass) ⭋㔀婧 (⎰ⓙ Ŋ炻䓟ᷕ枛炻⮷㍸䏜Ḵ炻ᷕ㍸䏜炻

㔠⫿Ỷ枛)

䔞㵤䇥䘬湫㖷Ἦ⇘炻Ṇ䔞䘬伒⯙㖶栗Ḯˤ⛐忁湫㖷炻ᷣ㈲Ṿ䘬伒岾⍣Ḯˤ⛐

46

忁湫㖷炻泧⫸梃⚆Ἦ炻◜塷扄叿ᶨ㝅㧬㪾㧡叱ˤ⒎炻伶渿䘬㗪彘炻⒎炻湫㖷炰

䎦⛐␴䤆䶈䳸Ḯ␴⸛䘬⣹䲬炻忁㗗䓙㕤俞䧴㈧㑼Ḯ⋩⫿㝞ˤ俞䧴䘬怢橼⬱〗

Ḯ炻⓲炻ッ䘬曰櫪␝炻ㆹᾹὅ月Ἀˤ崘⏏炻⍣⺽㍍俞䧴䘬怢橼ˤ⒎炻忁㗗ỽ

䫱䤆俾ˣ⮲屜䘬䲨⾝炰

䫔 75 㚚 (Nr. 75, Arie, Bass) 娈▮婧 (⎰ⓙ Ŋ炻䓟ᷕ枛炻䌝䭉Ḵ炻⮷㍸䏜Ḵˣ

ᷕ㍸䏜ˣ㔠⫿Ỷ枛) ⇵⣷

ㆹ䘬⽫␝炻冒埴㻼㶐⏏炻⚈䁢ㆹ天奒冒㈲俞䧴❳吔ˤ俞䧴⽆忁㗪῁崟炻㈲ㆹ

㯠怈⬱伖⛐䓄囄䘬⬱〗ᷳ㇨ˤᶾṢ␝炻Ἀ娚⢾↢炻ἧ俞䧴忚Ἦˤ

ĩ旵 Ń ⣏婧ˣ12/8 ㉵⫸ˤẍ嶇俾娈㚚⿅䚠Ụ䘬ˣ䘦⣓攟⎰ⓙˬṾ䛇䘬㗗ᶲⷅ

䘬⃺⫸˭䁢↮䓴䶂炻枛㦪徸㻠⁦⎹㕤⬱娛␴㹓㝼炻⬫䘬枪溆⯙㗗㚨⼴䘬⭋㔀

婧␴娈▮婧ˤ)

❳吔

䫔 76 㚚 (Nr. 76, Rezitativ, 27: 59 -66) ⭋㔀婧 (楔⣒ 27: 59 - 66)

䤷枛⎚⭞烉䲬䐇⣓㈲怢橼柀Ḯ⚆⍣炻䓐㕘䘬湣䲿㈲⬫⊭墡崟Ἦ炻⬱㓦⛐Ṿ冒

⶙䘬⠻䨜塷炻忁⠻䨜㗗Ṿ㚨役ㇵ⽆⵾䞛搧ㆸ䘬ˤṾ⍰㍐ᶳᶨ⣏⟲䞛柕炻⟝ỷ

⠻攨炻䃞⼴暊攳ˤ㉡⣏㉱䘬楔⇑Ṇ␴⎎ᶨᾳ楔⇑Ṇ朊⮵叿⡛⠻炻⬰⛐恋塷ˤ

䫔Ḵ⣑炻⯙㗗㗇㛇ℕ䘬㖑㘐炻䤕⎠攟␴㱽⇑岥Ṣᶨ崟⍣夳⼤㉱⣂炻婒 (嶇䫔

Ķ 㚚⎴䶐⇞䘬⎰ⓙ I + II)烉⣏Ṣ炻ㆹᾹ怬姀⼿恋ᾳ槁⫸怬㳣叿䘬㗪῁㚦䴻婒

忶烉ˮᶱ⣑⼴ㆹ天⽑㳣ˤ˯㇨ẍ炻婳ἈᶳẌ♜⭮⬰嬟⡛⠻炻ᶨ䚜⇘䫔ᶱ⣑炻

Ṿ䘬攨⼺⯙ᶵ傥㈲Ṿ‟崘炻䃞⼴⍣⏲姜Ṣ⭞烉ˮṾ⽆㬣墉⽑㳣Ḯˤ˯忁㧋䘬

媲妨天㭼⃰⇵䘬㚜䲇炰

䤷枛⎚⭞烉⼤㉱⣂⮵ṾᾹ婒烉ἈᾹⷞ⬰堃⍣炻䚉ἈᾹ㇨傥炻⤥⤥⛘⬰⡛⠻炰

䤷枛⎚⭞烉㕤㗗ṾᾹ⍣Ḯ炻⛐䞛柕ᶲ≈⮩炻⮩ỷ⠻⎋炻䔁ᶳ⬰堃㈲⬰ˤ

47

ĩ℞ᷕ炻䤕⎠攟Ᾱ㇨婒䘬ˬᶱ⣑⼴ㆹ天⽑㳣˭䘬⎍⫸炻㗗䓐岎㟤㚚桐㟤ἄ㚚

䘬炻⛐忁塷炻Ụ᷶⶚䴻㍷⮓↢⽑㳣䘬㘗尉ˤ)

䫔 77 㚚 (Nr. 77, Rezitativ und Chor) ⭋㔀婧 (⎰ⓙ Ŋ烊⚃⎵䌐ⓙ侭炻⮷㍸䏜Ḵ炻

ᷕ㍸䏜炻㔠⫿Ỷ枛ˤ⎰ⓙII炻嶇䫔Ķ㚚⎴䶐⇞)

⎰ⓙI (䓟ᷕ枛Ī烉侴Ṳᷣ⬱䛈Ḯˤ

⎰ⓙII (⎰ⓙĪ烉ㆹ䘬俞䧴炻婳⬱䜉ˤ

⎰ⓙ I (䓟檀枛Ī烉⚈ㆹᾹ䘬伒䁢ṾⷞἮ䘬劎暋⶚䴻忶⍣ˤ

⎰ⓙII (⎰ⓙĪ烉ㆹ䘬俞䧴炻婳⬱䜉ˤ

⎰ⓙ I (⤛Ỷ枛Ī烉⒎炻㲿㶐䘬怢橼␝炻婳䚳䚳ㆹᾹ炻⚈冒⶙䘬伒ἧἈ⍿劎⼴炻

㗗⤪ỽ䘬〼【ˣず 炰

⎰ⓙII (⎰ⓙĪ烉ㆹ䘬俞䧴炻婳⬱䜉ˤ

⎰ⓙ I (⤛檀枛Ī烉⚈Ἀ䍵やㆹ曰櫪䘬㊗㓹炻⮵Ἀ䘬⍿暋炻⛐ㆹ㚱䓇ᷳ㖍炻䓙

堟デ嫅ˤ

⎰ⓙ II (⎰ⓙĪ烉ㆹ䘬俞䧴炻婳⬱䜉ˤ

䫔 78 㚚 (Nr. 78, Schlusschor) ⎰ⓙ (嶇䫔 Ķ 㚚⎴䶐⇞䘬⎰ⓙ I + II) ⇵⣷

ㆹᾹ句㶂ˣᶳ嶒炻␤╂⠻ᷕ䘬Ἀ炻婳⬱娛⛘ˣ⬱⽫⛘䜉⏏炰䕚⚘䘬俾橼炻婳

⬱䜉⏏炻⬱娛⛘ˣ⬱⽫⛘䜉⏏炰Ἀ䘬⠻䞛炻ㆸ䁢⿸⾾ᷳ⽫䘬壍⠲炻ㆸ䁢曰櫪

䘬⬱〗ᷳ⛘ˤ恋塷炻⎗ẍ䌚⼿䃉㭼㺧嵛炻ἧ暁䛤`⭸ˤ

(C ⮷婧ˣ3/4 ㉵⫸ˤ湫㖷㗪炻ᾉ⼺Ᾱ倂普⇘⠻⛘炻崟⇅ᶨᾳᾳ婒↢⏲⇍䘬娙炻

Ữ忶ᶵ⣂ᷭ炻倚枛⯙␴⛐ᶨ崟炻ㆸ䁢ᶨ椾⣏⎰ⓙˤ晾䃞忁ㅱ娚㗗復吔枛㦪炻

Ữℐ㚚⌣㲳㹊叿㘜㚿ˣ⬱娛ˣ⮏朄䘬㯋㯃ˤ⍇⚈㗗炻俞䧴䘬⠻炻ㆸ䁢ㆹᾹ⽫

曰䘬⬱〗ᷳ⛘ˤ)

48

㐀冒恝佑⻟ġ 䶐嬗˪⬿㔁枛㦪䱦厗˫炻pp. 48-96炻⣑⎴↢䇰䣦ˤ⎘⊿烉1984ˤ

Goldberg – Variations in G Major, BWV 988 (1742 ) 悕⽟⟉嬲⣷㚚 (ᷣ柴≈ 30 㭝嬲

⣷)

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 12烉⶜⑰˫(⎘⊿烉伶㦪炻2000)ˤ

吃嶗⃳ Gluck, Christoph Willibald (1714-1787)

˪⤏厚㫸冯⯌匱徒䴚˫“Orfeo ed Euridice” (1762)

˪旧䇦岥㕗䈡˫“Alceste” (1767)

⶜㳃⃳㗪㛇䘬ἄ㚚⭞Ᾱ烉Frescobaldi, Marchesi de (1500-1566); Castello, Dario

(15??-1630?); Piccinini, Alessandro (1566-1638); Picchi, Giovanni (1575-1630);

Frescobaldi, Girolamo (1583-1643); Merula, Tarquinio (1594-1665); Farina, Carlo (c.

1600-c.1640); Froberger, Johann Jakob (1616-1667); Schmelzer, Johann Heinrich

(1620-1680); Rosenmüller, Johann (1620-1684); Kerll, Johann Kaspar (1627-1693);

D’Anglebert, Jean-Henri (1635-1691); Lully, Jean-Baptiste (1632-1687); Buxtehude,

Dietrich (1637-1707); Biber, Heinrich Ignaz Franz von (1644-1704); Kühnel, August

(1645-1700); Visee, Robert de (c. 1650-c. 1725); Gabrielli, Domenico (1651-1690);

Corelli, Arcangelo (1653-1713); Muffat, Georg (1653-1704); Fischer, Johann Caspar

Ferdinand (1656-1746); Marais, Marin (1656-1728); Erlebach, Philipp Heinrich

(1657-1714); Purcell, Henry (1659-1695); Fux, Johann Joseph (1660-1741); Rebel,

Jean-Ferry (1666-1747); Vivaldi, Antonio (1678-1741); Philidor, Pierre (1681-1731);

49

Telemann, Georg Philipp (1681-1767); Handel, Georg Friedrich (1685-1759); Bach,

Johann Sebastian (1685-1750); Senaillé, Jean Baptiste (1687-1730); Veracini,

Francesco Maria (1690-1768); Tartini, Guiseppe (1692-1770); Locatelli, Pietro Antonio

(1695-1764); Leclair, Jean-Marie (1697-1764); Sammartini, Giovanni Battista

(1700-1775); Bach, Carl Philipp Emanuel (1714-1788).

ẍᶲ悐↮ἄ㚚⭞屯㕁⍾冒㔯⊾⣏⬠枛㦪䲣⎘䀋⶜㳃⃳㦪⛀㕤 2010 ⸜ 9 㚰 20 㖍

`⎘⊿ⶪ⚳⭞枛㦪⺛㺼↢ᷳ䭨䚖╖ˤ

㴟枻 Haydn,Joseph (1732-1809) http://cmfusf.arts.usf.edu (34th Classical Music Festival, Eisenstadt, Austria, August

2009)

Violin Concerto No. 1 in C Major, Hob VII a-1(1769 ↿ℍ↢䇰䚖抬) C ⣏婧䫔ᶨ嘇 ⮷㍸䏜⋼⣷㚚

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Adagio molto 䓂ㄊ㜧

III. Presto ⿍㜧

Gil Shahan, Violin ⢷㻊 ⮷㍸䏜 (1971-) Don Ettinger, Conductor ッᶩ㟤 ㊯㎖ Israeli Philharmonic ẍ刚↿ッ㦪 Recorded at Israel’s Culture Hall, April 12, 2002

CelloConcerto in C Major, Hob. VIIb: 1 C ⣏婧䫔ᶨ嘇⣏㍸䏜⋼⣷㚚

50

I. Moderato ᷕ㜧

II. Adagio ㄊ㜧

III. Allegro molto 䓂⾓㜧

Mischa Maisky, Cello 湍㕗➢ 炻⣏㍸䏜

Wiener Philharmoniker 䵕ḇ䲵ッ㦪Ṍ枧㦪⛀

Leonard Bernstein ỗ】㕗✎ ㊯㎖

CelloConcerto in D Major, Op. 101 Hob.VIIb: 2

D ⣏婧䫔Ḵ嘇⣏㍸䏜⋼⣷㚚

I. Allegro Moderato ᷕ⹠䘬⾓㜧

II. Adagio ㄊ㜧

III. Rondo Allegro 徜㕳㚚 ⾓㜧

Mischa Maisky, Cello 湍㕗➢ 炻⣏㍸䏜

Wiener Philharmoniker 䵕ḇ䲵ッ㦪Ṍ枧㦪⛀

Leonard Bernstein ỗ】㕗✎ ㊯㎖

Haydn’sParis Symphonies, Symphony No. 82-87 (1785-1786) ⶜湶Ṍ枧㚚炻Ṍ枧㚚䫔 82 - 87 嘇

Seven Last Words of Jesus, String Quartet, Bergkirche, Eisenstadt, Austria, August 13, 2009 ˬ➢䜋⋩⫿㝞ᶲ㚨⼴ᶫ妨˭⻎㦪⚃慵⣷䇰 ∱暟ˣBrianˣ Liborˣ 忋ㅚ列

51

http://www.youtube.com/watch?v=Z_-Wvo_O95s&feature=related

Die Schöpfung (The Creation) “∝ᶾ䲨ȿ䤆∯ (1796-1798) 㴟枻䘬䤆∯ἄ⑩ˤHob. XXI : 2ˤ1796–1798 ⸜ἄ㚚ˤ䓙⎚⦩䘣 (Gottfried van Swieten) ⮯㴟枻冒ΐ㔎ⷞ⚆䘬劙㔯∯㛔 (ἄ侭ᶵ娛烊ὅ㒂冲䲬俾䴻冯 Milton 䘬 ˪⣙㦪⚺˫) 冒䓙侣嬗ㆸ⽟㔯㇨ἄ㚚⬴ㆸˤ

ᶱỵ⣑ἧ烉Raphael ㉱㔸䇦 (Bass 䓟Ỷ枛Ī炻Uriel ⯌⇑䇦 (Baritone 䓟ᷕ枛Ī炻Gabriel ≈䘦⇑ (Soprano or Countertenor 䓟⿏䘬 Alto 㫴ㇳ炻ẍ`枛ⓙ↢⤛⿏䘬枛➇炻` 倚䓟檀枛) ˤ

Eva ⢷⦫ (Soprano ⤛檀枛Ī炻Adam Ṇ䔞 (Bass 䓟Ỷ枛)

Part 1 䫔ᶨ悐

No. 1: Introduction - Representation of Chaos (Orchestra, Recitative with Chorus) ⸷⣷烉㷦㰴⇅攳

㉱㔸䇦 (Bass)烉怈⛐⣒⇅炻䤆∝忈Ḯ⣑␴⛘炻⛘㗗䨢嘃㷦㰴炻㶝朊湹㘿ˤ ⎰ⓙ烉䤆䘬曰忳埴⛐㯜朊ᶲˤ䤆婒烉ˬ天㚱⃱炰˭⯙㚱Ḯ⃱ˤ ⯌⇑䇦 (Baritone)烉䤆䚳夳⃱炻娵䁢㗗⤥䘬炻䤆⯙㈲⃱冯㘿↮攳ˤ

No. 2: Aria with Chorus 娈▮婧冯⎰ⓙ ⯌⇑䇦 (Baritone)烉侴Ṳ⛐䤆俾䘬⃱㖶⇵炻湹㘿䘬⿸⾾徫忩䃉希ˤ椾㖍ᷳ≇⬴ㆸˤ 㶟Ḫ冒㬌㴰⣙炻䦑⸷⽆㬌厴䓇ˤ⛘䋬䘬⤾櫼櫤⿒櫪㴰櫬㔋炻⡔句㶙㶝䘬䃉䚉湹㘿ˤ ⎰ⓙ烉䳽㛃ˣ㽨⾺ˣ⿸⾾晐ṾᾹᶨ崟䟜㹭ˤ

No. 3: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉䤆∝忈⣑䨢炻㈲⣑䨢ᶳ䘬㯜␴⣑䨢ᶲ䘬㯜↮攳炻ḳ⯙忁㧋ㆸḮˤ 䋃䁰䉪桐␤◗炻⣑晃暚曏侣様ˤ攫暣䔓䟜⣑䨢炻⎗⾽暟沜暯俛ˤ⚈䤆シ䛦㯜⊾ㆸ 䓀暾炻樇暐⁦䙮炻暒剙梃准ˤ

No. 4: Solo with Chorus ⤛檀枛䌐ⓙ≈⎰ⓙ ≈䘦⇑ (Soprano or Countertenor) 烉⣑幵姅䔘叔↮炻䛢㛃⎗樂≇㤕ˤṾᾹ⎴倚檀㫴炻

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孂伶∝忈ᷳᷣ炻枴㎂㫉㖍≇ㆸˤ ⎰ⓙ烉ṾᾹ⎴倚檀㫴炻孂伶∝忈ᷳᷣ炻枴㎂㫉㖍≇ㆸˤ

No. 5: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉䤆⍰婒烉ˬ⣑ᶳ䘬㯜天倂⛐ᶨ嗽炻ἧ㖙⛘曚↢ˤ˭ḳ⯙忁㧋ㆸḮˤ 䤆䧙㖙⛘㗗⛘炻䧙㯜䘬倂普嗽㗗㴟ˤ䤆䚳Ḯ炻娵䁢㗗⤥䘬ˤ

No. 6: Aria 娈▮婧 ㉱㔸䇦 (Bass)烉崟㲉㴒㾌炻㉵Ⱡ㼶㷫ˤⰌ⣽䔲⴪炻倛ℍ暚暬ˤ⸛⍇怤敲炻㰇㱛囧 嚺炻㼢㹒⣼㳩ˤ⸥察㶭㹒炻Ỷ倚䴖婆ˤ

No. 7: Recitative ╏㔀婧 ≈䘦⇑ (Soprano or Countertenor)烉䤆⍰婒烉ˬ⛘ᶲ天攟曺勱炻䳸䧖⫸䘬曺厄炻ẍ⍲ 䳸㝄⫸䘬㝄㧡炻⎬⽆℞栆ˤ˭ḳ⯙忁㧋ㆸḮˤ

No. 8: Aria 娈▮婧 ≈䘦⇑ (Soprano)烉侴Ṳ⍇慶剛勱⤪勝岆⽫〭䚖ˤ剙⛀拎䮯⼤㬌䪞刟⺽Ṣℍ⊅ˤ 㬌⛘剛勱⎸楁炻娚⛘曰剟⾺㓦ˤ㧡ᶲ䍵㝄䳗䳗炻㽫哕怖味䀶春炻ⲣⵢ⎌㛐⍫⣑ˤ

No. 9: Recitative╏㔀婧 ⯌⇑䇦 (Baritone) 烉⣑幵⭋⏲䫔ᶱ㖍≇ㆸ炻⎴倚孂伶䤆烉

No. 10: Chorus ⎰ⓙ ␴叿⻎枛炻㊧崟寶䏜炻檀ⓙ↢ἈᾹ㬉㦪ᷳ㫴炰⎹ℐ傥䘬䤆檀倚㬉␤炻䤆㈲媠⣑冯 ⣏⛘溆䵜⼿ỽ䫱⢗渿ˤ

No. 11: Recitative ╏㔀婧 ⯌⇑䇦 (Baritone) 烉䤆⍰婒烉ˬ天㚱⃱橼炻㈲⣄㘂冯䘥㘅↮攳炻⋨↮䭨Ẍˣ㖍⫸ 冯⸜㬚ˤ᷎天㈲⃱䄏⛐⛘ᶲˤ˭ġ 㕤㗗忈Ḯ㗇彘ˤ

No. 12: Recitative╏㔀婧 ⯌⇑䇦 (Baritone)烉侴Ṳ⃱廅念⛘炻䆎䇃㛅春㖯崟ˤ〘Ụ⾓㦪㕘恶炻⣼楛年忻ᷳ ᶲˤẍ䃉倚䘬戨⃱炻㖶㚰㬍忶⣄䨢ˤ⛐䃉❈䨡呤ᶲ炻䛦㗇攫䆵䘤⃱ˤ伶渿䘬⣑ἧ Ᾱ啱叿俾㫴⭋⏲䫔⚃㖍≇⶚ㆸġ炻孂伶䤆䘬⣏傥ˤ

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No. 13: Chorus with Trio ⎰ⓙ≈ᶱ慵ⓙ ⎰ⓙ烉媠⣑姜婒䤆䘬㥖⃱炻䨡呤⁛㎂䣪䘬⣯≇ˤ ≈䘦⇑ˣ⯌⇑䇦ˣ㉱㔸䇦烉⽆忁㖍婒⇘恋㖍炻⽆忁⣄⁛⇘恋⣄ˤ ⎰ⓙ烉媠⣑姜婒䤆䘬㥖⃱炻䨡呤⁛㎂䣪䘬⣯≇ˤ ≈䘦⇑ˣ⯌⇑䇦ˣ㉱㔸䇦烉䣪䘬倚枛⁛念Ṣ攻炻䣪䘬妨婆⁛Ự⣑㵗ˤ⎰ⓙ烉媠⣑ 姜婒䤆䘬㥖⃱炻䨡呤⁛㎂䣪䘬⣯≇ˤ

Part 2 䫔Ḵ悐

No. 14: Recitative ╏㔀婧 ≈䘦⇑ (Soprano)烉䤆⍰婒烉ˬ㯜ᷕ天⣂⣂㹳䓇㳣䈑炻天㚱晨沍⛐⛘朊炻ㆾ⛐⣑䨢 梃佼˭

No. 15: Aria 娈▮婧 ≈䘦⇑ (Soprano)烉㋗准叿⻟‍佥侤炻涡晤⛐檀䨢梃佼炻㊯⎹䅫䅦䘬⣒春ˤ暚晨 ẍ㶭㫴彶㍍㘐㚎炻䘥泧奒↯⛘␤╂Ờ὞ˤ剙㛐⎊ᷕ⁛Ἦ⣄涡䓄囄㫴倚ˤ傠ᷕᶵ䞍 䄑ォ炻⽆恋⃒伶㫴┱炻䳽ᶵⓙ↢ず㫴ˤ

No. 16: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉䤆∝忈Ḯ⣏殐欂炻ẍ⍲㇨㚱㚫≽䘬䓇䈑ˤ䤆⮵ṾᾹ䤅䤷婒烉ˬ㹳 䓇⏏炻䷩㬾⏏炻䨢ᷕ梃沍炻㢚〗㝅柕㫴ⓙ⏏ˤ䷩㬾⏏炻㯜ᷕ䘬䓇䈑炻⃭㺧㇨㚱䘬 㰈⠀㶙㴟ˤ㳣叿炻ㆸ攟炻䷩㬾⏏炻ἧἈᾹ䘬䤆⾓㦪炰˭

No. 17: Recitative ╏㔀婧 ㉱㔸䇦 (Bass) 烉⣑ἧᾹ⣷叿ᶵ㛥寶䏜㫴枴䫔Ḽ㖍⣯䔘≇㤕ˤ

No. 18: Trio ᶱ慵ⓙ ≈䘦⇑ (Soprano)烉⼑梦⪑䵈㜿㛐炻㘗刚⃒伶⿉Ṣ炻Ⱉⱉ㹓␴崟ặˤ冒℞⸥察㸏 ↢⅘㵤㘞䐑⮷㹒炻䶑䶑囧嚺㳩⍣ˤ ⯌⇑䇦 (Baritone) 烉䔓↢⾓㦪⚻⚰炻庽ⶏ沍佌⛐䨢ᷕ梃佼ˤ庽⯽ṾᾹ⼑刚佥侤炻 㰸㴜㕤慹刚春⃱墉炻攫䆵⃱刺㖯䨢侴⍣ˤ ㉱㔸䇦 (Bass)烉㴟㲳戨毿攫攫炻ㆸ佌㼃啷炻㯜㕷䷩㖴ˤ冒㶙㴟ᷳ⸽炻䟜㴒侣様炻 歓殐曚共ˤ ≈䘦⇑ˣ⯌⇑䇦ˣ㉱㔸䇦烉Ἀ䘬≇㤕ỽ℞⣂炻䤆⓲炻㚱婘傥⣈㔠㶭烎㚱婘炻䤆⓲烎

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㚱婘傥⣈㔠㶭烎

No. 19: Trio with Chorusᶱ慵ⓙ≈⎰ⓙ ≈䘦⇑ˣ⯌⇑䇦ˣ㉱㔸䇦ˣ⎰ⓙ烉䤆䘬≃慷ỽ䫱῱⣏炻䤆䘬㥖侨⁛⇘㯠怈ˤ

No. 20: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉䤆⍰婒烉ˬ⛘天䓇↢㳣䈑Ἦ炻⎬⽆℞栆ˤ䈚䔄ˣ㖮垚ˣ慶䌠炻ḇ ⎬⽆℞栆ˤ˭

No. 21: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉⣏⛘䩳⇣↮塪炻思⽆䤆䘬㖐シ炻䃉㔠⎬栆䓇䈑炻⛐䷩⭴ᷕ⍿忈ˤ 恋塷㚱⾓㦪䋭⫸⛐⏤⎓ˤ忁墉㚱䞗‍䘬侩嗶梃帵ˤ㓷㌟䘬剙渧柕ᶲ㇜叿奺ˤ晬崛 崛䘬榧楔炻崟ặ檫㮃⣼楛炻ℐ幓㳣≃㲳㹊ˤ↮ㆸ⣂佌䘬䈃炻⛐䵈刚⍇慶⎫勱ˤ㷦 幓㗗㮃䘬䵧伲炻㔋ⶫ⛐䈏⟜⎬⛘ˤ㖮垚㒜㔋⤪⠝㱁炻ㆸ佌⛘梃准䇔埴ˤ䇔垚栆䔁 ᶳ攟䕽炻⛐⛘朊⇘嗽⽄⼱ˤ

No. 22: Aria 娈▮婧 ㉱㔸䇦 (Bass)烉侴Ṳ⣑ᶲ⃭㺧⃱廅炻侴Ṳ⛘ᶲ⼑梦廅䃴ˤ沍⃺晐桐梃佼炻欂佌㯜 ᷕ㬉帵炻㰱慵䌠栆㭀嶷⣏⛘炻⎗㗗∝ᶾᷳ≇㛒ℐˤ⯂仢傥デ嫅䤆䘬≇㤕炻㫴枴䤆 䘬】よ炻↢倚孂伶䤆䘬塓∝忈侭ˤ

No. 23: Recitative ╏㔀婧 ⯌⇑䇦 (Baritone)烉䤆⯙䄏冒⶙䘬⼊尉忈Ṣ炻ḇ⯙㗗䄏䣪䘬⼊尉忈䓟⍰忈⤛ˤ俞 ␴厗䓐⛘ᶲ⠝⛇忈Ṣ炻⽆滣⫼⏡ℍ䓇㯋炻⯙ㆸ䁢㚱曰䘬㳣Ṣˤ

No. 24: Aria 娈▮婧 ⯌⇑䇦 (Baritone)烉幓ᶲ㈧㑼⦩♜冯㥖嬥炻℟⁁⃒伶ˣ≃冯≯㯋炻冱椾ẘ㛃呤⣑炻 叔䈑曰攟䘬䓟⫸㋢䩳ˤ恋⮔敲⚻㹹䘬⇵柵炻栗䣢䎮妋ᷳ㸸䘬㘢ㄏ炻㖶Ṗ䘬暁䛤炻 廅㗈∝忈ᷣ䘬㯋〗冯⼊尉ˤ⛐Ṿ傠⇵ῶῂ叿炻䁢Ṿ炻冒Ṿ㇨忈䘬㹓㝼⎗ッ䘬⥣⫸ˤ ⚈⸠䤷冯⣑䛇侴⽖䪹炻⥣⫸伶⤪㗍⣑䘬⭡⦧炻㈲Ṿ婀ℍッ冯⸠䤷䘬⾓㦪ᷕˤ

No. 25: Recitative ╏㔀婧 ㉱㔸䇦 (Bass)烉䤆䚳叿ᶨ↯㇨忈䘬炻悥䓂⤥ˤ⣑ἧᾹ檀倚⎰ⓙ炻孂伶䫔ℕ㖍䘬䳪 Ḯˤ

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No. 26: Chorus ⎰ⓙ ⎰ⓙ烉῱㤕䳪㕤ㆸ⯙Ḯ炻∝忈侭䚳Ḯ㺧⽫㬉╄ˤㆹᾹḇ⾓㦪⛘㬉ⓙ炻ẍ㫴倚孂伶 ⏦ᷣ炰

No. 27: Trio ᶱ慵ⓙ ≈䘦⇑ˣ⯌⇑䇦烉ᷣ⓲炻叔䈑⛐䫱⼭ẘ㛃ˤ叔䈑䣰㯪䤊䴎Ḱ梇䲏ˤ㯪䤊Ỡ攳暁ㇳ炻 ἧ䛦䓇曰䌚⼿㺧嵛ˤ ㉱㔸䇦 (Bass)烉ᷣ劍ᶨ㖎廱共ᶵ栏炻叔䈑⽭⮯ゞ⿸ㄪㆤˤ䤊劍⍾崘Ṿ䘬㯋〗炻䛦 䓇ὧㆸ⠝⛇㴰⍣ˤ ≈䘦⇑ˣ⯌⇑䇦ˣ㉱㔸䇦烉䤊劍ℵ⹎⏡ℍ㯋〗炻㕘䘬䓇␥嶇叿↢䎦炻⣏⛘⽭⮯⃭ 㺧䓇㨇炻⚈㬉╄侴⽑䓎ˤ

No. 28: Chorus ⎰ⓙ ⎰ⓙ烉῱⣏≇㤕⶚ㆸ⯙炻ㆹᾹẍ㫴倚孂伶ᷣ炰䤆䘬俾⎵㯠⍿枴㎂炻ᷣ⛐军檀ᷳ嗽 䴙廬炰⑰⇑嶗Ṇ炰⑰⇑嶗Ṇ炰

Part 3 䫔ᶱ悐

No. 29: Orchestra Intermezzo and Recitative 䭉⻎㦪攻⣷冯╏㔀婧 ⯌⇑䇦 (Baritone)烉唼唯刚䘬⼑暚㎾㚛炻⛐庽⥁⃒伶枛枧ᷕ炻㕘䘬伶渿㖑㘐䓎愺ˤ ⽆䨡呤炻⎹⛘朊炻⁛Ἦ␴媏〭俛ᷳ倚ˤ䚳⒒炻ᶨ⮵⸠䤷⣓⥣ㇳ㋥叿椾ᶨ崟㻓㬍炰 ṾᾹ䘬䛤⃱墉炻攫䆵デ嫅䤆ねˤṾᾹ䘬暁⒯ᶲ炻ᶵ㕟孂伶∝忈侭ˤἮ⏏炻䓐ㆹᾹ 䘬㫴倚嶇ṾᾹᶨ崟Ṍⓙˤ

No. 30: Duet with Chorus Ḵ慵ⓙ≈⎰ⓙ ⢷⦫冯Ṇ䔞 (Soprano, Bass)烉┼炻ㆹ䘬ᷣ⓲炻⣑⛘攻⃭㺧䤊䘬】℠炻忁ᾳ怤敲䱦伶 䘬ᶾ䓴炻ℐ㗗俾ㇳ㇨忈䘬≇㤕ˤ ⎰ⓙ烉ᷣ䘬⣏傥墉㚱䤅䤷炻⮵ᷣ䘬孂伶䃉䩖䃉䚉ˤ Ṇ䔞 (Bass)烉攫䆵䘬㗇⃱⣂湤伶渿炻┼炻⣒春䘬Ἦ冐ỽ℞伶⥁炰Ἀ㗗⤪ỽ⼑梦䘬炻 ┼炻⣒春炻ġἈ㗗叔䈑ᷳ曰䘬䛤䜃炰 ⎰ⓙ烉⛐ἈᾹ㇨⇘ᷳ嗽炻悥天⁛㎂ᷣ䘬⣏傥␴㥖侨炰 ⢷⦫ (Soprano)烉⍰⤪Ἀ炻溆䵜冯⬱ㄘ⣄㘂䘬㇨㚱⣑ᶲ䛦㗇␝炻䓐ἈᾹ䘬㫴倚炻滲 Ἦ孂伶⏦ᷣˤ Ṇ䔞 (Bass)烉㇨㚱ᶵ㕟䓊䓇㕘≃慷䘬ἈᾹ忁ṃ䛦⃫䳈␝炻怬㚱倂Ḯ⍰㔋䘬桐炻ẍ

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⍲㽫曏冯㘂曆␝ˤ ⢷⦫ˣṆ䔞ˣ⎰ⓙ烉㇨㚱叔䈑␝炻滲Ἦ孂伶ᷣ炻Ṿ䘬俾⎵冯⣏傥ỽ℞῱⣏ˤ ⢷⦫ (Soprano)烉㱱㯜␝炻䘤↢孂伶ᷳ倚炻ἈᾹ忁ṃ㧡炻天㎾㒢㝅叱炻ἈᾹ忁ṃ勱炻 ḇ天⎸剛炻剙㛝㚜天桬楁炰 Ṇ䔞 (Bass)烉ἈᾹ⽆Ⱉ⼹䘣檀䘬炻ㆾ㗗䚌⯭Ỷ䩒嗽䘬炻ẍ⍲⛐檀䨢梃佼䘬炻ℵ≈ 㴖㷠㕤㶙㯜䘬ˤ ⢷⦫ˣṆ䔞ˣ⎰ⓙ烉ἈᾹ忁ṃ䘦䌠炻滲Ἦ㫴枴ᷣ炰⛘ᶲ㚱㯋〗䘬炻滲Ἦ孂伶ᷣ炰 ⢷⦫ˣṆ䔞烉ἈᾹ昘㘿䘬㢖㜿冯Ⱉ察炻ἄㆹデ嫅䘬嫱Ṣ炻ᶵ↮㘐㖷炻⁛↢ㆹ孂伶 䘬㫴倚ˤ ⎰ⓙ烉㚱䤷䘬䤆炻㚱䤷䘬∝忈侭␝炰⚈䤊䘬娙婆ᶾ䓴⯙ㆸ⯙Ḯˤ⣑冯⛘悥ẘ㛃䤊ˤ ㆹᾹ㯠怈㫴枴䤊ˤ

No. 31: Recitatve ╏㔀婧 Ṇ䔞 (Bass) 烉ㆹᾹ⮵∝忈ᷣ䌣ᶲデ嫅ᷳ⾙炻侴Ṳ ⬴㚨㖑䘬佑⊁ˤ婳嶇ㆹἮ炻 ㆹ䓇㵗䘬Ờ὞炰ㆹ天⺽⮶⥛炻㭷䔞崘ᶨ㬍炻⯙⺽䘤㕘䘬㫋╄炻㭷嗽悥↢䎦樂⣯ˤ 䃞⼴⥛⽭枰Ḯ妋炻ᷣ天ㆹᾹ 䘬㗗ℙ⎴媨㯪⸠䤷炻晐㗪枴㎂⏦ᷣˤ㈲⽫⿅⣱䌣ᷣˤ 嶇ㆹἮ⏏炻ㆹ天⺽⮶⥛ˤ ⢷⦫ (Soprano)烉┼炻Ἀ㗗ㆹ䘬䓇␥炻ㆹ䘬ᾅ嬟侭炻ㆹ䘬䚦炻ㆹ䘬ᶨ↯炰Ἀ䘬シ ⽿㗗ㆹ䘬拐炻ᷣ㗗忁㧋㰢⭂䘬炻⎒天徥晐Ἀ炻ㆹ⯙㚱⾓㦪ˣ⸠䤷冯㥖嬥ˤ

No. 32: Duet Ḵ慵ⓙ Ṇ䔞 (Bass)烉㹓㝼䘬⥣⫸␝炻⎒天⛐⥛幓㕩炻㗪⃱⯙㚫⬱朄⛘㳩⍣ˤ㇨㚱㗪彘悥 ⊾ㆸ⾓㦪炻ảỽᶵ⬱悥䄁㴰暚㔋ˤ ⢷⦫ (Soprano) 烉奒ッ䘬⣓⏃⓲炻⎒天⛐Ἀ幓怲炻ㆹ⽫ᷕ⯙⃭㺧㬉╄ˤㆹ䘬䓇␥ ⎒䁢䌚⍾Ἀ䘬ッ炻ㆹ天ℐ⽫⟙䫼Ἀ䘬ッˤ Ṇ䔞 (Bass)烉旵ᶳ䓀曚䘬㖑㘐炻┼炻䴎ㆹᾹ⣂湤⣏䘬⃫㯋炰 ⢷⦫ (Soprano)烉㭷忯㵤䇥䘬湫㖷炻┼炻⍰㗗ỽ䫱⽫㚈䤆⿉炰 Ṇ䔞 (Bass)烉䅇㝄⫸䘬㯩炻ἧㆹᾹ䱦䤆䘦᾵炰 ⢷⦫ (Soprano)烉剔剛䘬剙㛝炻㗗⣂湤⎗ッ徟Ṣ炰 ℑṢ烉⎗㗗⤪㝄㰺㚱Ἀ炻忁ṃℐ䃉シ佑ˤ Ṇ䔞 (Bass)烉忋㶭㘐䘬䓀曚烎

⢷⦫ (Soprano)烉忋湫㖷䘬⽖桐烎

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Ṇ䔞 (Bass)烉忋㝄⫸䘬㯩烎

⢷⦫ (Soprano)烉忋剔剛䘬剙烎

ℑṢ烉嶇Ἀ⛐ᶨ崟⾓㦪ㇵ⡆≈炻嶇叿ㆹ炻Ἀㇵ傥㚜㬉╄炻嶇叿Ἀ炻䓇␥ㇵ㚱军䤷炻 ㇨㚱䘬ᶨ↯悥⣱䌣䴎Ἀˤ

No. 33: Recitative╏㔀婧 ⯌⇑䇦 (Baritone)烉⸠䤷䘬⣓⥣␝炻栀ἈᾹ㯠㴜ッ㱛ˤ⎗㗗ἈᾹ劍゛䞍忻㭼⶚䞍 㚜⣂䘬炻ㆾ㗗䚤㛃䌚⼿㭼⶚㚱䘬㚜⣂炻恋湤炻忁ṃ朆↮⤬゛炻⮯ἧἈᾹ星ℍ⡖ 句㶙㶝ˤ

No. 34 : Chorus and Soli ⎰ⓙ冯⚃慵ⓙ ㇨㚱倚枛滲⎹⏦ᷣ㫴ⓙ炻ㆹ㚱῱㤕悥⶚ㆸ⯙炻デ嫅ᷣ⏏炰㫴枴⏦ᷣ俾⎵炻孂伶 㫴倚枧念暬㻊炰孂伶⏦ᷣ炻㯠怈䃉䚉ˤ旧Ᾱ炰旧Ᾱ炰

⍫侫㚠䚖烉恝佑⻟䶐嬗炻˪⬿㔁枛㦪䱦厗˫(⎘⊿烉⣑⎴炻1984)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 26烉㴟枻˫( ⎘⊿烉伶㦪炻2010)ˤ

卓ㇶ䈡炻暟⤏㲊䈡 Mozart, Leopold (1719-1787) (䇞奒) 卓ㇶ䈡炻䐒匱ṆɄ⬱⧄ Mozart, Maria Anna (1751-1829) (⥲) ⮷⎵ Nannerl 卓ㇶ䈡Mozart, Wolfgang Amadeus (1756-1791)

Concerto for Bassoon and Orchestra in B-flat Major, K. 191 (1774)

I. Allegro ⾓㜧

II. Andante ma Adagio ⽆⭡䘬埴㜧

III. Rondo 徜㕳㚚

Mark Gigliotti, Bassoon ⎱⇑㫸ⷅ Ỷ枛䭉

Chiu-Sen Chen, Conductor 昛䥳䚃 ㊯㎖

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Taipei Symphony Orchestra ⎘⊿ⶪ䩳Ṍ枧㦪⛀

Concerto for Flute, Harp and Orchestra in C Major, K. 299 (1778) ń ⣏婧攟䫃冯寶䏜暁慵⋼⣷㚚炻ἄ⑩ 299

I. Allegro ⾓㜧

II. Andantino ⮷埴㜧

III. Rondeau. Allegro 徜㕳㚚 ⾓㜧

䁢㚦ả㱽⚳⣏ἧ䘬⢾Ṍ⭀ġ 䲨≒ỗ䇝 (Adrian de Guines 1735-1806) 䇞⤛侴ἄ䘬ˤ 䇞攟䫃ˣ⤛寶䏜ˤ

Patrick Gallois – Flute ▱㳃䒎 攟䫃

Fabrice Pierre – Harp 䙖俞 寶䏜

Sir Neville Marriner – Conductor 楔⇑䲵ġ ㊯㎖

Orchestra della Svizzera italiana 䐆⢓佑⣏⇑䭉⻎㦪⛀

Concerto for Flute in D Major, K. 314 (1777) D ⣏婧攟䫃⋼⣷㚚炻ἄ⑩ KV314

I. Allegro aperto 攳㚿䘬⾓㜧

II. Adagio ma non troppo ᶵ⣒忶↮䘬ㄊ㜧

III. Rondeau: Allegro 徜㕳㚚ġ 烉⾓㜧

Mariss Jansons – Conductor 楔⇑㕗Ʉ㣲枴㕗 ㊯㎖ Emmanuel Pahud – Flute 刦㚤䲸Ʉⶽ傉⽟ 攟䫃䌐⣷ Berliner Philhamoniker 㝷㜿ッ㦪Ṍ枧㦪⛀

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Sinfonia Concertante for Violin, Viola and Orchestra in E flat Major, K. 364 (1779) 旵 E ⣏婧⮷㍸䏜冯ᷕ㍸䏜暁慵⋼⣷㚚炻ἄ⑩ 364

I. Allegro maestoso 晬⢗䘬⾓㜧

II. Andante 埴㜧

III. Presto ⿍㜧

Igor Oistrakh – Violin , David Oistrakh-Viola, Yehudi Menuhin – Conductor

Moscow Philharmonic Orchestra 卓㕗䥹ッ㦪䭉⻎㦪⛀

Piano Concerto No. 17 in G Major, K. 453 (1784) ň ⣏婧护䏜⋼⣷㚚炻ἄ⑩ 453

I. Allegro ⾓㜧

II. Andante 埴㜧

III. Allegretto 䦵⾓㜧

Piano Concerto No. 20 in D Minor, K. 466 (1785) D ⮷婧护䏜⋼⣷㚚炻ἄ⑩ 466

IV. Allegro ⾓㜧

V. Romance 㴒㻓㚚

VI. Rondeau (Allegro assai) 徜㕳㚚 (⼰⾓䘬⾓㜧)

Friedrich Gulda – Piano & Conductor 栏䇦忼 护䏜䌐⣷ℤ㊯㎖

Munich Philharmonic Orchestra ヽ⯤湹ッ㦪䭉⻎㦪⛀

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Mozart Piano Quartet in G Minor, K. 478, 2nd movement. http://www.youtube.com/watch?v=P-w-_T87IHsġ∱暟ˣLiborˣ忋ㅚ列 Haydnsall, Eisenstadt, Austria, August 3, 2009

Ein musikalischer Spass (A Musical Joke for String Quartet and Two French Horns), K. 522 (1787) 枛㦪䘬䍑䪹炻ἄ⑩ 522

I. Allegro ⾓㜧

II. Menuetto. Maestoso ⮷㬍准㚚炻➪䘯⬷⣏䘬

III. Adagio cantabile ⤪㫴䘬ㄊ㜧

IV. Presto ⿍㜧

Parody: ầἄ枛㦪炻㧉ἄ枛㦪ˤᶨ凔㗗㊯⽆䎦ㆸ䘬㦪㚚ῇ䓐㕳⼳ㆾ㫴娆忚埴ἄ㚚 䘬ㇳ㱽ˤầ忈䈡⭂ἄ㚚⭞䈡⽝炻ㆾ䈡⭂㗪ẋ桐㟤炻㶙℟嵋␛侴娯⻝䘬ầἄ枛㦪炻 嬔⤪㬌椾卓ㇶ䈡䘬ġ ˪䍑䪹㦪˫⯙㗗ẋ堐⿏䘬ἄ⑩ˤ

Eine Kleine Nachtmusik (“Serenade” or “A Little Night Music” for String Orchestra), K. 525 ⮷⣄㚚炻ἄ⑩ 525

I. Allegro ⾓㜧

II. Romanze 㴒㻓㚚

III. Menuetto ⮷㬍准㚚

IV. Rondo 徜㕳㚚

Serenade: (1)⣄墉⛐㇞⢾㺼ⓙㆾ㺼⣷䘬⎬䧖枛㦪炻Ữᶨ凔㚨㘖念㗗㊯⣄墉⛐ねṢ

䨿ᶳ㺼ⓙ䘬ね㫴侴妨ˤ㬌䧖㫴㚚⣏⣂㚚婧⃒伶䲼㧠炻ἧ䓐庽ὧ䘬㦪☐Ờ⣷ˤ(2) 18 ᶾ䲨ᷕ叱䘤忼䘬ᶨ䧖☐㦪⼊⺷炻冯庽䳬㚚 (cassazione)ˣ⪱忲㚚 (divertimento) 冯

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⣄㚚 (notturno) 䫱⎴ᶨ栆✳䘬㦪㚚ˤ忂ⷠ㗗䁢䭉㦪ㆾ⻎㦪炻㈹ㆾ䁢䭉⻎⎰䶐䘬⮷ ⎰⣷㚚炻ἧ䓐⣂㦪䪈䘬⼊⺷⮓ㆸˤ叿⎵䘬㚱卓ㇶ䈡䘬˪⑰⣓䲵⮷⣄㚚 Haffner Serenade˫冯˪⮷⣄㚚 Eine Kleine Nachtmusik˫䫱ˤ(3) 佑⣏⇑㔯䘬 serenata炻䈡 ⇍㊯ᶨ䧖㇚∯⿏䘬倚㦪桐㟤ˤ

Nocturne : ッ䇦嗕ἄ㚚⭞ℤ护䏜⭞屣䇦䈡 (John Field, 1782-1837) ἄ㕤 1812 ⸜䘬 护䏜⮷⑩旬ᶲ㬌ᶨ⎵䧙ẍἮ炻徸㻠℟㚱㱽㔯ġ ˨nocturne˩䘬シ⿅炻⼴Ἦ⌛㊯䧙㕳 ⼳堐ね寸⭴ˣ䞕⮷℟㚱⣊⸣㯋㯃䔍ⷞ⑨ォデ䘬护䏜㚚ˤ⣏悐↮䁢ᶱ㭝㚚⺷ˤ两屣 䇦⽟ᷳ⼴炻ẋ堐⿏䘬ἄ⑩㚱唕恎䘬Ḵ⋩ᶨ椾⣄㚚ˤ劙㔯䘬 nocturn 冯㱽㔯䘬 nocturne炻ġ 㗗˨⣄䥙˩䘬シ⿅ˤ

Concerto in D Major, K. 537, “Coronation” (1788) D ⣏婧护䏜⋼⣷㚚炻ἄ⑩ 537炻Ⱦ≈ℽ⺷”

I. Allegro ⾓㜧

II. Larghetto 䓂䶑㜧

III. Allegretto 䦵⾓㜧

Friedrich Gulda – Piano & Conductor 栏䇦忼 护䏜䌐⣷ℤ㊯㎖

Munich Philharmonic Orchestra ヽ⯤湹ッ㦪䭉⻎㦪⛀

Symphony No. 39 in E-Flat Major, K. 543 (1788)

I. Adagio ㄊ㜧

II. Andante con moto 㳩㙊䘬埴㜧

III. Allegretto ⮷㬍准㚚ˣ䦵⾓㜧

IV. Allegro ⾓㜧

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Motette “Ave verum corpus”K. 618 (June 17, 1791) 䴻㔯㫴˪俾橼枴˫D ⣏婧炻ἄ⑩ 618

Adagio, sotto voce D ⣏婧ˣ庽倚䘬ㄊ㜧ˤ⻎㦪⚃悐冯桐䏜Ờ⣷䘬⚃悐⎰ⓙ 㚚ˤℐ㚚晾䃞㚱 46 ⮷䭨炻Ữ䱦䯉䘬⇵⣷ᷳ⼴⸛朄ⓙ↢䘬㶭㼰枛枧⌣⃒伶䃉㭼ˤ 㛔㚚⬴ℐ㛒⍿⁛䴙䘬䲬㜇ㆾ⥼妿侭䘬▄⤥㇨䈥⇞炻侴㗗䓙卓ㇶ䈡冒䓙冒⛐⎸曚↢ ℏ⽫䘬⬿㔁ねデ炻ẍ䲼㧠嗼㔔䘬ン⹎Ἦ㍸檀ᾉẘ䘬Ⰼ㫉炻⇘忼⬿㔁ḰṢ⽫曰ㄘ啱 䘬䎮゛⠫䓴ˤ 㫴娆⣏シ烉嬻ㆹᾹ䧙枴炻䛇㬋䘬俾橼炻⛐⋩⫿㝞ᶲ䉏䈚Ḯ炻䁢Ḯ ㆹᾹ侴䔁ᶳ歖埨ˤ

Concerto for Clarinet and Orchestra in A Major, K. 622 (1791) A ⣏婧寶䫃⋼⣷㚚炻ἄ⑩ 622

I. Allegro ⾓㜧

II. Adagio ㄊ㜧

III. Rondo. Allegro 徜㕳㚚ġ ⾓㜧

䁢⤥⍳烉䵕ḇ䲵⭖⺟㦪⛀寶䫃檀ㇳ⎚⟼⽟≺ (Anton Paul Stadler 1753-1812) 侴ἄˤ

Sharon Kam – Basset Clarinet

Manfred Honeck – Conductor

Czech Philharmonic Orchestra ㌟⃳ッ㦪Ṍ枧㦪⛀

卓ㇶ䈡 㫴∯

˪Ẳ⣂伶⯤⤏˫“Idomeneo” K. 366 (1781)

˪⼴⭖婀徫˫“Die Entführung aus dem Serail” K. 384 (1782)

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˪屣≈㳃䘬⨂䥖˫“Le Nozze di Figaro” K. 492 (1786)

˪ⒸɄ╔↉⯤˫“Don Giovanni” K. 527 (1787)

˪⤛Ṣ䘮⤪㗗˫“Cosi fan tutte” K. 588 (1790)

˪櫼䫃˫ (⽟婆㫴∯䇰ˣ⽟婆ㆠ䴚㛐„䇰ˣ劙婆暣⼙㇘

䇕䇰) “Die Zauberflöte” K. 620 (1791)

䌳⫸⟼䰛媦烉Tamino 䓟檀枛

⣄ᷳ⎶ᷳ⤛⃺ ⶽ䰛⧄烉Pamina ⤛檀枛

⣄ᷳ⎶烉The Queen of the Night 剙僼⤛檀枛

㋽沍Ṣⶽⶽ䴎媦烉Papageno 䓟ᷕ枛

⤛㋽沍Ṣⶽⶽ䴎⧄烉Papagena ⤛檀枛

⣏䤕⎠啑㉱㕗㈀烉Selastro 䓟Ỷ枛

Requiem: 䁢枛㦪埻婆䘬⬱櫪㚚炻忂ⷠ㗗㊯伭楔⣑ᷣ㔁➪䘬˨ṉ侭⻴㐺㚚˩侴

妨ˤ⛐㬌₨⺷ᷕ炻⚈攳柕䘬˨忚➪娈 Introit˩ẍ㉱ᶩ㔯䘬 requiem (⬱〗Īᶨ⫿攳⥳炻 㓭㬌䧖⻴㐺⍰塓䧙䁢˨⬱櫪⻴㐺㚚 Requiem Mass˩ˤ℞ᷕ䘬枛㦪⊭⏓㚱烉1. 忚➪ 娈 (Introit)炻(2) ✪ㄸ䴻 (Kyrie)炻(3) 㥖侨枴 (Gloria) 炻(4) 娈ⓙ (Tract)炻(5) 两 㔀娈 (Sequence)炻(6) ⣱䌣娈 (Offertory)炻(7) デ】䴻ㆾ俾⑱ (Sanctus)炻(8) 似伲 䴻 (Agnus Dei)炻(9) 柀ᷣ娈ㆾ俾梸䴻 (Communion)䫱ˤỮ塓䔞ἄ⬱櫪㚚⮓ἄ䘬⎒ 㚱℞ᷕ䘬˨㘖忂⻴㐺㔯˩ˤ䵕⣂⇑Ṇ (T. L. de Victoria)ˣ卓ㇶ䈡 (㛒⬴Īˣ䘥怤⢓ˣ ⦩䇦䫔冯ἃ䐆䫱Ṣ悥⮓㚱叿⎵䘬⣂倚悐⬱櫪㚚ˤ℞Ṿ⤪ⶫ㉱⥮㕗䘬˪⽟シ⽿⬱櫪 㚚˫炻Ṑ⽟⭮䈡䘬˪⬱櫪㚚˫冯ⶫ↿枻䘬˪㇘䇕⬱櫪㚚˫䫱炻⇯冯⣑ᷣ㔁䘬℠䥖 枛㦪ℐ䃞ᶵ⎴ˤ⬱⽟欗Ʉ㳃ẲɄ杳ỗ㕤 1984 ⸜⮓䘬⬱櫪㚚ᷫ䁢䲨⾝℞ 1982 ⸜忶 ᶾ䘬䇞奒侴ἄˤ

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卓ㇶ䈡⬱櫪㚚ᷫ⍿厗⠆⃳ȸ⎚㜄ⶽ崓ỗ䇝 (Franz von Walsegg-Stuppach 1763-1827) ẍ 50 慹⸋䘬䟜ἳ⟙愔⋧⎵⥼妿㇨⮓ˤ䓙ἄ㚚⭞䲬䐇⣓Ʉ暟⤏㲊䈡Ʉ刦ⶫ≺ (Joseph Leopold Eybler 1765-1846) ⍲卓ㇶ䈡䘬⬠䓇㛙㕗湍Ṇ (Franz Xaver Süssmayr 1766-1803) ⬴ㆸˤ

Requiem for soloists, chorus, and orchestra, K. 626 (1791) ⬱櫪㚚

Intriot 忚➪㚚 I. Requiem ⬱櫪㚚 / Kyrie ✪ㄸ䴻

Requiem aeternam dona eis Domine (ᶲᷣ炰㯪Ἀ岄䴎ṾᾹ㯠怈䘬⬱〗炻) et lux perpetua luceat eis (᷎ẍ㯠⿮䘬⃱廅䄏侨ṾᾹˤ) Te decet hypmnus Deus in Sion, et tibi reddetur votum in Jerusalem (⣑ᷣ炻Ἀ⛐䅁晵Ⱉ ᶲㅱ⍿枴孂炻ㆹ天⇘俞嶗㐺⅟⎹Ἀ⃇怬娻栀) Exaudi orationem meam, ad te omnis caro veniet. (㯪Ἀᾗ倥ㆹ䘬䣰䥙炻↉㚱埨倱䘬悥 天⎹Ἀ㈽月) Requiem aeternam dona eis Domine et lux perpetua luceat eis (ᶲᷣ炰㯪Ἀ岄䴎ṾᾹ㯠 怈䘬⬱〗炻᷎ẍ㯠⿮䘬⃱廅䄏侨ṾᾹ) Kyrie eleison. (ᶲᷣ炻婳✪ㄸ) (ᶱ㫉) Christe eleison (➢䜋炻婳✪ㄸ) (ᶱ㫉) Kyrie eleison. (ᶲᷣ炻婳✪ㄸ) (ᶱ㫉)

Sequence 两㈺娈 II. Dies irae 暯⾺ᷳ㖍 (㛓㖍⮑⇌) Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. ĩ恋⮯㗗暯⾺䘬ᶨ⣑炻冱ᶾ⊾䁢䀘䆤炻忼␛␴大㭼㉱悥㚱枸妨ˤ) Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus! ĩ⮯㗗ỽ䫱⿸ㆤ炻䔞⮑⇌侭冒⣑侴旵炻♜㟤㶭㞍ᶨ↯㗪炰)

III. Tuba mirum 䤆⣯嘇奺 Tuba mirum spargens sonum, Per sepulcra regionum, Coget omnes ante thronum. ĩ䤆⣯嘇倚Ự㺧⣑䨢炻枧⽡⎬⛘㇨㚱⡛⠂炻⁔崟䛦䓇⎹⮑⇌侭⹏⇵倂㒷ˤ) Mors stupebit et natura, Cum resurget creatura, Judicanti responsura.

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ĩ㬣ṉ冯⣏冒䃞ᶵ⊅樂⿸炻㇨㚱⍿忈ℵ⹎⽑䓇炻䫼央⮑⇌侭䘬㞍娊ˤ) Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. ĩ⯽攳ⶐℲ㟰⌟炻䲨抬ᶨ䚖Ḯ䃞炻㔜ᾳᶾ䓴⮯ὅ⬫㍍⍿⮑⇌ˤ) Judex ergo cum sedebit, Quidquid latet apparebit: Nil in-ultum remanebit. ĩ⮑⇌侭䘣ᶲ⮞⹏炻ảỽ晙⭮悥⮯㙜曚炻㰺㚱ᶨ伒傥徫僓ˤ) Quid sum miser tunc dicturus? Quem patronum rogaturus? Cum vix Justus sit secures. ĩ伒Ṣ⮯㚱ỽ昛徘烎⍰傥⎹婘天㯪ⸯ嬟烎⯙忋佑Ṣḇ傥冒ᾅ炰)

IV. Rex tremendae ⦩☯⏃䌳 (ẌṢ㔔䓷䘬⣏䌳) Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. ĩ崓崓⦩♜䘬⏃䌳炻Ἀ冒栀㊗㓹ᶾṢ炻ヰず䘬㱱㸸炻㓹ㆹ⃵㕤㰱㶒ˤ)

V. Recordare 婳✪⾝ (婳姀⼿) Recordare Jesu pie, Quod sum causa tua viae, Ne me perdas illa die. ĩṩヰ俞䧴炻㯪Ἀ✪⾝炻ㆹ㗗Ἀ劎嶗䘬⚈⍇炻⇍嬻ㆹ恋ᶨ⣑⡄ℍ㶙㶝ˤ) Quaerens me, sedisti lassus, Redemisti crucem passus, Tantus labor non sit cassus. ĩἈ䁢⮳夻ㆹ侴⊆䖩⣼㲊炻Ἀ䁢㓹岾ㆹ侴劎㝞塓憀炻忁凔彃劎⋫叔ᶵ天句䨢ˤ) Juste Judex ultionis, Donum fac remissionis, Ante diem rationis. ĩ℔⸛⟙⽑䘬塩⇌炻㯪Ἀ⮔⿽ㆹ䘬伒ギ炻崩叿㶭䬿ᷳ㖍㛒Ἦẍ⇵ˤ) Ingemisco, temquam reus, Culpa rubet vultus meus, supplicant parce Deus. ĩㆹ䖃〼㳩㴽⤥Ụ⚂䉗炻冒䞍㚱伒㺧朊但㄂炻⣑ᷣ炰ㆹ嗼婈䣰䥙炻㯪Ἀ崎⃵ˤ) Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. ĩἈ㚦棺⿽䉗伒⨎⤛炻᷎㚦ᾗ倥⎛䚄␤㯪炻ᶨ䶂ⶴ㛃ḇ䁢ㆹ䅫崟ˤ) Preces meae non sunt dignae: Sed tu bonus fae benign, Ne perenni cremer igne. ĩㆹ䘬䣰䥙⽖ᶵ嵛忻炻Ữ㯪Ἀ䘬┬⽫⼭ㆹ⮔ṩ炻⇍嬻ㆹẍ䀓䃂幓ˤ) Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. ĩ婳⛐䵧伲佌ᷕ嬻䴎ㆹᶨⷕᷳ⛘炻ἧㆹ冯Ⱉ伲昼暊炻⛐Ἀ⎛怲䪁䩳ˤ)

VI. Confutatis ⇌㰢 Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis. ĩら⼺㖊䴻⇌㰢炻Ṍ冯䄲䄲䁰䀓炻婳⎔ㆹ忚ℍ俾侭䘬埴↿ˤ)

Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis. ĩㆹṲặ⛘⑨㯪炻⽫曰䟜䠶Ụ䀘䆤炻婳斄↯ㆹ㚨⼴␥忳ˤ)

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VII. Lacrimosa ず⒕ (㳩㶂) Lacimosa dies illa, Qua resurgt ex favilla. ĩ恋㗗䖃劎㳩㴒䘬㖍⫸炻䔞Ṣ⽆⠝❫ᷕ⽑䓇㗪ˤ) Judicandus homo reus: Huic ergo parce Deus. ĩ屈伒ᷳṢ䫱῁⮑⇌炻⣑ᷣ炰㯪Ἀ⮵Ṿṩヰ✪ㄸˤ) Pie Jesu Domine, done eis requiem, Amen. ĩᷣ俞䧴ヰず䃉㭼炻婳岄䴎ṾᾹ⬱〗ˤ旧Ᾱ炰)

Offertory ⣱䌣䴻 VIII. Domine Jesu Christe ᷣ俞䧴➢䜋 Domine Jesu Christe, Rex gloriae, ĩᷣ俞䧴➢䜋炻⃱㥖䘬⏃䌳) libera animas omnium fidelium defunctoum de poenis inferni, et de profundo lacu: ĩ㯪Ἀ㊗㓹⶚ṉᾉ䛦䘬曰櫪炻僓暊昘㚡䘬䖃劎炻崘↢㶙怫䘬⸥察烉) libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. ĩ⽆䋃䋭⎋ᷕ妋㓹ṾᾹ炻卓嬻ṾᾹ星ℍ㶙㶝炻⇍嬻ṾᾹ嵴忚湹㘿ˤ) sed signifier sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti et semini ejus. ĩỮ婳䷥柀⣑ἧġ 俾⻴┨䇦炻柀ṾᾹ忚ℍ䤆俾䘬⃱㖶⠫䓴炻㬋⤪Ἀ㖼㖍⮵Ṇỗ恶␴ Ṿ䘬⫸⬓㇨枸姙ˤ)

IX. Hostias 䉏䈚 Hostias et preces tibi Domine laudis offerimus: (ᶲᷣ炰ㆹᾹ⎹Ἀ⣱䌣烉孂枴炻䉏䈚␴ 䣰䥙炻) tu suscipe pro animabus illis, quarum hodie memoriam facimus ĩ䁢ḮㆹᾹṲ⣑徥⾝䘬ṉ曰炻㯪Ἀ偗Ḱ〭䲵ˤ) fac eas, Domine, de morte transpire ad vitam. (ᶲᷣ炰㯪Ἀ崭㷉ṾᾹ炻䓙㬣ṉ忚ℍ䓇 ␥ˤ)

Sanctus 俾⑱䴻 X. Sanctus 㬉␤㫴 Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. (俾⑱炰俾⑱炰俾⑱炰ᶲᷣ叔幵䘬 ⣑ᷣ炻) Pleni sunt caeli et terra Gloria tua, (㬉␤ᷳ倚枧⽡暚暬)

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Hosanna in excelsis. (㓹】ᷳᷣỵ㕤军檀ᷳᶲˤ)

XI. Benedictus 彶ᷣ㚚 Benedictus qui venit in nominee Domini, (⣱ᷣ⎵侴Ἦ䘬炻䔞⍿孂伶炻) Hosanna in excelsis. (㓹】ᷳᷣỵ㕤军檀ᷳᶲˤ)

Agnus Dei 似伲䴻 XII. Agnus Dei 似伲䴻 / Lux aeterna 㯠⿮䘬⃱ Agnus Dei, qui tollis peccata mundi dona eis requiem. ĩ昌⃵ᶾ伒䘬⣑ᷣ似伲炻㯪Ἀ岄䴎ṾᾹ⬱〗ˤ) Agnus Dei, qui tollis peccata mundi dona eis requiem. ĩ昌⃵ᶾ伒䘬⣑ᷣ似伲炻㯪Ἀ岄䴎ṾᾹ⬱〗ˤ) Agnus Dei, qui tollis peccata mundi dona eis requiem sempiternam. ĩ昌⃵ᶾ伒䘬⣑ᷣ似伲炻㯪Ἀ岄䴎ṾᾹ㯠怈䘬⬱〗ˤ) Lux aeterna lueeat eis, Domine, Cum sanctis tuis in aeternum, quia pius es. ĩᶲᷣ炻㯪Ἀẍ㯠⿮䘬⃱廅䄏侨ṾᾹ炻ἧṾᾹ㯠怈´⎴Ἀ䘬媠俾炻⚈䁢Ἀ┬列ヰ ずˤ) Requiem aeternam dona eis Domine, et lux perpetua luceat eis. ĩᶲᷣ炻㯪Ἀ岄䴎ṾᾹ㯠怈䘬⬱〗炻᷎ẍ㯠⿮䘬⃱廅䄏侨ṾᾹˤ) Cum sanctis tuis in aeternum, quia pius es. ĩἧṾᾹ㯠怈´⎴Ἀ䘬媠俾炻⚈䁢Ἀ┬列ヰずˤ) Requiem aeternam dona eis Domine, et lux perpetua luceat eis. ĩᶲᷣ炻㯪Ἀ岄䴎ṾᾹ㯠怈䘬⬱〗炻᷎ẍ㯠⿮䘬⃱廅䄏侨ṾᾹˤ)

Conductor: Sir Colin Davis The Bavarian Radio Symphony Orchestra and Chorus (1984)

⍫侫㚠䚖烉恝佑⻟䶐嬗炻˪⬿㔁枛㦪䱦厗˫(⎘⊿烉⣑⎴炻1984)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 14烉卓ㇶ䈡 II˫(⎘⊿烉伶㦪炻2000)

Sonata Form ⣷沜㚚㚚⺷烉

Introduction ⸷⣷炻⮶⣷

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Exposition (repeated) ⏰䣢悐 (⏓䫔ᶨᷣ柴炻䫔Ḵᷣ柴)

Development 䘤⯽悐 (廱婧)

Recapitulation ℵ䎦悐 (ᷣ柴ℵ䎦)

Coda ⯦⣷炻䳸⯦悐

居⣂剔 Beethoven, Ludwig van (1770 - 1827)

PianoConcerto No. 1 in C Major, op. 15 (1798) (36’) C ⣏婧䫔ᶨ嘇护䏜⋼⣷㚚炻ἄ⑩ 15

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Largo 㚨䶑㜧

III. (Rondo) Allegro scherzando (廒㕳㚚) 娤媏䘬⾓㜧

Conductor: Sir Georg Solti ㊯㎖ 唕㍸ 䇝⢓

Piano soloist: Murray Perahia 护䏜 㘖厲Ṇ

The London Symphony Orchestra ΐ㔎Ṍ枧㦪⛀

BBC TV/Portobello Productions 1987

String Quartet ⻎㦪⚃慵⣷ (Violin I 䫔ᶨ⮷㍸䏜, Violin II 䫔Ḵ⮷㍸䏜, Viola ᷕ ㍸䏜, Cello ⣏㍸䏜)

StringQuartet No. 4 in C Minor, op. 18-4 (1800) C ⮷婧䫔⚃嘇⻎㦪⚃慵⣷

I. Allegro ma non tanto ⽆⭡䘬⾓㜧

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II. Andante scherzoso quasi Allegretto 娤媏㚚烉役Ụ䦵⾓㜧䘬娤媏埴㜧

III. Allegretto ⮷㬍准㚚烉䦵⾓㜧

IV. Allegro ⾓㜧

Symphony No. 1 in C Major , Op. 21 (1800) (26’)

C ⣏婧 䫔ᶨ嘇Ṍ枧㚚 ἄ⑩ 21

I. Adagio molto – Allegro con brio 䓂ㄊ㜧 - 䆎䇃䘬⾓㜧

II. Andante cantabile con moto 忇⹎䔍⾓䘬⤪㫴埴㜧

III. Allegro molto e vivace ⮷㬍准㚚 㳣㻹䘬㤝⾓㜧

IV. Adagio – Allegro molto e vivace ㄊ㜧 – 㳣㻹䘬㤝⾓㜧

Sonaten für Klavier und Violine F-dur Nr. 5 Op. 24 “Frühling” (1801) F ⣏婧䫔Ḽ 嘇⮷㍸䏜⣷沜㚚˪㗍˫

I. Allegro ⾓㜧

II. Adagio molto espressivo ⃭㺧デね䘬ㄊ㜧

III. Scherzo: Allegro molto 娤媏㚚 ⼰⾓䘬⾓㜧

IV. Rondo: Allegro ma non trope ⽆⭡䘬⾓㜧

居⣂剔⮓ “Heiglnstadt, the 6th ofOctober, 1802” ㅱ娚㊤ㆸ “The Heiligenstadt Will” ˬ㴟慴㟡怢㚠˭ 1802 ⸜ 10 㚰 6 㖍

ˬ农ㆹ䘬⻇⻇Ᾱ烉

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┼炻ἈᾹ忁ṃṢẍ䁢ㆹ㗗ᾳら㭺ˣ枹⚢ˣ侴⍰⍕ᶾ䘬Ṣ炻恋⮵ㆹ⎗䛇㗗卓⣏䘬婌

妋ˤἈᾹᶵ䞍忻ㆹᷳ㇨ẍ䔁䴎ἈᾹ⤪㬌⌘尉䘬䣽⭮⍇⚈ɄɄɄ忁ℕ⸜Ἦㆹ䃉㛃⛘

怕⍿㉀䢐炻⹠慓㚜≈∯ㆹ䘬䖃劎炻⸜⽑ᶨ⸜ㆹ塓䕭ね㚫⤥廱䘬`尉㇨呁哥炻⇘柕

Ἦ⌣ᶵ⼿ᶵ㍍⍿䎦⮎炻ㆹ䘬䕭⮯㚈㖍㊩ᷭ (゛天㱣䗺⼿剙姙⣂⸜䘬㗪攻炻ㆾ姙㟡

㛔㗗ᶵ⎗傥䘬)ˤㆹ晾䃞䓇⯙ᶨ∗䅙ね㳣㻹䘬⿏ね炻䓂军⮵䣦㚫嬲≽枿䁢㓷デ炻

Ữ⼰⾓⯙塓従冯ᶾ昼䳽炻忶叿暊佌䳊⯭䘬䓇㳣ɄɄɄㆹᶵ⎗傥⍣⮵⇍Ṣ婒ˮ婒⣏

倚溆炻┲↢Ἦ⏏炻⚈䁢ㆹ㗗ᾳ倦⫸ˤ˯⒱炻ㆹ⾶湤⎗傥⍣㈧娵ㆹ㚱忁䧖デ⭀ᶲ䘬

仢星␊烎ㆹ䘬デ⭀㛔娚㭼⇍Ṣ䘬㚜⬴伶炻侴ㆹḇ㚦䴻⛐倥奢䘬デ⭀ᶲ忼⇘㤝农䘬

⬴伶ɄɄɄ⮵ㆹ侴妨炻ㆹᶵ傥冯㚳⍳Ᾱ庽檮婯䪹炻ᶵ傥䱦㸾⛘⮵娙炻ᶵ傥Ṍ㳩⿅

゛ˤㆹ⸦᷶㗗⛐⬌䌐ᷕ䓇㳣炻⁷ᶨᾳ塓㓦徸䘬ṢɄɄɄ`⤪ㆹ䦵⽖㍍役ṾṢ炻ᶨ

偉⻟䁰䘬⿸ㆤ⯙㚫㸏ᶲ⽫柕炻ㆹ⭛⾽ㆹ䘬䉨㱩塓Ṣ䘤䎦ˤ⚈侴忶⍣ℕᾳ㚰ㆹᶨ䚜

幚⛐悱ᶳɄɄɄ䔞䪁⛐ㆹ幓㕩䘬Ṣ倥⇘怈嗽⁛Ἦ䘬䫃倚炻侴ㆹ倥ᶵ⇘烊ㆾ䔞䪁⛐

ㆹ幓㕩䘬Ṣ倥⇘䈏伲Ṣ䘬㫴倚炻侴ㆹṵ䃞䓂湤ḇ倥ᶵ⇘炻忁⮵ㆹἮ婒㗗⣂⣏䘬但

彙⓲炰忁䧖ḳ⸦᷶嬻ㆹ䳽㛃炻天㗗ℵ⣂䘤䓇⸦㫉炻ㆹ⯙㚫䳸㜇冒⶙䘬䓇␥ ʇ 嬻

ㆹ䔁ỷ䓇␥䘬⎒㚱ㆹ䘬喅埻侴⶚ˤ⓲炻⮵ㆹ侴妨炻天㗗ᶵ㈲ㆹℏ⽫㇨㚱䘬㜙大悥

慳㓦↢Ἦ炻ㆹ㗗ᶵ⎗傥暊攳忁ᾳᶾ䓴䘬ˤ˭

㐀冒 Kalischer: Beethoven’s Letters, pp. 38-40. New York: Dover, 1972. Morris 叿炻㛶

䵕㉱嬗˪㕤㗗炻␥忳Ἦ㔚攨˫pp. 122-123 (⎘⊿烉怈嵛炻2008)ˤ

Symphony No. 2 in D Major, Op. 36 (1802) (32’)

D ⣏婧 䫔Ḵ嘇Ṍ枧㚚 ἄ⑩ 36

I. Adagio molto – Allegro con brio 䓂ㄊ㜧 – 䆎䇃䘬⾓㜧

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II. Larghetto 䓂䶑㜧

III. Scherzo: Allegro 娤媏㚚 ⾓㜧

IV. Allegro molto 䓂⾓㜧

Symphony No. 3 in E-flat Major, “Eroica”, Op. 55 (1804) (47’)

旵 E ⣏婧 䫔ᶱ嘇Ṍ枧㚚 ˮ劙晬˯ἄ⑩ 55

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Adagio assai 䓂ㄊ㜧炻復吔忚埴㚚

III. Scherzo: Allegro vivace 娤媏㚚: 㳣㻹䘬⾓㜧

IV. Allegro molto 䓂⾓㜧

Concerto in C Major for Violin, Cello and Piano, Op. 56 (Triple Concerto ) (1803-04) (33’) C⣏婧ᶱ慵⋼⣷㚚 ἄ⑩ 56

I. Allegro ⾓㜧

II. Largo 㚨䶑㜧

III. Rondo alla polacca 徜㕳㚚 㲊㉱⌉准㚚 (㲊嗕准㚚)

Itzhak Perlman, Violn ⶽ䇦㚤炻⮷㍸䏜 (1945-)

Yo-Yo Ma, Cello 楔⍳⍳炻⣏㍸䏜 (1955-)

Daniel Barenboim, Piano & Conductor ⶜忋㲊⚈炻护䏜ℤ㊯㎖ (1942-)

Berliner Philharmoniker 㝷㜿ッ㦪Ṍ枧㦪⛀ (1995 抬)

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PianoConcerto No. 4 in G Major, Op. 58 (1805-06) (34’) G ⣏婧䫔⚃嘇护䏜⋼⣷㚚 ἄ⑩ 58 (1805-06)

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Andante con moto 㳩㙊䘬埴㜧

III. Vivace 䓂⾓㜧

Zubin Mehta, Conductor 䣾屻㠭⟼ ㊯㎖ (1936-)

Mitsuko Uchida, Piano ℏ䓘⃱⫸ (1948-)

Iseaeli Philharmonic ẍ刚↿ッ㦪

SymphonyNo. 4 in B-Flat Major, Op. 60 (1806) (34’) 旵B⣏婧 䫔⚃嘇Ṍ枧㚚 ἄ⑩ 60

I. Adagio – Allegro vivace ㄊ㜧 – 㳣㻹䘬⾓㜧

II. Adagio ㄊ㜧

III. Allegro vivace 㳣㻹䘬⾓㜧

IV. Allegro ma non troppo ⽆⭡䘬⾓㜧

Concertgebouw Orchestra, Amsterdam 匟嗕旧⥮㕗䈡ᷡṌ枧㦪⛀

Carlos Kleiber ⃳厲㝷 ㊯㎖ (1930-2004)

Concertofor Violin and Orchestra in D Major, Op. 61 (1806) (42’) D ⣏婧⮷㍸䏜⋼⣷㚚 ἄ⑩ 61 (1806)

I. Allegro ma non troppo ᶵ⣒⾓䘬⾓㜧

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II. Larghetto 䓂䶑㜧

III. Rondo: Allegro 徜㕳㚚 ⾓㜧

Louis de Froment (1921-1994), Conductor ἃ伭攨 ㊯㎖

Leonid Kogan (1924-1982), Violin ⭯∃ ⮷㍸䏜

Orchestre National de I’Ortf, Paris, 1966

Overture to “Coriolan” Op. 62 (1807) ˪㞗慴⤏嗕˫⸷㚚

ㆸ䁢㛔㚚柴㛸䘬ˬ㞗慴⤏嗕˭炻⍇㗗㘖欗⟼⃳ (Plutarch 46? – 120?) 䘬⎵叿ˬ劙晬 ⁛˭ᷕ㇨姀庱䘬Ṣ䈑炻Ṿ㗗大⃫⇵Ḽᶾ䲨ⶎ⎛䘬伭楔劙晬炻㒂婒㛔⎵⎓⃳Ṇ㕗Ʉ 楔⢷㕗炻⚈䁢Ṿ䌐冒ᶨṢ㓣星⃳慴⤏嗕❶炻㇨ẍ⍰塓䧙䁢 “㞗慴⤏㉱≒㕗” (Coriolanus) ˤ℞⼴⛐㓧㱣ᶲṾ晾㑩㚱䚠䔞⊊≃炻Ữ大⃫⇵ 492 ⸜伭楔ㆸ䩳ℙ␴ 㓧橼㗪炻⚈㓧㱣䩳⟜䘬ᶵ⎴侴塓槭徸↢⠫ˤ㬌㗪ㆸ䁢惘⚳㰫䇦大Ṇ⮯幵䘬Ṿ炻ℑ ⸜⼴䌯幵㓣⇘伭楔❶攨炻⍿⇘㭵奒㰫嗕⯤Ṇ冯⥣⫸䒎⎱匱Ṇ䘬⊠旣侴忚徨ℑ暋炻 㚨⼴⚈側⎃㰫䇦大Ṇ幵侴怕⇘媨㭢ˤ忁㭝㓭ḳ㖑⛐ 1607 ⸜炻匶⢓㭼Ṇ⶚䴻㈲⬫ ⮓ㆸ㇚㚚ˬ㞗慴⤏暟䲵㕗˭炻㇨ẍḇ㚱⮹㔠Ṣ婌妋居⣂剔㗗䁢㬌㇚㚚⮓ᶳ㬌椾⸷ 㚚ˤ䵕ḇ䲵⭖⺟䘬䦀㚠ˣ㱽⼳⮰⭞ℤ娑Ṣ䘬杻⇑ⶴɄ䲬䐇⣓Ʉ㞗㜿 (Heinrich Joseph von Collin 1771 - 1811) ㇨ἄ䓙Ḽヽ㥳ㆸ䘬㇚㚚ˬ㞗慴⤏嗕˭炻婈䃞㗗ἧ䓐䚠⎴䘬 柴㛸⮓ㆸ炻Ữ℞ẍ㞗慴⤏嗕冒㭢㓞⟜䘬䳸⯨炻⇯冯匶⢓㭼Ṇ䘬㇚㚚ᶵ䚉䚠⎴ˤ㛔 㚚㗗居⣂剔姙⣂⸷㚚ᷕ㚨㖑⍿⇘⺋⣏倥䛦㬉彶䘬㦪㚚ᷳᶨˤ

妋婒烉䆎䇃䘬⾓㜧 (Allegro con brio) c ⮷婧 ⚃↮ᷳ⚃㉵⫸ˤ㍉䓐冒䓙䘬⣷沜㚚⼊ ⺷⮓ㆸ炻ẍ䚠䔞⣂㫉䘬䷥ẹ㬊炻≈⻟㇚∯⊾䘬㓰㝄ˤ攳柕䓙⻎㦪☐ẍ ff ≃⹎滲 ⣷侴↢䘬 C 枛炻䴻䓙ᶳⰔ␴⻎炻ᶫ⹎ᶲ䘬ᶫ␴⻎䘬䫔Ḵ廱ỵ炻ẍ⍲⋯ F 枛ᶲ䘬 㷃ᶫ␴⻎侴ᷕ㕟ᶱ㫉炻℞⼴ᷣ␴⻎䘬䫔Ḵ廱ỵ冯Ⱄᶫ␴⻎ᶨ崟⯽䎦↢⮶⣷桐㟤䘬 㖐嵋炻㍍叿晐叿䫔ᶨ⮷㍸䏜冯ᷕ㍸䏜㇨⏰䣢↢Ἦ䘬ᷣ柴炻攳⥳⎗ẍ䚳↢䫔ᶨᷣ柴 佌䘬⼊ㆸˤ忁ṃ忂ⷠ悥塓妋慳ㆸ㗗㍷⮓ᷣṢ佩㞗慴⤏嗕䘬㶙℟晬⽫䘬⿏㟤ˤ冯㬌 䚠⮵䄏䘬⃒晭䘬䫔Ḵᷣ柴炻㗗䓙䫔ᶨ⮷㍸䏜ẍ旵 E ⣏婧⏰䣢↢Ἦ炻ᶨ凔娵䁢忁㗗 㞗慴⤏嗕䘬㭵奒冯⥣⫸䘬尉⽝ˤ昌忁ṃẍ⢾怬≈ℍ墯㔠䘬≽㨇炻ἧ⏰䣢悐䘬䳪䳸 ḇ⬴ㆸ䘤⯽⿏䘬ả⊁炻䃞⼴ẍ f ⮷婧⯽攳ℵ䎦悐䘬㦪㭝ˤ䫔Ḵᷣ柴ẍ C⣏婧ℵ

74

䎦⼴炻塓䷖䞕䘬ℵ䎦悐ὧ塓⺽⮶忚ℍ℟㚱䚠䔞夷㧉䘬䳸⯦侴⍣ˤ忁墉ḇἧ䓐䫔Ḵ ᷣ柴炻Ữᶵᷭ⼴ὧ⚆゛䫔ᶨᷣ柴炻ἧ℞≽㨇徸㻠ⳑ㼘炻⭋⏲ず∯䘬䳸⯨炻㚨⼴ẍ ᶱ㫉㚨⻙枛䘬 C枛㑍⣷䳸㜇㦪㚚ˤ

Symphony No. 5 in C Minor, Op. 67 (1803-1805) (31’)

C ⮷婧 䫔Ḽ嘇Ṍ枧㚚 ˮ␥忳˯ἄ⑩ 67

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Andante con moto 䦵⾓䘬埴㜧

III. Allegro ⾓㜧

IV. Allegro ⾓㜧

Symphony No. 6 in F Major “Pastoral”, Op. 68 (1808) (39’)

F ⣏婧 䫔ℕ嘇Ṍ枧㚚ˮ䓘⚺˯ἄ⑩ 68

I. Allegro ma non troppo ⽆⭡䘬⾓㜧

II. Andante molto mosso ⼰⾓䘬埴㜧

III. Allegro ⾓㜧

IV. Allegro ⾓㜧

V. Allegretto 䦵⾓㜧

檀懧啘 “⣏㍸䏜ㇳ檀ᾖ” 㖍㛔≽䔓

Sonaten für Klavier und Violoncell Nr. 3 A-dur Op.69 (1807-08) A ⣏婧䫔ᶱ嘇⣏㍸䏜⣷沜㚚

75

I. Allegro ma non tanto ⽆⭡䘬⾓㜧

II. Scherzo: Allegro molto 娤媏㚚 ⼰⾓䘬⾓㜧

III. Adagio cantabile – Allegro vivace ⤪㫴䘬ㄊ㜧 – 㳣㻹䘬⾓㜧

㫴∯烉˪屣溃慴⤏˫“Fidelio” Op. 72 (1805炻1806炻1814 㰢⭂䇰)

∯㛔烉⽟㔯ˤ⍇⥳✳⺷㗗ⶫẲ (J. N. Bouilly) 䘬㱽㔯䇰ˤ㜦岜䈡恋 (J. Sonnleitner)

ẍ㬌䁢➢䢶䶐↢䓐⽟㔯冒䓙侣嬗䘬ᶱⷽ∯㛔炻㓡ㆸḴⷽ䘬䫔Ḵ䇰㗪䓙ⶫ伭Ẳ⮏

(S. Breuning) ⍫冯䶐∯炻㰢⭂䇰䓙䈡岜‹⃳ (G. F. Treitschke) ⋼≑忚埴⽡⸽䘬㓡

ἄˤ

Ṣ䈑 (ὅ↢⟜⸷)烉䈊柕伭⎗䘬⤛⃺䐒慯匱⧄(Marzelline炻⤛檀枛)炻䋬⋺Ṇ➢媦

(Jaquino炻䓟檀枛)炻䈊柕伭⎗(Rocco炻䓟Ỷ枛)炻屣溃慴⤏(Fidelio炻䁢㊗㓹ᶰ⣓侴

⤛㈖䓟墅䘬⭴伭暟㕗✎䘬⥣⫸暟⤏媦暟 Leonore炻⤛檀枛)炻℠䋬攟䙖㞍㳃(Don

Pizarro炻䓟ᷕ枛ㆾ䓟Ỷ枛)炻䷥䎮⣏冋屣⋿⣂(Don Fernando炻䓟ᷕ枛)

㗪ẋ側㘗烉18 ᶾ䲨ᷕ叱ˤ大䎕䈁⠆䵕䇦(Seville)役恲䘬⚳䩳䚋䋬ᷕˤ

⸷㚚 ⾓㜧 (Allegro) E ⣏婧 Ḵ↮ᷳḴ㉵

ℐ悐䭉䳫㦪ẍ⻟⣷攳⥳䘬攳柕悐↮㗗㥳ㆸℐ㚚䘬➢㛔≽㨇炻℞㫉ẍ⮵䄏⿏䘬ㄊ㜧

㫴ⓙ↢Ἦ䘬㱽⚳嘇㕳⼳炻䩳⌛䚠⮵⼊ㆸ㫉天䘬≽㨇ˤ⮶⣷悐㈲忁䧖㽨≽冯⃒伶䘬

⮵䄏ℵ⍵央ᶨ㫉ˤ⼴Ἦ㱽⚳嘇䩳⌛庽⾓⏡⣷↢➢㛔≽㨇忚ℍᷣ悐ˤᷣ悐ᷕ㚨慵天

䘬㗗䓙㬌埵䓇↢Ḯ⬷⣏侴℟㒜⯽⿏䘬∗ᷣ柴炻㍍叿ℵ晐叿⎎ᶨᾳ⮵䄏⿏䘬⃒伶∗

ᷣ柴炻⮶ℍ⻟㚱≃䘬⮷䳸⯦ˤ忁墉⮯䲬䔍䚠⎴䘬䴻忶≈ẍ⍵央䳸㜇ᷣ柴⼴炻ὧẍ

ㄊ㜧忚ℍ㍺⎍炻䃞⼴䩳⌛嚪㑩㳩ℍ➢㛔≽㨇ᷕ㳣≃⃭㱃䘬旬溆䭨⣷炻⯽攳⿍㜧䘬

76

⯦⣷炻⸦᷶⎗ẍ婒㗗ẍℐ橼䭉⻎㦪⻟婧↢➢㛔≽㨇炻⡻Ὰ⿏㎂崟㇚∯⊾⛘㋗⤖侴

䳪ˤ

Act I (䫔ᶨⷽ) ⚳䩳䚋䋬ᷕ⹕

No. 1 Ḵ慵ⓙ(Duet)烉䐒慯匱⧄炻Ṇ➢媦ˤ

No. 2 娈▮婧(Aria)烉䐒慯匱⧄ˤ伭⎗冯屣溃慴⤏(暟⤏媦暟)↢⟜ˤ

No. 3 ⚃慵ⓙ(Quartet)烉⌉彚⚃慵ⓙˤ↮⇍堐忼↢䐒慯匱⧄䘬㬉╄炻屣溃慴⤏(暟

⤏媦暟)䘬⚘べ炻伭⎗䘬㘿冒䩲╄冯Ṇ➢媦䘬䳽㛃炻⚃Ṣⓙ↢⚃䧖⽫ね炻嬻Ṣ䚳

↢居⣂剔䳖⮎䘬ἄ㚚㈨ⶏˤ

No. 4 娈▮婧(Aria)烉伭⎗ⓙ↢ˬ㰺㚱慹拊⯙㰺㚱⸠䤷˭炻屣溃慴⤏ (暟⤏媦暟)䩳

⌛ẍ䛇㐗䘬婆㯋婒烉㭼慹拊㚜慵天䘬㗗ᾉ嬥ˤ

No. 5 ᶱ慵ⓙ(Trio)烉伭⎗ˣ暟⤏媦暟ˣ䐒㍉匱⧄ˤ伭⎗ⓙ烉ˬ⬑⫸⓲炻Ἀ䛇Ḯᶵ

崟炻䷥㗗䱦䤆⃭㱃ˤ˭ˤ暟⤏媦暟䁢Ḯ⎗ẍ㍍役⛘䈊侴檀冰⛘ⓙ↢㬉╄ᷳ㫴烉ˬ⽆

Ṳ⣑崟天ẍℐ悐ッね朊⮵⚘暋ˤ˭

No. 6 忚埴㚚 (March) ℠䋬攟䙖㞍㳃↢⟜ˤṾ㈲㬋佑ᷳ⢓⭴伭暟㕗✎⸥䤩ℑ⸜ˤ

⼿䞍㖶⣑㚫㚱䷥䎮⣏冋Ἦ姒㞍ˤ㕤㗗⽫䓇儡㟰㸾⁁忚埴妰媨ˤ

No. 7 娈▮婧冯⎰ⓙ(Aria & Chorus)烉䙖㞍㳃ẍ㽨≽䘬⾓㜧(Allegro agitato)㇚∯⊾

⛘ⓙ↢伒ら䘬娈▮婧ˤ䚳⇘℠䋬攟䁓侨㪲⊊炻檀┲⽑ṯ⊅⇑䘬㧋⫸炻⢓ℝᾹ䘬⎰

ⓙ栗↢⍰樂⍰⾽炻⎒傥⽵㯋㚵⽆ˤ

No. 8 Ḵ慵ⓙ(Duet)烉䙖㞍句冯伭⎗䘬媨㭢妰䔓ˤ伭⎗ᶵ㔊➟埴炻䙖㞍㳃忪㰢⭂

冒⶙≽ㇳ炻᷎␥伭⎗⍣㊾㍀⡛⠻ẍὧḳ⼴❳Ḯ⭴伭暟㕗✎ˤ

No. 9 㚿婎婧(⭋㔀婧)冯娈▮婧 (Recitative & Aria)烉䙖㞍㳃冯伭⎗暊⍣ˤ暟⤏媦

暟⛐㘿嗽倥⇘娚妰媨炻攳⥳⽫⿍⤪䃂⛘ⓙ↢ˬら㡵炰Ἀ⿍叿⼨⒒墉⍣烎˭ˤˬⶴ㛃

⓲炻ぐ崽⾓Ἦ⏏炰ᶵ天嬻㚨⼴ᶨ柮㗇㗇㴰⣙炻嬻⬫䄏侨ㆹ䘬䚖㧁炻䃉婾⣂湤态怈炻

ッね䘬⻟⣏≃慷⽭䃞傥嬻ㆹ㉝忼ˤ˭

77

No. 10 䫔ᶨⷽ䳪⟜ ⎰ⓙ (Finale Chorus)烉⚈暟⤏媦暟ᶨℵ⛘⺢嬘伭⎗⼴炻ᶨ凔

⚂䉗⼿ẍ↢Ἦᷕ⹕德㯋ˤṾᾹⓙ忻烉ˬ⣂湤⾓㦪炻傥␤⏠⇘冒䓙䘬䨢㯋㗗⣂湤⾓

㦪炰⎒㚱⛐忁墉ㇵ㚱䓇␥ˤ˭伭⎗冯暟⤏媦暟⿍忇ᶲ⟜嬲ㆸ娈▮婧ˤ伭⎗天暟⤏

媦暟ᶨ崟ᶳ⛘䈊㊾⡛⠻ˤ暟⤏媦暟ᶨ㕡朊剙⭡⣙刚炻Ữ゛⌛⮯夳⇘ᶰ⣓侴ℏ⽫ᶵ

䤩㫋╄ˤṆ➢媦ˣ䐒慯匱⧄ˣ暟⤏媦暟ˣ䙖㞍㳃冯伭⎗慵䔲ᶨ崟Ṍ䷼ㆸḼ慵ⓙˤ

䭉⻎㦪ẍ寸⍂䘬枛枧⊭墅㬌⎰ⓙ冯慵ⓙ炻忈↢⌛⮯句ⷽ䘬匲慵䳪㚚枛㦪⼴炻徸㻠

㷃⻙枛慷炻㚨⼴ẍ⭂枛溻⽖⻙䘬栓枛枛枧䳸㜇ˤ

Act II (䫔Ḵヽ)

No. 11 ⮶⣷冯娈▮婧 (Introduction & Aria)烉昘㘿⛘䈊ᷕ䘬⭴伭暟㕗✎

No.12 ⮵娙冯Ḵ慵ⓙ (Duet)烉暟⤏媦暟冯伭⎗ᶳ⛘䈊㊾⡛炻᷎䚳⇘⭴伭暟㕗✎侴

䴎Ṿ㯜冯湝⊭ˤ⭴伭暟㕗✎⯂㛒娵↢㗗冒⶙⥣⫸ˤ

No. 13 ᶱ慵ⓙ (Trio)烉⭴伭暟㕗✎ⓙ↢デ嫅ᷳ娆炻伭⎗ⓙ↢⎴ね䘬⽫倚炻暟⤏媦

暟嶇叿ⓙ↢ℏ⽫䘬ず䖃ˤ䙖㞍㳃忚ℍ⛘䈊炻⭴伭暟㕗✎デ⇘㬣㛇⮯役侴ᶵ冒奢┲

↢⥣⫸⎵⫿烉暟⤏媦暟ˤᶨ㕩䘬暟⤏媦暟⍿⇘⻟䁰デ≽ˤら㡵㉼∵崘⎹⚂䉗ˤ晐

叿⻎㦪䘬⻟⣷⼊ㆸ㚨䵲天斄柕䘬⚃慵ⓙˤ

No. 14 ⚃慵ⓙ (Quartet)烉㺧僼ṯ【䘬䙖㞍㳃㬍㬍忤役䌝䈑炻⋫懆ᶨ檖ᷳ晃炻暟

⤏媦暟⽆㘿嗽㊩ㇳ㥵嶛↢Ἦᾅ嬟ᶰ⣓炻⣏┲烉ˬ天㭢炻⃰㭢Ṿ⥣⫸ˤ˭䙖㞍㳃⏮

劍㛐暆ˤ怈㕡嘇奺倚枧崟炻䷥䎮⣏冋楽⇘ˤ

No. 15 Ḵ慵ⓙ (Duet)烉暟⤏媦暟冯⭴伭暟㕗✎㽨≽䚠㑩炻晐叿㳣㻹⾓㜧䘬庽⾓

䭨⣷ⓙ↢㬉╄ᷳ㫴ˬ暋ẍ妨╣䘬⾓㦪˭ˤᶵ 孂伶䤆䘬】よˤ

No. 16 䳪⟜ ⎰ⓙ (Finale Chorus)烉⣏冋⃩媦䴎㇨㚱⚂䉗℔㬋⮑⇌ˤᶵ栏䊤䊥䘬

℠䋬攟⎹⣏冋ṳ䳡⭴伭暟㕗✎ˤ⣏冋ᶨ䛤⯙䚳↢⭴伭暟㕗✎㗗Ṿ忶⍣䘬⎴⽿炻⍇

ẍ䁢Ṿ⶚䴻㬣ṉ侴⣏⎫ᶨ樂ˤ㍍叿伭⎗⍰⎹⣏冋ṳ䳡暟⤏媦暟炻婒⤡≯㔊䘬埴䁢

㗗➭屆⤛⿏䘬㥄㧋ˤ忁㗪嬜屔伒ら䘬⎰ⓙ⛐佌䛦ᷳ攻㱠様崟Ἦ炻⥣⫸暟⤏媦暟奒

78

ㇳ妋攳ᶰ⣓⭴伭暟㕗✎幓ᶲ䘬挾拲炻⛐㛐䭉⃒伶䘬⎰⣷倚ᷕ炻ℑṢⓙ崟Ḯ㖶㚿䘬

㬉╄ᷳ㫴炻䛦Ṣḇ堟⽫䴎Ḱ䤅䤷ˤ䛦Ṣ孂伶暟⤏媦暟䘬埴䁢炻㫴枴↢ッね䘬≃慷

㭼䓂湤悥⻟炻⤛⿏≯㔊䘬ッ㋥㓹Ḯᶨ↯ˤᷣ天Ṣ䈑䘬Ḽ慵ⓙ冯ℐ橼䘬⣏⎰ⓙ柣䷩

忚埴㇚∯⊾䘬Ṍ㚧炻⼊ㆸᶨᾳ⢗渿䵲㷲䘬䳸⯦ˤ

⍫侫㚠䚖烉Morris, Edmund 叿炻㛶䵕㉱嬗炻˪㕤㗗炻␥忳Ἦ㔚攨˫(⎘⊿烉怈嵛炻

2008)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 3烉居⣂剔˫pp. 488-500 (⎘⊿烉伶㦪炻

2006)ˤ

PianoConcerto No. 5 in E flat Major “Emperor”, Op. 73 (1809) (38’) 旵 E ⣏婧䫔Ḽ嘇护䏜⋼⣷㚚 “䘯ⷅ” ἄ⑩ 73

I. Allegro ⾓㜧

II. Adagio un poco mosso 䦵⾓䘬ㄊ㜧

III. Rondo – Allegro 徜㕳㚚 – ⾓㜧

Friedrich Gulda, Piano 栏䇦忼 炻护䏜

Munich Philharmonic Orchestra ヽ⯤湹ッ㦪Ṍ枧㦪⛀

Overtureto “Egmont”, Op. 84 (1809-1810) ˪刦㟤呁˫⸷㚚

刦㟤呁 (Lamoral Egmond ㆾ Egmont) 㗗 1522 ⸜ 11 㚰 18 㖍娽䓇㕤俞媦 (䎦Ṳ㭼 ⇑㗪大⋿悐冯㱽⚳⊿悐䘬怲䓴⛘㕡) 䘬䛇⮎Ṣ䈑ˤṾ⛐ 1544 ⸜冯⶜㉱㯨ỗ䇝䑲 】Ḵᶾ䘬⤛⃺⶜Ẹ⇑Ṇ䘬㱁㭼⧄䳸⨂ˤ1557 ⸜崟军佴⸜炻⛐㱽⚳⮵大䎕䈁䘬㇘ ⼡ᷕ䌚⼿≇⊛炻䃞⼴晐叿匟嗕䘬㕘㔁ᷳ㘖⍲ⷞ柀⯤⽟嗕崘⎹䌐䩳ˤ1561 军 1564 ⸜攻炻冯⤏嗕‹℔䇝⦩⹱⍲暵ΐỗ䇝ᶨ崟⍵㈿大䎕䈁⣏幵ˤ1567 ⸜大䎕䈁⚳䌳

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厚⇑㴎Ḵᶾ㳦怋旧䇦⶜℔䇝㑼ả匟嗕䷥䜋⇵Ἦ⻰⡻炻⦩⹱℔䇝徫军⽟⚳炻刦㟤呁 冯暵ΐỗ䇝䫱屜㕷ᶵ⸠塓㋽炻1568 ⸜ 6 㚰 5 㖍塓ⷞ军ⶫ欗⠆䇦䘬㕡⼊ⶪ⟜嗽㰢ˤ ⛐㫴⽟ (1749-1832) 䘬㇚㚚ᷕ炻刦㟤呁㗗ẍ 16 ᶾ䲨匟嗕䌐䩳忳≽䘬柀⮶侭↢ 䎦炻Ṿẍ㱽嗕⽟㕗柀ᷣ刦㟤呁ỗ䇝䘬幓↮ⷞ柕㉝㈿大䎕䈁䘬㙜㓧ˤỮ⛐朊⮵厚⇑ 㴎Ḵᶾ㳦Ἦ⻰⡻䘬旧䇦⶜℔䇝㗪炻刦㟤呁⌣ᶵ倥⤥⍳⦩⹱Ʉ⤏㉱⯤】䘬䚜妨⾈⏲ 侴塓㋽ℍ䋬炻䳪军塓⭋⇌㬣↹ˤṾ䘬ねṢ⃳匱剔䃉≃㋥㓹Ṿ侴㚵㭺冒㭢ˤ㬣⼴䘬 ⃳匱剔嬲ㆸ冒䓙⤛䤆炻↢䎦⛐冐↹䘬刦㟤呁朊⇵炻䤅䤷ッ⚳⽿⢓Ᾱ䘬䉏䈚ˤ⛐居 ⣂剔䁢 ˪刦㟤呁˫侴⮓䘬惵㦪ᷕẍ⸷㚚㚨䁢倆⎵炻侴℞䭉⻎㦪䶐⇞ᷕ⊭⏓㚱ℤ ⣷䘬䞕䫃ḇ㗗ῤ⼿㲐䚖䘬⛘㕡ˤ

妋婒烉䓙㊩临侴ᶵ⣒⾓ (Sostenuto ma non troppo) f ⮷婧炻Ḵ↮ᷳᶱ㉵⫸䘬⮶⣷炻 冯⾓㜧 (Allegro) ⚃↮ᷳᶱ㉵⫸䘬⣷沜㚚⺷ᷣ悐炻ẍ⍲䆎䇃䘬⾓㜧 (Allegro con brio) F ⣏婧 ⚃↮ᷳ⚃㉵⫸䘬䳸⯦㇨㥳ㆸˤ攳柕昌⭂枛溻ẍ⢾炻ℐ悐㦪☐ẍ f 䘬 ≃⹎⣷↢ F 枛炻䃞⼴ẍ㻠⻙䘬㕡⺷嗽䎮ˤ⻎㦪☐佌㍍叿ὧ⏰䣢↢匲慵侴㰢䃞䘬 ≽㨇炻㛐䭉ẍ⮵ỵ㕡⺷㹓㝼⛘≈ẍ㈧㍍⼴炻ℵ䓙⮷㍸䏜冯㛐䭉≈ℍ㕘䘬㕳⼳炻ḳ ⃰䁢ᷣ悐 Ḯ冾昛ˤᷣ悐䘬䫔ᶨᷣ柴炻㗗䓙⣏㍸䏜ẍᶳ埴䘬↮㔋␴⻎枛✳≈ẍ⏰ 䣢炻䴻䓙忶攨悐↮⼴炻ὅ䃞䓙⮷㍸䏜⛐䷥⣷ᷕ䡢ᾅḮ㬌ᶨᷣ柴ˤẍ旵 A⣏婧⏰ 䣢䘬䫔Ḵᷣ柴炻㗗䓙⮶⣷ᷕ⻎㦪☐佌䘬≽㨇冯℞㛐䭉ㅱ䫼↢䎦䘬␴倚⿏㦪⎍㇨㥳 ㆸˤ䘤⯽悐ẍ䫔ᶨᷣ柴䘬≽㨇䁢ᷕ⽫炻ᶵᷭ⼴⯙枸⏲↢䫔ᶨᷣ柴䘬ℵ䎦ˤℵ䎦悐 ⣏农㊱䄏ㄋἳ忚埴炻℞ᷕ䘬䫔Ḵᷣ柴ẍ旵 D ⣏婧ℵ䎦ˤ忶ᶨ㚫⃺⼴炻寶䫃ˣỶ 枛䭉冯㱽⚳嘇⻟㚱≃⣷↢䫔Ḵᷣ柴⇵⋲䘬≽㨇炻䃞⼴䓙㹓㝼㈧㍍䘬⻎㦪☐佌≈ẍ ⍵⽑炻⮷㍸䏜㰢䃞≈ẍᷕ㕟⼴炻㛐䭉忈↢Ḯ␴倚⿏䘬⮏朄䴻忶悐↮炻᷎䓙㬌忚ℍ 䳸⯦ˤẍ䫔ᶨ⮷㍸䏜⣷↢䘬䞕⮷≽㨇攳⥳䘬䳸⯦炻徸㻠⡆≈≃⹎䭱崟⤪⎴孂伶劙 晬凔䘬⢗⣏檀㼖⼴炻⻟㚱≃⛘䳸㜇㦪㚚ˤ

Symphony No. 7 in A Major, Op. 92 (1812) (36’)

A ⣏婧 䫔ᶫ嘇Ṍ枧㚚 ἄ⑩ 92

I. Poco sostenuto – Vivace 䦵ㄊ - 䓂⾓㜧

II. Allegretto 䦵⾓㜧

III. Presto ⿍㜧

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IV. Allegro con brio 䆎䇃䘬⾓㜧

Concertgebouw Orchestra, Amsterdam 匟嗕旧⥮㕗䈡ᷡṌ枧㦪⛀

Carlos Kleiber ⃳厲㝷 ㊯㎖

Ṍ枧ねṢ⣊

SymphonyNo. 8 in F Major, Op. 93 (1812)(26’) F ⣏婧 䫔ℓ嘇Ṍ枧㚚 ἄ⑩ 93

I. Allegro vivace e con brio 㳣㻹䆎䇃䘬⾓㜧

II. Allegretto scherzendo ⮷⾓㜧娤媏㚚

III. Tempo di Menuetto ⮷㬍准㚚䘬忇⹎

IV. Allegro vivace 㳣㻹䘬⾓㜧

Chicago Symphony Orchestra 剅≈⒍Ṍ枧㦪⛀

Pierre Monteux ⬇⚾ ㊯㎖

Symphony No. 9 in D Minor “Chorus”, Op. 125 (1826) (65’)

D ⮷婧 䫔ḅ嘇Ṍ枧㚚 “⎰ⓙ” ἄ⑩ 125

I. Allegro ma non troppo ⽆⭡䘬⾓㜧

II. Molto vivace 䓂㳣㻹䘬⾓㜧

III. Adagio molto e cantabile ⤪㫴䘬ㄊ㜧

IV. Allegro assai – Andante maestoso 㚨⾓㜧 匲♜䘬埴㜧

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The Gewandhaus Chorus, Leipzig Radio Chorus Ἦ㭼拓ⶫ⓮⣏⹰⎰ⓙ⛀炻Ἦ㭼拓⺋ 㑕⎰ⓙ⛀

The Gewandhaus Orchestra Ἦ㭼拓ⶫ⓮⣏⹰Ṍ枧㦪⛀

Kurt Masur ⹓䈡楔冺 ㊯㎖

ⷕ≺˪⾓㦪枴˫(1785)

䓟ᷕ枛䌐ⓙ⭋㔀婧烉ˬ☊炻㚳⍳炰ᶵ天䓐忁㧋䘬倚枛炻ㆹᾹ天㚜㬉㫋溻准⛘㬉ⓙ炰 㬉ⓙ炰㬉ⓙ炰㬉㦪⓲炰Ἀ忁ỵ㶭⸛㦪⚺墉䘬伶渿⥹⧀ˤㆹ⁷䀓䃘凔㎾㗫⛘Ἦ⇘Ἀ 忁俾⛘⣑➪ˤἈ䘬䤆≃㌫䚉ᶾ὿⍫⓮炻慵夾䱦婈⛀䳸炻⛐Ἀ䘬佥侤嬟堃ᶳ炻⚃㴟 䘬Ṣ栆䘮ㆸ⃬⻇ˤ˭ ⚃慵ⓙ烉ˬ婘⼿ⓗᶨ䘬䞍⶙䚠奒炻婘䌚䪗㵹⤛⿏剛⽫炻ὧ 婳Ἦ㬉倚⎴ㄞ烊῀劍㛒⼿㨇䶋炻ᶼ嬻Ṿ┄㲋暊攳Ṣ佌炰˭ ˬ叔䈑䘮䌚冒䃞⒢棝炻 ┬らḇ䴻勲㢀娎䃱炰冒䃞岄ㆹ伶惺楁⏣炻㚜㚱㚳⍳䓇㬣䚠⽆炻垚寽ḇ⼿柀ṓ㬉 ケ炰怬㚱⣑ἧⷠ⬰俾㭧䤆➪炰˭䓟檀枛䌐ⓙℵ≈䓟倚⎰ⓙ烉ˬ⃬⻇Ᾱ炰ᶲ⣑】⮝炻 ᶼ嬻ㆹᾹ⤪⣒春凔⛘⛐㗇晃⣼楛䇕徸炰㬉㦪⤪↙㕳䘬劙晬炰˭㺼⣷枿攟䘬忚埴 㚚ˤˬ叔⋫䛦Ṣ䚠㑩Ḻ㉙炰䚖⍿忁┬シ奒⏣炰⻇⃬Ᾱ炰婳ẘ㛃恋䛦㗇攫䆵䘬⣑ ⷽ炰恋⃺ὧ㚱ㆹᾹ㔔ッ䘬⣑䇞炰䛦Ṣ⏨炰嬻ㆹᾹ滲Ἦᶳ嶒䥖㊄炻⓷⓷㗗⏎㚱∝忈 ᷳ䤆⬀⛐炰⛐恋㔹䇃䘬㗇ⷽᷳ⢾炻⣑䇞⽭䃞䄏冐炰˭

String Quartet: Große Fuge (Grand Fugue) in B-flat, Op. 133 (1825) (15:51) ⣏岎㟤

Alban Berg String Quartett, 旧䎕居䇦㟤⻎㦪⚃慵⣷⛀ (䵕ḇ䲵⚳䩳枛㦪昊㔁㌰)

伭大⯤ Rossini, Gioacchino (1792-1868)

˪旧䇦⍲⇑Ṇ䘬佑⣏⇑⮹⤛˫“L’Italiana in Algeri” (1813)

˪⛐佑⣏⇑䘬⛇俛℞Ṣ˫“Il Turco in Italia” (1814)

ⶽ㟤⯤⯤ Paganini, Niccolo (1782-1840) 佑⣏⇑⮷㍸䏜⭞␴ἄ㚚⭞炻㗗㚨῱⣏䘬⮷㍸䏜㺼⣷⣏ⷓˤⶽ㟤⯤⯤⛐⋩⣂㬚㗪⯙

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攳⥳㕭埴㺼⣷炻ẍ䳽㈨暯樂Ḯℐ㫸㳚䘬奨䛦炻傥⛐ᶨ㡅⻎ᶲ㺼⣷㔜椾ἄ⑩炻Ữ⛐ 忁ṃ㚱㗪塓属㈹䁢䁓㈨⿏岒䘬ㆸ㝄ᷳ⢾炻ⶽ㟤⯤⯤⮵暁枛ˣ㑍⻎ˣ㲃枛搥䞼䓂㶙 -- 䯉妨ᷳ炻⌛⮷㍸䏜㇨㚱䘬㈨ⶏ -- 㚱㇨忚㬍᷎崭崲⇵ṢˤṾ⛐䓇⇵⼰⮹⎴シ↢ 䇰ἄ⑩炻ἄ⑩⊭㊔Ḯ 24 椾⮷㍸䏜䌐⣷⣯゛㚚 (Caprices) op. 1; ⻎㦪⚃慵⣷ (⛐ 㚱ṃ⚃慵⣷ᷕ䓐⎱Ṿẋ㚧⣏㍸䏜ㆾỶ枛㍸䏜)烊⸦悐⋼⣷㚚烊ẍ⍲姙⣂⣿嬲⣷㚚ˤ ⶽ㟤⯤⯤⣂慯⣂⦧䘬䓇㵗 – ⤥岕ˣ䓇㳣尒⤊ -- ẍ⍲⋻崲㈨ⶏ炻Ẍ⼴Ἦ䘬㴒㻓 㳦ἄ㚚⭞炻⤪㛶㕗䈡ˣ唕恎ˣ冺㚤ˣⶫ㉱⥮㕗⣏䁢⤥⣯ˤ忁ṃṢ㚦⮯ⶽ㟤⯤⯤䘬 ⮷㍸䏜ἄ⑩㓡⮓ㆸ护䏜㚚ˤⶽ㟤⯤⯤䘬䫔 24 椾⣯゛㚚 A ⮷婧炻⯙塓ⶫ㉱⥮㕗䓐 ⛐ ˪ⶽ㟤⯤⯤ᷣ柴嬲⣷㚚˫ᷳᷕˤ℞Ṿἄ㚚⭞炻⤪㉱崓㚤⯤媦⣓ḇẍ⎴ᷣ柴⮓ ἄ嬲⣷㚚ˤṲ㖍㺼⣷忁椾嬲⣷㚚㭼ⶽ㟤⯤⯤㛔Ṣ䘬ảỽἄ⑩㚜䁢㘖念ˤ

吋⯤ㇵ〴 Donizetti, Gaetano (1797-1848)

˪㉱㐑満䘬曚䏒Ṇ˫ “Lucia di Lammermoor” (1835)

冺ỗ䈡 Schubert, Franz (1797-1828)

“Die Forelle” D. 550 (op. 32) (1817)˪毺欂˫ 㫴娆⣏シ烉(䫔ᶨ䭨)毺欂⤪䭕ᶨ凔⛐㶭㼰䘬⮷㱛ᷕ䨧㡕㷠≽炻ㆹ䪁⛐Ⱡ怲炻ケ⾓ ⛘䚳叿欂⃺㷠㯜ˤ(䫔Ḵ䭨)㺩⣓㊧叿憋䪧䪁⛐Ⱡ怲炻Ṿ⅟朄⛘䚳叿欂⃺㷠Ἦ㷠⍣ˤ ㆹ゛⎒天㱛㯜ᶵ㶟㽩炻毺欂⯙ᶵ㚫ᶲ戌ˤ(䫔ᶱ䭨)Ữ忁屲Ṣ⣙⍣侸⿏炻゛↢⤠妰炻 ⺬㽩Ḯ㱛㯜炻㎾≽憋䪧䘬䝔攻炻欂⃺㍁ㇶ⛘塓憋Ḯ崟Ἦˤㆹ冰⤖⛘䚳叿⍿槁䘬欂ˤ

Quintetin A Major, D. 667 “Die Forelle” (1819? ) 护䏜Ḽ慵⣷炻ἄ⑩ 667 ˪毺欂˫

I. Allegro vivace 䓂⾓㜧

II. Andante 埴㜧

III. Scherzo (Presto) 娤媏㚚 ⿍㜧

IV. Thema mit Variationen (Andantino)ᷣ柴冯嬲⣷

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V. Finale: Allegro giusto 怑⹎䘬⾓㜧

Clifford Curzon, Piano 㞗ⴑ 护䏜 Members of Amadeus Quartet with Rodney Slatford – double bass 旧䐒徒㕗⚃慵⣷ㆸ ⒉冯Ỷ枛⣏㍸䏜ㇳ㕗岜ἃ Recorded at the Maltings, Snape, Aldeburg, September 28, 1977

Symphony in B Minor, D. 759 “Die Unvollendete” (The Unfinished)(1822) 䫔 7 (8) 嘇 B ⮷婧Ṍ枧㚚

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Andante con moto 㳩㙊䘬埴㜧

The Symphony Orchestra of the MDR ᷕ⽟⚳⺋㑕暣⎘Ṍ枧㦪⛀

Conductor: Daniel Nazareth ㊯㎖烉ᷡ⯤Ʉ䲵㞍暟㕗 (1948-)

Die Schöne Müllerin, D. 795 ˬ伶渿䘬䢐⛲⮹⤛˭ἄ⑩ 795 1. Das Wandern 㳩㴒 2. Wohin? ⼨ỽ嗽⍣烎 3. Halt! 楸嵛炰 4. Danksagung an den Bach デ嫅⮷㹒 5. Am Feierabend ẹ攺䘬湫㖷 6. Der Neugierge 䋄䔹䘬⽫ 7. Ungeduld 䃎ㄖ 8. Morgen gru 㖑㘐䘬⓷῁ 9. Des Müllers Blumen 䢐⛲⮹⸜䘬剙 10. Tränenregen 㶂暐 11. Mein! 剛⽫Ⱄㆹ 12. Pause ẹ〗 13. Mit dem grünen Lautenbande 䵈刚䘬䴚ⷞ 14. Der Jäger 䌝Ṣ 15. Eifersucht und Stolz ⽴⤺冯槽⁚

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16. Die liebe Farbe ╄ッ䘬柷刚 17.Die böse Farbe ⎗【䘬柷刚 18. Trokne Blumen 㝗厶䘬剙㛝 19. Der Müller und der Bach 䢐⛲⮹⸜冯⮷㹒 20. Des Baches Wiegenlied ⮷㹒䘬⁔䛈㚚

StringQuintet in C Major, Op. 163, D. 956 (1828?) C⣏婧⻎㦪Ḽ慵⣷炻ἄ⑩ 956

I. Allegro ma non troppo ᶵ⣒⾓䘬⾓㜧

II. Adagio ㄊ㜧

III. Scherzo (Presto) & Trio (Andante sostenuto) 娤媏㚚 (⿍㜧) ⍲ ᷕ攻悐 (㊩临䘬埴㜧)

IV. Allegretto ⮷⾓㜧

Amadeus Quartet with William Pleeth (Cello) Recorded at the Maltings, Snape, Aldeburg, September 29, 1977

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 17烉冺ỗ䈡˫(⎘⊿烉伶㦪炻

2002)ˤ

䘥怤⢓ Berlioz, Hector (1803-1869)

”Symphony fantastique” (1830)˪⸣゛Ṍ枧㚚˫

I. Rêveries, Passions (Dreams - Passions) ⣊冯䅙ね

II. Un bal (A Ball) 准㚫

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III. Scene aux champs (Scene at the Country) 䓘慶

IV. Marche au supplice (March to the Scaffold) 崘⎹㕟柕⎘

V. Songe d’une nuit du Sabbat – Ronde du Sabbat (Dream of a Witches’

Sabbath) 櫼櫤䘬㘂㚫ᷳ⣊ – 櫼⤛䘬徜㕳㚚

Orchestre de Paris ⶜湶䭉⻎㦪⛀

Christoph Eschenbach, Conductor 刦㢖⶜⑰ ㊯㎖ (2006)

“Harold en Italie”˪ᷕ㍸䏜ᷣ⣷Ṍ枧㚚 - ⑰㳃⽟⛐佑⣏⇑˫(1834)

I. Harold aux montagnes; Scenes de melancolie, de Bonheur et de joie

Ⱉᷕ䘬⑰伭⽟炻ㄪ櫙ˣ⸠䤷␴㬉ケ䘬⟜朊

II. Marche de pelerins, chantant la priere du soir 湫㖷ⓙ枴䣰䥙㫴䘬㛅㊄昲

ẵ

III. Serenade d’un montagbard des Abbruzes a sa maìtrsse Ṇⶫ欗⣯Ⱉ㛹墉

䘬Ṣ復䴎ッṢ䘬⮷⣄㚚

IV. Orgie de brigands, Souvenirs de scenes precedents ⛇⋒䘬梸⭜炻⇵⠝䘬徥

ㅞ

˪㴖⢓⽟䘬⣑嬜˫ (∯⊾㓭ḳ炻朆㫴∯) “La Damnation de Faust” (1846)

唕恎 Chopin, Frédéric (1810-1849)

86

㲊嗕ἄ㚚⭞ˣ护䏜⭞炻ẍ㴒㻓刚⼑䘬䓇㳣␴檀⹎ᾳṢ桐㟤䘬护䏜ἄ⑩倆⎵ˤ⮵护 䏜枛㦪㚱㶙怈䘬⼙枧ˤ唕恎㗗ỵ䤆䪍炻⛐㫸㳚⎬⛘㺼⣷炻ṓ㚱䚃嬥ˤ唕恎ᶵ㚦䳸 ⨂炻⣂デね㲊㉀炻冯㱽⚳⤛ἄ⭞╔㱣㟹䘬ㆨね㚨䁢䞍⎵ˤ200 椾ⶎ⎛䘬护䏜ἄ⑩ 㚱䶜佺㚚 (Étude)ˣ⣄㚚 (Nocturne) ˣℑ椾⣷沜㚚 (Sonata)ˣℑ悐护䏜⋼⣷㚚 (Piano Concerto)ˣ㔀ḳ㚚 (Ballade )ˣ⇵⣷㚚 (Prelude) ␴准㚚䈡⇍㗗楔⍅⌉ (Mazurka)ˣ厗䇦㹳 (Waltz) ␴㲊嗕准㚚 (Polonaise)ˤ⃀䭉⛐䭨⣷㕡朊ⷠ䓐㲊嗕㮹 攻枛㦪䘬䭨⣷炻℞⮎唕恎᷎ᶵ㍉䓐㮹㫴㚚婧ˤ枛㦪℟㚱冯䛦ᶵ⎴䘬␴倚炻䓄伶ˣ ⤪㫴䘬㚚婧ˤ忁ṃ㚚婧⣏⣂暋ẍ㺼ⓙ炻⚈䁢枛䦳⮔⺋炻崭忶Ṣ倚䘬枛➇ˤ

Introductionand Polonaise brillante, Op. 3 ⮶⣷(⸷⣷)冯㲊嗕准㚚

Introduction. Lento 䶑䇰

Alla Polacca. Allegro con spirito 㲊嗕准㚚 㚱䱦䤆䘬⾓㜧

PierreFournier, Cello JeanFonda, Piano

䤷⯤叱 ⣏㍸䏜 㰇Ʉ㕡忼 护䏜 Nov. 18, 1965

Polonaisein A flat major, Op. 53 “Heroic” 旵A⣏婧㲊嗕准㚚 ˬ劙晬˭ Maestoso 匲♜䘬 ⦩♜䘬 ⬷⣏䘬 ➪䘯䘬

Artur Rubinstein, Piano 欗屻㕗✎ May26, 1968

⍫侫㚠䚖烉Szulc, Tad 叿炻楔㯠㲊嬗炻˪唕恎⛐⶜湶˫(⎘⊿烉檀婯㔯⊾炻2007)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 4烉唕恎˫(⎘⊿烉伶㦪炻1993)ˤ

冺㚤 Schumann, Robert (1810-1856) ⽟⚳ἄ㚚⭞炻ᷣ天ẍ㫴㚚␴护䏜ἄ⑩倆⎵炻忁ṃ枛㦪嫱㖶冺㚤㗗 㴒㻓ᷣ佑 (Romanticism) 㚨῱⣏䘬枛㦪⭞ˤ 冺㚤䘬枛㦪䳸⎰Ḯ⤪㫴䘬㕳⼳␴墯暄䘬䭨⣷炻 ẍ⍲„䇦↢䎦䘬⻟䁰㇚∯⿏ㆸ↮ˤ 冺㚤デ⇘冒⶙Ṣ㟤䘬↮塪烉㔯晭ˣ娑シ䘬㛔 岒炻␴⻟䁰ˣ堅≽䘬ᶨ朊ˤ 冺㚤㲘⋲䘬㗪攻䓇㳣⛐䱦䤆ⳑ㼘䘬⿸ㆤᷕ炻㚨⼴⛐

87

䱦䤆䕭昊必ᶾ炻ṓ⸜ 46 㬚ˤ 㚨⇅冺㚤゛天ㆸ䁢㺼⣷⭞ˤ⛐厲㭼拓晐⦩⃳ (F. Wieck) 佺䏜炻⼴Ἦ冯⦩⃳䘬⤛⃺⃳㉱㉱䳸⨂ˤ⃳㉱㉱㗗῱⣏䘬冺㚤㺼⣷⭞炻ḇ㗗ᶨỵἄ 㚚⭞ˤ冺㚤䁢Ḯ娎⚾⻟⊾ㇳ䘬≃慷炻ἧ⼿ᶨ晣ㇳ㊯㯠ᷭ㭀⺊炻䳪䳸Ḯ冺㚤䘬㺼⣷ 䓇㵗ˤᷳ⼴冺㚤廱⎹ἄ㚚炻⮰攨⮓ἄ护䏜㚚 (䚜⇘ 1840)ˤἄ⑩䓙⥣⫸⃳㉱㉱⍲ 㛶㕗䈡堐㺼ˤ冺㚤ḇ⮓枛㦪婾㔯炻ㆸ䁢㶙℟⼙枧≃䘬˪㕘枛㦪暄娴˫∝⥳侭ˤ德 忶叿ἄ炻冺㚤ㆸ䁢㧁柴枛㦪␴㇚∯枛㦪䘬♜⍚⍵⮵侭ˤ 忁ṃ㗗䓙㛶㕗䈡㍸↢炻 ⼴Ἦ塓厗㟤䲵两㈧䘬䎮⾝ˤ (冺㚤) ᷫㆸ䁢唕恎冯ⶫ㉱⥮㕗䘬㑩嬟侭ˤ⃳㉱㉱溻 ⊝冺㚤▿娎⮓ἄ㫴㚚炻⛐ 1840 ᶨ⸜ᷳ攻炻 ℙ⮓ἄ 120 椾㫴㚚炻⊭㊔倗䭯㫴 㚚˪⤛Ṣ䘬ッ冯䓇␥˫␴˪娑Ṣᷳㆨ˫炻墉朊⊭⏓Ḯ㝸ṃ冺㚤䘬㚨Ἓἄ⑩ˤᷳ⼴ 廱⎹㚜⣏䘬㚚⺷炻⮎晃⬴ㆸḮ⚃悐Ṍ枧㚚ˣ⻎㦪⚃慵⣷␴℞Ṿ⭌ℏ㦪㚚ˣ⺋⍿㬉 彶䘬 A ⮷婧护䏜⋼⣷㚚ˣA ⮷婧⣏㍸䏜⋼⣷㚚炻⍲ᶨṃ㇚∯␴⎰ⓙἄ⑩ (⎰ⓙ㚚 䎦Ṳ⼰⮹㺼↢)ˤ 冺㚤䘬喅埻㫴㚚堐䎦↢⮵娑⎍䘬㤝Ἓ夳妋炻⮵护䏜Ờ⣷䘬嗽䎮 䓂军㭼冺ỗ䈡㚜䱦䶣ˤ 护䏜㚚⣏悐↮䁢䞕㚚炻⛐墯暄䘬䭨⣷␴㉵⫸炻⍲↢℞ᶵ シ䘬␴倚嬲⊾ᶲ炻㗗℠✳䘬㴒㻓㳦ˤ护䏜㚚ᷕ‹↢䘬ἄ⑩㚱 ˪Ṍ枧䶜佺㚚˫ˣ˪⣏ 堃⎴䚇准㚚˫ˣ˪⃳厲㕗≺櫪˫ˣ˪䲨⾝Ⅎ枩˫ˣ˪剙ᷳ㫴˫␴˪⸥満㚚˫ˤ℞Ṿἄ⑩ ᷕ炻䁢⒍⽟㇚∯˪㚤ἃ暟⽟˫⮓䘬⸷㚚␴惵㦪ṵ䴻ⷠᶲ㺼ˤ 㬌⢾炻⣏㍸䏜㚚㚱 ㄊ 㜧冯⾓㜧 (Adagio and Allegro)ˣᶱ椾⸣゛㚚 (Fantasty) 冯Ḽ椾⛇桐准㚚 (Five Pieces in Folk Style)ˤ

Concert Piece for Four Horns and Orchestra in F Major, op. 86 (1849) 䁢⚃㈲㱽⚳ 嘇䘬⮷⋼⣷㚚

Concertofor Violoncello and Orchestra in A minor, Op. 129 (1850) A ⮷婧⣏㍸䏜⋼⣷㚚炻 ἄ⑩ 129

I. Nicht zu schnell (Not too fast) ᶵ⣒⾓

II. Langsam (Slowly) ㄊ㜧

III. Sehr lebhaft (Very lively) 朆ⷠ㳣㻹

Mstislav Rostropovich, violoncello 伭㕗䈡㲊䵕⣯炻 ⣏㍸䏜 (1975)

Leonard Bernstein, Conductor ỗ】㕗✎炻㊯㎖

88

Mischa Maisky 湍㕗➢炻⣏㍸䏜 (1986)

Leonard Bernstein, Conductor ỗ】㕗✎炻㊯㎖

⍫侫㚠䚖烉Ostwald, Peter F. 叿炻⻝㴟䅽嬗炻˪櫼櫤䘬栓枛烉冺㚤䘬ᶨ䓇˫(⎘⊿烉

檀婯㔯⊾炻2006)

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 23烉冺㚤˫(⎘⊿烉伶㦪炻1995)ˤ

⃳㉱㉱Ʉ冺㚤 Schumann, Clara Wieck (1819-1896) ἄ㚚⭞ˣ护䏜⭞ˤ9 㬚㗪ẍ护䏜⭞䘬幓ấ椾㫉䘣⎘炻4 ⸜⼴攳⥳⭂㛇ⶉ徜㫸㳚㺼 ↢ˤ1840 ⸜␴冺㚤䳸⨂炻昌Ḯ䓇做 7 ᾳ⬑⫸䘬㛇攻⢾炻㊩临ⶉ徜㺼↢ 50 ⸜ẍᶲˤ ⃳㉱㉱㔁㌰护䏜炻᷎㊯⮶⸦㇨枛㦪⬠㟉ˤ⣏⋲䘬㗪攻ˣ䱦≃农≃㕤㍐⺋冺㚤䘬枛 㦪ᶲ烊屈屔↢䇰␴ᶲ㺼炻᷎奒冒㺼⣷姙⣂冺㚤䘬护䏜㚚␴⭌ℏ㦪㚚ˤ⃳㉱㉱ḇ㺼 ⣷姙⣂㐗⍳䘬ἄ⑩炻⤪ⶫ㉱⥮㕗ˤ⃳㉱㉱䘬ἄ⑩㚱ᶨ椾护䏜⋼⣷㚚炻⭌ℏ㦪㚚㚱 G ⮷婧护䏜ᶱ慵⣷炻怬㚱⣏慷䘬护䏜䞕㚚␴㫴㚚ˤ

⍫侫㚠䚖烉Reich, Nancy B. 叿炻昛䥳厵ˣ㷠㵹Ⲙ嬗炻˪⤪㝄炻ᶵ㗗冺㚤˫(⎘⊿烉 檀婯㔯⊾炻2006)

㛶㕗䈡 Liszt, Franz (1811-1886) ⊰䈁⇑ἄ㚚⭞␴护䏜⭞炻19 㗗㖊㴒㻓㳦枛㦪῱⣏䘬⎵Ṣᷳᶨˤ䔞ẋἄ䁢ᶨỵ䱦 㸃䘬护䏜㺼⣷⣏ⷓ炻␴䁢忁㦪☐㇨∝ἄ䘬廅䃴ἄ⑩侴倆⎵ˤ䔞ṲṢᾹ怬㈲㛶㕗䈡 䁢㧁柴Ṍ枧㦪␴Ṍ枧娑䘬䘤㖶侭侴姀⼿Ṿˤ㛶㕗䈡 9 㬚㗪攳⥳冱埴护䏜枛㦪 㚫ˤ20 㬚㗪炻Ṿ␴ᶨỵ⶚⨂䘬ỗ䇝⣓Ṣ㚱ㆨね炻ṾᾹᶱᾳ⬑⫸ᷕ䘬ᶨỵ炻䥹大 䐒⼴Ἦ⩩䴎厗㟤䲵ˤ1848 ⸜㛶㕗䈡㑼ả⭖⺟枛㦪㊯⮶炻⛐⽟⚳䘬⦩䐒⭂⯭ˤṾ ἧ⦩䐒ㆸ䁢ᶨᾳ῱⣏䘬㔯⊾ᷕ⽫ (厗㟤䲵䘬㫴∯˪伭】㟤㜿˫⛐㬌椾㫉ᶲ㺼炻䘥 怤⢓䘬枛㦪⛐⽟⚳椾㺼)ˤ㬌㗪㛶㕗䈡攳⥳⮰⽫㕤冒⶙䘬∝ἄˤṾ㖑㛇䘬护䏜ἄ ⑩⛐㈨ⶏᶲẌṢ孂▮ᶵ⶚炻㚱ℓ⹎␴⋩⹎䘬枛昶㦪䭨炻ㆸᷚ䘬暯枛␴䏞枛ẍ⍲嬲 ⊾␴⻎䘬廱㎃炻Ữ㬌㗪Ṿ嬲⼿⮵护䏜䘬堐䎦䈡⿏㚜デ冰嵋ˤṾ堅䟜Ḯ⎌℠㗪㛇䘬 㚚⺷炻⤪⣷沜㚚炻攳⥳ἧ䓐忁㧋䘬㧁柴炻⤪ ˬ䉪゛㚚˭ˣˬ⸣゛㚚˭ˣˬ⣄㚚˭ˣˬず 㫴˭␴ˬ㔀ḳ㚚˭炻ẍ冒䓙䘬㚚⺷⮓ἄˤ忂ⷠẍ╖㦪䪈↢䎦炻⛐㦪㚚ᷕẍ䞕⮷≽ 㨇䘬㕡⺷忋ℵᶨ崟炻⍵央ˣ嬲⊾ℵ⍵央ˤ㛶㕗䈡忳䓐忁䧖䳸㥳ㇳ㱽ẍ⍲⮵⋲枛␴ 倚冯朆⁛䴙㚚婧䘬⮎槿炻枸䣢Ḯ厗㟤䲵䘬朑㕘ˤ㚱Ṣ娵䁢炻䓂军⎗傥枸䣢Ḯ 20

89

ᶾ䲨䃉婧⿏㚚婧␴墯婧⿏␴倚䘬朑㕘ˤ 昌⍇Ἦ䘬护䏜ἄ⑩ᷳ⢾炻㛶㕗䈡怬⮓Ḯ 㔠⋩悐䭉䳫㦪␴倚㦪ἄ⑩䘬护䏜䶐㚚炻℞ᷕ㚱居⣂剔䘬ℐ悐Ṍ枧㚚ˣ䘥怤⢓䘬˪⸣ ゛Ṍ枧㚚˫␴唕恎ˣ冺ỗ䈡⍲冺㚤䫱姙⣂㫴㚚䘬护䏜䶐㚚ˤ

厗㟤䲵 Wagner, Richard (1813-1883)

˪Ⓒ㆟䐇˫“Tannhäuser” (1845)

˪Ⲽ㕗✎冯Ẳ䳊⽟˫“Tristan und Isode” (1865)

˪䲸ΐ⟉䘬⎵㫴ㇳ˫“Die Meistersinger von Nürnberg” (1868)

˪⯤居漵㟡䘬㊯䑘˫“Der Ring des Nibelungen” (1876)

˪厲勝䘬湫慹˫“Das Rheingold” (1869)

˪⤛㬎䤆˫“Die Walküre” (1870)

˪滲㟤梃˫“Siegfried” (1876)

˪媠䤆䘬湫㖷˫“Götterdämmerung” (1876)

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 2烉厗㟤䲵˫(⎘⊿烉伶㦪炻

1999)ˤ

伭➢㓷ˣ㠭㦪ṁ (Jürgen Maehder)炻˪厗㟤䲵Ʉ˪㊯䑘˫Ʉ㊄欗䈡˫(⎘⊿烉檀婯㔯

⊾炻2006)ˤ

⦩䇦䫔 Verdi, Giuseppe Fortunio Francesco (1813-1901)

90

˪楔⃳䘥˫“Macbeth” (1847)

ẍᶳ屯㕁⍾冒∱ⱈ㷕㺼嫃嫃佑烉

∯ᷕṢ䈑烉

惏偗ĩ喯㟤嗕⚳䌳) Duncan ⎒㺼ᶵⓙ

楔䇦⹟ĩ惏偗ᷳ⫸) Malcolm 䓟檀枛

楔⃳䘥 Macbeth 䓟ᷕ枛

楔⃳䘥⣓Ṣ ⤛檀枛

䎕䍪ĩ惏偗ᷳ⣏⮯) Banquo 䓟Ỷ枛

湍⃳㛝⣓ĩ喯㟤嗕屜㕷) Macduff 䓟檀枛

㗪攻ˣ⛘溆烉11 ᶾ䲨䘬喯㟤嗕

䫔ᶨⷽ烉

㙜桐暐ᷕ䘬⍇慶炻ᶨ佌⤛ⶓ䫱叿楔⃳䘥⍲䎕䍪䘬⇘Ἦˤ暁㕡㚫朊⼴炻⤛ⶓᾹ枸

䤅楔⃳䘥⮯⋯䁢屜㕷炻᷎㚫ㆸ䁢⚳䌳炻Ữḇ枸妨䎕䍪⮯ㆸ䁢⚳䌳䘬䇞奒ˤᶵᷭ⼴

楔⃳䘥㝄䃞塓⚳䌳⮩䁢 CAWDOR 䘬屜㕷ˤ

楔⃳䘥⣓Ṣ㬋嬨叿楔⃳䘥⃭㺧ẩ⚾⽫䘬ᾉˤ楔⃳䘥⚆ἮḮ炻᷎婒⚳䌳天Ἦ㬌忶

⣄炻晐⼴⯙⇘ˤ楔⃳䘥㕤㗗冯⣓Ṣ⚾媨⺺⏃ˤḴṢ妰媨⼿忆炻㭢㬣惏偗炻⣓Ṣ᷎

91

⮯埨嶉㉡⛐愱惺䘬堃ℝ幓ᶲ炻⩩䤵᷎㭢ᷳˤ䎕䍪⍲湍⃳㛝⣓㤝暯樂炻娻妨䶅⃯ˤ

䫔Ḵⷽ烉

楔⃳䘥两ả䌳ỵ炻楔䇦⹟徫⼨劙⚳炻⚈侴側屈⩴䔹炻⣓Ṣ天楔⃳䘥㭢㬣䎕䍪⍲

℞⫸ˤ

⣄㘂䘬剙⚺ᷕ炻❳ặ䘬㭢ㇳ㸏⎹䎕䍪䇞⫸炻⣄ᷳ⿸⾾炻⤪⎴惏偗塓㭢䔞⣄炻䎕

䍪塓㭢炻⃺⫸徫忠ˤ

楔⃳䘥⛐⭖ᷕ姕⭜炻Ữ⽫墉⽸⽹ᶵ⬱炻⼿䞍䎕䍪⶚㬣⼴炻㕡ㇵ檮⎋㯋ˤỮṾṵ

‥┬⛘㉙⿐炻䎕䍪㰺Ἦ崜⭜炻⼴Ἦ䔞楔⃳䘥天ℍⷕ⯙ỵ㗪炻崓䃞䘤䎦䎕䍪䘬櫤櫪

⛸⛐Ṿ䘬⹏ỵᶲ炻⣓Ṣᶵ㕟⛘䁢Ṿ㍑梦炻Ữ⭊Ṣ⛯デ⇘⭛⾽侴崘性炻湍⃳㛝⣓奢

⼿ḳ㚱已帢ˤ

䫔ᶱⷽ烉

楔⃳䘥ℵ⎹⤛ⶓ⓷娙炻⼿⇘䘬⚆䫼㗗ˬ⎒天㗗塓⤛Ṣ䓇ᶳἮ䘬炻䳽䃉㱽㇘⊅Ἀ炻

昌朆ỗ⋿⛘⋨䘬㢖㜿䦣ỵḮ炻Ἀ䘬䌳ỵ䃉⎗㑤㎾ˤ˭楔⃳䘥⓷⍲䌳ỵ两㈧侭炻⤛

ⶓ堐䣢䃉⎗⣱⏲炻Ữ⌣嬻㬟ẋℓỵ⚳䌳䘬⼙⁷↢䎦ˤ䔞楔⃳䘥夳⇘㚨⼴ᶨỵ䪇䃞

㗗ㇳ㊩掉⫸䘬䎕䍪ᷳ⼴䩳⌛㖷Ὰˤ⭌ᷕ櫤櫪ᷳ准嬻楔⃳䘥愺Ḯ忶Ἦ炻⣓Ṣ䌣妰㭢

㬣ṵ⛐喯㟤嗕ᷳ湍⃳㛝⣓⭞Ⱄ⍲℞Ṿ⮵ㇳˤ

䫔⚃ⷽ烉

䁢Ḯ⟙⽑⭞Ⱄ塓㭢炻湍⃳㛝⣓倗⎰楔䇦⹟炻Ự会⣏幵㕤劙⚳冯喯㟤嗕怲⠫ˤ暋

㮹䳃䳃㍏姜楔⃳䘥ᷳ㭀㙜炻楔䇦⹟ᶳẌ㓣㑲㗪炻㭷ỵ⢓ℝ⛯䞵ᶳỗ⋿㢖㜿ᷳ㧡㝅

92

㍑嬟⇵忚ˤ

⛐楔⃳䘥䘬⭖⹕墉炻慓䓇⍲ἋṢ㕤㶙⣄䫱῁叿⣊忲䘬⣓Ṣ炻⤡ᶨ共娕䔘⛘↢䎦

Ḯ炻᷎㗪㗪㲿ㇳ炻⤥⁷天㲿⍣埨㻔Ụ䘬ˤ

楔⃳䘥䧵㤝⁁㇘炻䨩䃞⁛Ἦ⣓Ṣ⶚⍣ᶾ䘬㴰〗炻楔⃳䘥デ▮烉ˬṢ䓇ᶵ忶㗗ヂ

Ṣ㔀徘ᷳ䪍娙ˣ昋桐ˣ倚枧䫱䨢㳆䘬㜙大侴⶚ˤ˭㍍叿⍰⟙炻㔜⹏ỗ⋿䘬㢖㜿炻

⎹❶䦣Ἦˤ

㇘⟜ᶲ炻楔⃳䘥冯湍⃳㛝⣓Ṍ扺炻楔⃳䘥⛐⼿䞍湍⃳㛝⣓ᶵ㗗塓㭵奒ˬ䓇ᶳ˭

侴㗗ˬ⇾儡⍾↢˭忁ẞḳᷳ⼴炻晐⌛塓湍⃳㛝⣓㭢㬣ˤ楔䇦⹟塓㑩䩳䁢㕘䌳ˤ

ẍᶲ屯㕁⍾冒∱ⱈ㷕㺼嫃嫃佑

˪⎚ⷅ屣慴㫸˫“Stiffelio” (1850)

˪勞剙⤛˫“La Traviata” (1853)

˪␥忳ᷳ≃˫“La Forza del Destino” (1862)

˪旧Ẳ忼˫“Aida” (1871)

˪⬱櫪㚚˫“Requiem” (1874)

˪⤏㲘伭˫“Otello” (1887)

⍫侫㚠䚖烉㜿⊅₨ˣ㛶泃劙嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 24烉⦩䇦䫔/㴎⣹

˫(⎘⊿烉伶㦪炻2010)ˤ

93

⎌媦 Gounod, Charles (1818-1893)

˪伭⭮㫸冯務渿叱˫“Roméo et Juliette” (1867)

⤏剔⶜⑰ Offenbach, Jacques (1819-1880)

˪⤏厚㫸㕗⛐⛘⹄˫“Orphée aux enfers”(“Orpheus in the Underworld”) (1858)

⮷䲬侘Ʉ⎚䈡⊆㕗 Strauss, Johann, Jr (1825-1899)

⤏⛘⇑ἄ㚚⭞䇞⫸ᷳ⎵炻ᷣ天ẍ厗䇦㹳准㚚倆⎵ˤ侩䲬侘⎚䈡⊆㕗 (1804-1849) ⮷㍸䏜⭞ˣ㊯㎖⭞ˣἄ㚚⭞ˤ昌Ḯ厗䇦㹳准㚚炻ḇ∝ἄḮ姙⣂㲊䇦⌉准㚚␴忚埴 㚚ˤ㚨叿⎵䘬ἄ⑩㗗ẍ⤏⛘⇑映幵⃫ⷍ⎵⫿␥⎵䘬˪㉱溃㕗➢忚埴㚚˫炻塓夾䁢 㗗䴙㱣⤏⛘⇑䚜⇘ 1918 ⸜䘬⑰ⶫ㕗⟉䌳㛅䘬尉⽝ˤ

⮷䲬侘⎚䈡⊆㕗 (1825-1899) ⮷㍸䏜⭞ˣ㊯㎖ˣ叿⎵䘬ˬ⚻准㚚ᷳ䌳˭ˤ昌Ḯ˪啵 刚⣂䐁㱛˫ˣ˪䵕ḇ䲵㢖㜿䘬㓭ḳ˫䫱厗䇦㹳准㚚ᷳ⢾炻怬⮓ἄ㲊䇦⌉䫱℞Ṿ准㚚炻 ⍲姙⣂庽㫴∯ˤ⮷䲬侘⎚䈡⊆㕗㚨⤥䘬庽㫴∯㗗烉˪圁圈˫␴˪⎱㘖岥䓟䇝˫炻ṵ 䴻ⷠᶲ㺼ˤ

2007 Neujahrskonzert New Year’s Concert Wiener Philharmoniker Zubin Mehta, Conductor

2007 ⸜䵕ḇ䲵ッ㦪䭉⻎㦪⛀㕘⸜枛㦪㚫 䣾屻㠭⟼ ㊯㎖

╄㫴∯ ˪圁圈˫Die Fledermaus

ⶫ㉱⥮㕗 Brahms, Johannes (1833-1897) ⽟⚳ἄ㚚⭞炻‹↢䘬⋩ḅᶾ䲨枛㦪⭞ˤ↢䓇⛐㻊⟉炻ⶫ㉱⥮㕗㖑⸜⯙㗗ㇵ厗↢䛦 䘬护䏜⭞ˤ20 㬚⇵⼴ㆸ䁢䔞㗪⎵⮷㍸䏜⭞暟㠭⯤ (E. Reményi) 䘬护䏜Ờ⣷炻ḇ 攳⥳冯冺㚤⣓⨎䘬䳪幓⍳婤ˤ冺㚤⁦≃⭋⁛ⶫ㉱⥮㕗䘬枛㦪ˤ⎎ᶨỵ奒⭮䘬⍳Ṣ

94

㗗⮷㍸䏜⭞⦂旧⸠ (J. JoachimĪ炻ⶫ㉱⥮㕗䁢Ṿ⮓ἄⓗᶨ䘬⮷㍸䏜⋼⣷㚚ˤ1863 ⸜ⶫ㉱⥮㕗⛐⤏⛘⇑䵕ḇ䲵⭂⯭䚜⇘⍣ᶾˤ

ⶫ㉱⥮㕗两㈧Ḯ⽆卓ㇶ䈡军居⣂剔䘬⎌℠⁛䴙炻⛐枛㦪䳸㥳ᶲ思⽒♜㟤䘬夷⇯ˤ Ữ㗗⛐堐忼㕡⺷ˣ㫴ⓙ⿏䘬㚚婧ẍ⍲⮵䭨⣷䌐∝⿏䘬忳䓐㕡朊㚜䁢栗叿ˤ⎎ᶨ㕡 朊炻䓙㛶㕗䈡␴厗㟤䲵䘬枛㦪㇨ẋ堐䘬 19 ᶾ䲨㕘㴒㻓㦪㳦䘬⁦⎹炻娎⚾ἧ枛㦪 ⽆♜㟤䘬⼊⺷ᷕ㒢僓↢Ἦˤ⛐ⶫ㉱⥮㕗ϕ䓇炻Ṿ䘬㓗㊩侭冯㛶㕗䈡␴厗㟤䲵䘬㓗 ㊩侭⼊ㆸℑᾳ⻟≃⮵ⲁ䘬昋䆇ˤ

昌Ḯ㫴∯␴∯⟜枛㦪ẍ⢾炻ⶫ㉱⥮㕗⸦᷶⮓ἄ⎬䧖枛㦪⼊⺷䘬ἄ⑩ˤᷣ天䘬䭉䳫 㦪㚚ἄ⑩⊭㊔⚃悐Ṍ枧㚚 (⛐㚨⼴⋩⸜攻⮓ἄĪ炻ℑ椾护䏜⋼⣷㚚ˣ⮷㍸䏜⋼⣷ 㚚ˣ⮷㍸䏜冯⣏㍸䏜暁⋼⣷㚚ˣ⣏慷䘬⊰䈁⇑准㚚ˣℑ椾䴻ⷠᶲ㺼䘬枛㦪㚫⸷㚚 炷˪⬠昊⸷㚚˫␴˪ず∯⸷㚚˫炸ẍ⍲叿⎵䘬ġ ˪㴟枻ᷣ柴嬲⣷㚚˫ˤṾ‹↢䘬⎰ⓙ ἄ⑩㚱˪⽟シ⽿⬱櫪㚚˫ (Ein deutsches Requiem)炻䁢⤛Ỷ枛ˣ䓟倚⎰ⓙ冯䭉⻎㦪 䘬˪䉪゛㚚˫(Rhapsody) (⤛Ỷ枛䉪゛㚚) ␴˪␥忳ᷳ㫴˫(schicksalslied)ˤ㬌⢾炻 ⶫ㉱⥮㕗怬⮓㚱⣏慷䘬护䏜㚚炻℞ᷕ⊭㊔˪ⶽ㟤⯤⯤ᷣ柴嬲⣷㚚˫␴㔠䘦椾喅埻 㫴㚚炻℞ᷕ姙⣂㫴㚚⎵↿喅埻㫴㚚䴻℠ˤ

Triofor Piano, Violin and Cello in B Major, op. 8 (1890) B ⣏婧䫔ᶨ嘇护䏜ᶱ慵⣷

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Allegro molto ⼰⾓䘬⾓㜧

III. Adagio ㄊ㜧

IV. Allegro ⾓㜧

SymphonyNo. 1 in C Minor, op. 68 (1876) C ⮷婧䫔ᶨ嘇Ṍ枧㚚炻ἄ⑩ 68

I. Un poco sostenuto 䦵⽖㊩临䘬

95

II. Andante sostenuto ㊩临䘬埴㜧

III. Un poco allegretto e grazioso 㹓晭侴䔍⾓䘬䦵⾓㜧

IV. Adagio ㄊ㜧

Concerto for Violin and Orchestra in D Major, Op. 77

D ⣏婧⮷㍸䏜⋼⣷㚚炻ἄ⑩ 77

I. Allegro non troppo ⽆⭡䘬⾓㜧

II. Adagio ㄊ㜧

III. Allegro giocoso, ma non troppo vivace ⪱忲ˣ䓇≽䘬⾓㜧炻朆⼰⿍䘬⿍ 㜧

David Oistrakh, Violin

PianoTrio in C Major, op. 87 (1882) C ⣏婧䫔Ḵ嘇护䏜ᶱ慵⣷炻ἄ⑩ 87

I. Allegro ⾓㜧

II. Andante con moto 㳩㙊䘬埴㜧

III. Presto 娤媏㚚 ⿍㜧

IV. Allegro giocoso 忲㇚Ụ䘬⾓㜧

SymphonyNo. 3 in F Major, op. 90 (1883)

F ⣏婧䫔ᶱ嘇Ṍ枧㚚炻ἄ⑩ 90

96

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Andante 埴㜧

III. Poco Allegretto 䔍⾓䘬䦵⾓㜧

IV. Allegro ⾓㜧

PianoTrio in C Minor, op. 101 (1886) C ⮷婧䫔ᶱ嘇护䏜ᶱ慵⣷炻ἄ⑩ 101

I. Allegro energico ⃭㺧㳣≃䘬⾓㜧

II. Presto non assai ᶵ⣒⾓䘬⿍㜧

III. Andante grazioso 㹓晭䘬埴㜧

IV. Allegro molto ⼰⾓䘬⾓㜧

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 7烉ⶫ㉱⥮㕗˫(⎘⊿烉伶㦪炻

1993)ˤ

欹伭⭂ Borodin, Alexader Porfir’yevich (1833-1887)

StringQuartet No. 2 in D Major (1881)

D ⣏婧⻎㦪⚃慵⣷

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Allegro 娤媏㚚ˣ⾓㜧

97

III. Notturno ⣄㚚

IV. Andante 䳪㚚ˣ埴㜧

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 22烉Ὤ伭㕗⚳㮹㦪㳦˫(⎘ ⊿烉伶㦪炻1995)ˤ

漸攳⇑炻漸➢刦⇑ Ponchielli, Amilcare (1834-1886)

˪╔⭖忼˫ㆾ˪⾓㦪䘬⤛⬑˫“La Gioconda” (1876)

俾㟹 Saint-Saëns, Charles Camile (1835-1921)

Introduction et rondo capriccioso for Violin and Orchestra, op. 28 (1868) ⸷⣷

冯⣯゛徜㕳㚚

Concerto for Cello and Orchestra No. 1 in A Minor, op. 33 (1873)

Allegro non troppo – Allegretto con moto – Un peu moins vite

˪⍫⬓冯忼渿㉱˫ㆾ˪曠䌳⤾⦔˫“Samson et Dalila” op. 47 (1872)

ⶫ欗崓 MaxBruch (1838-1920)

Violin Concerto No. 1 in G Minor (1868)

I. Allegro moderato ᷕ⹠䘬⾓㜧

98

II. Adagio ㄊ㜧

III. Allegro energetico 㚱㳣≃䘬⾓㜧

㭼ㇵ Bizet,Georges (1838-1875)

˪⌉攨˫“Carmen” (1875)

䧮㡕㕗➢ Mussorgsky, Modest Petrovich (1839-1881)

Picturesat an Exhibition (1874)

⯽奥㚫ᷳ䔓

䧮㡕㕗➢䘬护䏜㚚昌˪⯽奥㚫ᷳ䔓˫ᷳ⢾炻⸦᷶㰺㚱ảỽ↢⎵䘬ἄ⑩ˤ㬌敽˪⯽

奥㚫ᷳ䔓˫⣏⣂ḇẍ䭉⻎㦪䘬䶐㚚塓㺼⣷炻侴ṢᾹ斄⽫䘬忂ⷠḇ㗗℞桐὿䘬㍷

⮓ˣ寸⭴䘬堐䎦≃冯⚳㮹ᷣ佑䘬ℏ⭡炻侴ᶵ㗗℞幓䁢护䏜㚚䘬䛇㬋₡ῤˤ⽆䧮㡕

㕗➢㛔Ṣ⯙㑩㚱⋻崲䘬护䏜㈨ⶏἮ䚳炻Ṿ㇨⮓䘬护䏜ἄ⑩䔞䃞ᶵ⤪㬌侴⶚炻Ữ

⽆喅埻㛔岒䘬⮓⮎ᷣ佑䩳⟜Ἦ䚳炻⿸⾽ḇᶵ⃩姙Ṿ⣒忶䁓侨檀崭䘬㈨ⶏˤ⊭㊔㫴

㚚䘬Ờ⣷悐↮炻℞䁢护䏜侴⮓䘬㦪嬄炻⸦᷶⎗ẍ娵䁢悥㗗枸⃰䁢䭉⻎㦪ㇻᶳ䘬勱

䧧ˤ

˪⯽奥㚫ᷳ䔓˫护䏜䳬㚚ἄ㕤 1874 ⸜ˤ㉱⦩䇦䘬䶐㚚㗗 1922 ⸜ˤ㬌敽䳬㚚ᶵ

㗗䧮㡕㕗➢䘬ẋ堐⿏㦪☐ἄ⑩炻㚜㗗 19 ᶾ䲨Ὤ伭㕗Ữ倚㚨℟䌐∝⿏䘬护䏜枛

㦪ˤℐ⍾㗗䓙冯ˬ䔓˭㚱斄䘬⋩椾⮷⑩炻ẍ⍲㑼ả⇵⣷冯攻⣷≇傥䘬ˬ㻓㬍˭

(Promenade) ㇨㥳ㆸ炻℞伶⥁䘬㌺↿㕡⺷炻ᶵỮ⛐ℐ㚚ᷕ㲳㹊↢䧮㡕㕗➢䌐䈡⣏

入䘬䌐∝⿏炻℞枛㦪䘬㕘歖⹎军Ṳṵ䴚㮓㰺㚱徨刚ˤ℞䚜㇒Ḯ䔞䘬堐䎦⿏ḇ䴎Ḱ

㱽⚳⌘尉㳦䫱⎬ᾳⰌ朊㤝⣏䘬⼙枧ˤ㛔㚚㦪嬄㗗⛐䧮㡕㕗➢㗗㗗Ḽ⸜⼴䘬 1886

99

⸜炻⛐㛶⥮㕗➢ – 檀㱁⎗⣓䘬㕉㕳ᶳ↢䇰炻Ữ䔞㗪⸦᷶怬㛒塓㺼⣷忶ˤ㚚⫸⏰

䌣䴎⎚⟼䳊⣓ (Vladimir Vasil’yevich Stasov 1824 - 1906) ˤ⎚⟼䳊⣓㗗喅埻⎚⭞炻

ḇ㗗枛㦪冯伶埻䘬姽婾⭞炻ᶵỮ䅙⽫娈㇞Ὤ伭㕗嬗徘䘬⮓⮎ᷣ佑⁦⎹炻㚜⻟䁰㓗

㊩˨ḼṢ䳬˩䘬枛㦪ˤ

ἄ㚚䴻忶烉1873 ⸜炻 䧮㡕㕗➢䘬⤥⍳炻ḇ⯙㗗㽨忚㳦䘬⺢䭱⭞䵕⃳⣂Ʉ⑰䈡㚤

(Victor Hartman 1842 - 1873) 必ᶾˤ⮵㕤忁ỵ⶚䴻Ṍ⼨⚃⸜䘬⤥⍳ᷳ㬣炻䧮㡕㕗

➢Ụ᷶⍿⇘㤝⣏䘬ㇻ㑲ˤ佴⸜ 1 㚰炻⎚⟼䳊⣓䫱Ṣ⛐俾⼤⼿⟉䘬伶埻⬠㟉冱彎⑰

䈡㚤䘬怢ἄ⯽炻㚫⟜⊭⏓姕妰⚾ˣ䳈㍷ẍ⍲⎬䧖⚾䔓ℙ⯽↢⚃䘦ẞẍᶲ䘬ἄ⑩ˤ

䧮㡕㕗➢⌛⽆㬌ᶨ⯽奥㚫䌚⼿曰デ侴叿ㇳ∝ἄ㬌敽䳬㚚ˤ

㉱⦩䇦䘬䶐㚚䇰 Ὤ伭㕗↢幓䘬㊯㎖⭞⹓⠆䵕勚➢ (Sergei Koussevitzky

1874-1951) 炻⛐Ὤ⚳朑␥ᷳ⼴炻㕤⶜湶ᷣ彎䘬ˬ⹓⠆䵕勚➢枛㦪㚫˭ᷕ柣䷩ṳ

䳡Ὤ伭㕗䘬枛㦪ἄ⑩炻1922 ⸜䁢⡆≈枛㦪㚫䭨䚖䘬ℏ⭡炻䈡⛘⥼妿㉱⦩䇦⮯˪⯽

奥㚫ᷳ䔓˫㓡䶐ㆸ䭉⻎㦪㚚ˤ㉱⦩䇦⮵㬌枭䶐㚚ⶍἄỤ᷶冰嵋㽫⍂炻⼰⾓⌛䶐㚚

⬴ㆸ炻⛐⎴⸜ 10 㚰 19 㖍⛐⶜湶㫴∯昊䘬㺼⣷㚫ᷕ䓙⹓岥䵕勚➢奒冒㊯㎖冱埴⇅

㺼ˤ㉱⦩䇦㗗⛐䧮㡕㕗➢⃫䳈㛸䘬枛㦪橐㝞ᶲ≈ℍḮ伶⥁䘬⢾堋炻ℑ侭ᷳ攻⣑堋

䃉䷓⛘䵲⭮䳸⎰炻ⶏ⥁圵䁢ᶨ橼ˤ

㦪㚚妋婒

ˬ㻓㬍 Promenade˭怑⹎䘬⾓㜧炻Ὤ伭㕗桐㟤烊ᶵ天⣒⾓炻Ữ䦵⽖㊩临⛘ (Allegro giusto, nel modo russico senza allegreza, ma poco sostenuto) ℟㚱Ὤ伭㕗㮹὿枛㦪

䘬䈡刚ˤ

1.ˬἷ₺ Gnomus˭㳣㻹⛘ (Vivo) Gnomus 㗗⬰嬟⛘⸽⮞啷䘬䞖Ṣ䱦炻㒂婒⑰䈡

100

㚤㗗䓐傉㟫懿䘬⚾㟰Ἦ姕妰⬫ˤ䧮㡕㕗➢䓐枛㦪㍷丒ἷ₺崘嶗䘬⣯⿒㧋⫸冯℞㰱

ぞ䘬⽫⠫ˤ㚚⫸ẍ⿒䔘䘬≽㨇攳⥳炻ᶵᷭ⼴忇⹎䦵⽖廱ㄊ嬲⼿㰱慵 (Poco meno

mosso pesante)炻ẍ㬌㍷丒↢ἷ₺Ᾱ櫙櫙⮉㬉侴㰱䖃䘬デねˤ

ˬ㻓㬍 Promenade˭㳩㙊侴⋩↮⃒晭䘬ᷕ㜧 (Moderato comodo assai e con

delicazza)ˤ㭼⇵朊䘬ˬ㻓㬍˭ἧ䓐㚜⃒晭䘬堐ね⯽䎦ˤ

2. ˬ⎌⟉ Il vecchio castello˭⃭↮㫴ⓙ侴ず䖃䘬⮷埴㜧 (Andantino molto cantabile e con dolore)ˤ忁㗗忲ⓙ娑Ṣ⛐⎌⟉⇵ⓙ㫴䘬ᷕᶾ䲨⸣゛ね㘗ˤ

ˬ㻓㬍 Promenade˭⊧⣒㰱慵䘬ᷕ㜧 (Moderato non tanto pesante) 䓙⮷嘇冯攟

嘇㑼ảᷣ⣷

3. ˬ⽉剙⚺ Tuilerien: Dispute d’enfants après jeux˭⽆⭡䘬䦵⾓㜧ˣ⣯゛桐㟤

(Allegretto non troppo, capricciso)ˤ⶜湶ᷕ⽫䘬⽉剙⚺炻军Ṳṵ㗗⣏Ṣ昒⎴⮷⬑忲

ㅑ䘬⟜㇨ˤ枛㦪⌛㍷⮓⬑⫸Ᾱ⛐⽉剙⚺䚉ね忲䍑䇕⏝䘬㧋⫸ˤ㦪㚚ẍẌṢ䛤剙㑑

Ḫ䘬ᷣ柴攳⥳炻ᷕ攻悐↢䎦㹓㝼䘬㕳⼳炻ᶵᷭℵ䎦ᷣ柴䳸㜇ˤ

4. ˬ䈃干 Bydlo˭ᾅ㊩ᷕ⹠侴㰱慵⛘ (Sempre moderato pesante)ˤ㲊嗕婆䘬 Bydlo

㗗㊯ ˬ䈃佌˭ᷳシˤ⃀䭉䧮㡕㕗➢⛐ᾉᷕ⎹⎚⟼䳊⣓堐䣢ˬ忁ᶵ㗗㍷⮓䈃干˭炻

Ữ⎚⟼䳊⣓ὅ䃞㈲⬫妋慳ㆸ⼴朊㉾叿⣏干⫸䘬㲊嗕䈃干炻侴ᶼ䁢ᶨ凔㇨䓐ˤ㰱慵

䘬ᷣ柴⽆䨑慵䘬Ờ⣷ᷕ⻰↢炻℞㕳⼳晙啷㚱⊿㫸冯Ὤ伭㕗彚㮹䘬櫙ぞね䵺ˤ㦪㚚

⡆≈≃⹎㎂崟炻䃞⼴徸㻠㷃⻙⸛朄侴䳪ˤ

ˬ㻓㬍 Promenade˭⮏朄⛘ (Tranquillo)

5. ˬ暃暆ᷳ准 Ballet des poussins dans leurs coques˭娤媏侴庽⾓㳣㻹⛘ (Scherzo

101

Vivo, leggiero) ˤ忁㗗⽆准∯ˮ䈡慴䇦㭼˯(Trilbi) 䘬㚵墅姕妰⍾⼿曰デ⮓ㆸ炻䁢

ᶨ⃭㺧㍷⮓⿏㟤䘬枛㦪ˤ椾⃰㍷⮓暃暆䘬┤倚冯䠶㬍䘬䦣≽炻ᷕ㭝⛐檀枛➇䘤↢

暯枛䘬㺦≽ˤ㚨⼴ℵ䎦㚨⇅䘬ᷣ柴㓞䳸ˤ

6. ˬℑ⎵䋞⣒Ṣ – ⒍䘣ᾅ冯冺ヽ暟 Samuel Goldenberg et Schmuyle˭埴㜧

(Andante)ˤ忁㗗⭴塽⁚ㄊ䘬⒍䘣ᾅ冯屏䩖⋹⽖䘬冺ヽ暟ᷳ攻䘬⮵娙枛㦪ˤ椾⃰ẍ

⇵侭⁚ㄊ䘬婆㯋攳⥳炻㍍叿㗗⮾⎓┳┳ᶵẹ䘬倚枛ˤᶵᷭ⼴⛐Ỷ枛ᶲ↢䎦⒍䘣ᾅ

╅㕍䘬倚枛炻⡻⇞Ḯ冺ヽ暟ˤ

ˬ㻓㬍 Promenade˭忇⹎冯㚨⇅䘬㻓㬍䚠⎴ˤ(㉱⦩䇦䘬䶐㚚䚩䔍㬌㭝㻓㬍)ˤ

7. ˬ慴㐑ⶪ⟜ Limoges. Le marchǪ˭㳣㻹䘬䦵⾓㜧炻⥳䳪娤媏⛘ (Allegro vivo, sempre scherzando)ˤ慴㐑㗗㱽⚳ᷕ悐䘬ᶨᾳ⮷捖ˤ⛐℞ⶪ⟜ᷕ⁛↢⨎⤛Ᾱ┳┳

ᶵẹ䘬倚枛炻㒂婒㬌㚚᷎䃉䚠䔞䘬⍇䔓ˤ䭨⣷䳘⭮䘬 16 ↮枛䫎⸦᷶ᶵẹ㬊⛘忚

埴⮵娙ˤ(䇯㭝⿏䘬≽㨇柣䷩嬲㚜㦪☐嗽䎮炻㍷丒↢ẌṢ俛䚖ᶨ㕘䘬厗渿刚⼑)ˤ

8. ˬ⠻䩇 (伭楔㗪ẋᷳヽ) Catacombae – Sepulchrum romanum˭㚨䶑㜧 (Largo)ˤ

忁㗗⎌伭楔㗪ẋ❳吔➢䜋⼺䘬ヽ䩇ˤ㒂婒㗗⑰䈡㚤奒冒㍸䅰婧㞍℞ᷕね㱩䘬䔓

ἄ炻Ữ℞⮎᷎䃉忁㧋䘬ᶨⷭ䔓ˤ忋临䘬␴⻎墥忈↢娕䔘䘬㯋㯃炻ᷕ⣖䘬⛘㕡䨩䃞

↢䎦䇯㭝⿏䘬㕳⼳ˤ℞㫉忚ℍ柴䁢ˬẍṉ妨嶇㬣侭婒娙˭䘬悐↮ˤず 侴ᶵ⣒ㄊ

䘬埴㜧 (Andante non troppo, con lamento) ˤ⛐檀枛➇䘬栓枛ᶳ炻㊩临⻰↢㻓㬍

ᷣ柴䘬嬲⣷ˤ

9. ˬ⤛ⶓ䘬⮷⯳ (➢儛ᶲ䘬⮷⯳) La Cabane sur des pattes de poule˭䆎䇃䘬⾓㜧炻

↞㙜⛘ (Allegro con brio, feroce)ˤ㚚⎵䚠䔞⿒䔘炻⍇䔓㗗㗪揀䘬姕妰⚾㟰炻⿒䔘

䘬暆儛巑⛐ℑ㓗㝞⎘ᶲ炻暆儛ᶲ朊味叿ᶨ攻㕗㉱⣓⁛婒ᷕ⶜⶜Ʉ晭⌉⤛ⶓ⯭ỷ䘬

102

⮷⯳ˤ⮷⯳㬋朊㚱ᶨᾳ⫿䚌ˤ䧮㡕㕗➢⌛⽆㬌䔓䌚⼿曰デ炻⸣゛↢⤛ⶓ⶜⶜Ʉ晭

⌉榶叿㌫ⷂ様䨢梃佼䘬㧋⫸ˤ㦪㚚ẍ㔚㑲Ụ䘬扛⇑≽㨇攳⥳炻⤥⁷㝸䧖㜙大埊埊

㫚≽䘬デ奢ˤᶵᷭ⼴℞≃慷㊩临⡆⻟侴檀㖪㎂崟炻⇘忼ẍ忋临㔚ㇻ␴⻎⼊ㆸ䘬㽨

䁰ᷣ柴ˤᷕ攻悐㗗 Andante mossoˤ忁墉䓙 p 䘬栓枛Ờ晐炻⛐Ỷ枛悐䘤⯽攳柕䘬

ᷣ柴ˤᶵᷭ嬲ㆸ Allegro molto炻ℵ䎦攳柕䘬悐↮ˤ

10. ˬ➢庼❶攨 Le grande porte de Kiev˭匲♜侴⦩桐ↄↄ⛘ (Allegro alla breve,

Con grandezza)ˤ忁㗗⽆枸⭂⺢⛐➢庼䘬❶攨姕妰⚾䌚⼿曰デ⮓ㆸˤ㚚⫸⶚䨑慵

䘬ᷣ柴攳⥳炻䚃⣏㎂崟⼴炻䨩䃞⁛↢⸛朄䘬俾娈㚚婧ˤ㍍叿⻟㚱≃ℵ䎦攳柕ᷣ柴炻

᷎ẍℓ⹎䘬ᶲᶳ䦣≽≈ẍ厗渿墅梦ˤ℞㫉ẍ ff 䘬≃⹎ℵ䎦俾娈㚚婧炻䃞⼴ㄊㄊ

檀㖪㎂崟炻䴻䓙厗渿䘬⾓忇枛佌⼴炻徸㻠晬῱嗽䎮攳柕ᷣ柴炻㚨⼴ẍℵᶨ㫉ℐ悐

慳㓦↢ᷣ柴㳣≃䘬⯦⣷䳸㜇ℐ㚚ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 22烉Ὤ伭㕗⚳㮹㦪㳦˫(⎘⊿烉伶㦪炻

1995)ˤ

㞜䥹⣓㕗➢ Tchaikovsky, Pyotr Ilyich (1840-1893)

StringQuartet No. 1 in D Major, op. 11 (1871)

D ⣏婧䫔ᶨ嘇⻎㦪⚃慵⣷

I. Moderato e semplice 䲼㧠䘬ᷕ㜧

II. Andante cantabile ⤪㫴䘬埴㜧

III. Allegro non tattoo 娤媏㚚烉⽆⭡䘬⾓㜧

103

IV. Allegro giusto 䳪㚚 怑ᷕ䘬⾓㜧

Romeo and Juliet, (Fantasy Overture after Shakespeare) op. 18 (1869) ⸣゛⸷㚚

˪伭⭮㫸冯務渿叱˫

Concertofor Violin and Orchestra in D Major, op. 35

D ⣏婧⮷㍸䏜⋼⣷㚚炻ἄ⑩ 35

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Canzonetta. Andante 䞕㫴 埴㜧

III. Finale, Allegro vivacissimo 䳪㚚 朆ⷠ㳣㻹䘬⾓㜧

SymphonyNo. 4 in F Minor, op. 36 (1878)

F ⮷婧䫔⚃嘇Ṍ枧㚚

I. Andante sosenuto ㊩临䘬埴㜧

II. Andantino in modo canzona 䞕㫴㚚婧䘬⮷埴㜧

III. Allegro ⾓㜧

IV. Allegro con fuoco 䅙ね⤪䀓䘬⾓㜧

ItalianCapriccio, op. 45 (1880)

佑⣏⇑⣯゛㚚

104

I. Andante un poco rubato 䦵℟⻰⿏忇⹎䘬埴㜧

II. Allegro moderato ᷕ⹠䘬⾓㜧

III. Presto ⿍㜧

IV. Allegro moderato ᷕ⹠䘬⾓㜧

V. Presto ⿍㜧

FestivalOverture “1812”, op. 49 (1880)

1812 䭨ㄞ⸷㚚

㛔㚚㗗䁢卓㕗䥹冱埴䘬䓊㤕喅埻⌂奥㚫炻⍿⯤⎌㉱Ʉ䚏屻㕗✎ (娚⌂奥㚫䘬枛㦪

䚋䜋) ⥼妿侴ἄ䘬㨇㚫枛㦪ˤ䔞㗪Ṿ⭬䴎㠭⃳⣓Ṣ䘬ᾉᷕ炻㚦䴻忁㧋⮓忻烉ˬㆹ

᷎㰺㚱⣒⣏䘬冰嵋⮓ἄㄞ℠枛㦪˭炻⮵㕤㛔㚚Ṿ䓂军⮓婒烉ˬ忁⣏㤪㗗⼰⏝櫏䘬㦪

㚚ˤ⮵㕤忁㧋䘬㦪㚚炻ㆹ㛔Ἦ⯙㰺㚱⮓ἄ䘬シ栀冯䅙ね炻㇨ẍㅱ娚ᶵ㚫㚱⣒⣏䘬

₡ῤ⬀⛐˭ˤ

㛔⸷㚚㗗ẍ 1812 ⸜䘬Ⱦ䣾⚳ᾅ堃㇘ȿ䁢柴㛸炻ᶨ攳⥳⯭㕤ᶲ桐䘬㊧䟜ⳁ⣏幵 (ẍ

˪楔岥㚚 La Marseillaise˫䁢尉⽝)炻ᶵᷭ⼴徸㻠塓Ὤ伭㕗幵昲 (ẍⷅ㓧Ὤ伭㕗䘬

⚳㫴䁢ᷣἮ堐䣢) 䴎⡻⇞炻㚨⼴㍷⮓㊧䟜ⳁ⣏幵㼘㓿徫䩬䘬㧋⫸ˤ⊭⏓㦪☐䘬䶐

⇞⛐ℏ炻㛔㚚悥㗗朆ⷠ忂὿⊾炻侴ᶼ朆ⷠ㲐慵⢾⛐㓰㝄䘬ἄ⑩炻╖㗗⽆忁墉⌛⎗

䚳↢㞜䥹⣓㕗➢䘬䭉⻎㦪㈨ⶏ炻冯℞ㅱ䓐冒⤪䘬ⶏ⥁⿏ˤ㛔㚚⛐ 1882 ⸜ 8 㚰冱

埴⇅㺼㗪炻晾䃞㛒䌚⼿枸㛇䘬⤥姽炻Ữ㘂⸜䘬㞜䥹⣓㕗➢奒冒㊯㎖慵㕘㺼↢ẍ

Ἦ炻ὧ䌚⼿䨢⇵䘬Ṣ㯋炻军Ṳ⶚ㆸ䁢⺋⍿╄ッ䘬⎵㚚ˤ

105

ℐ㚚⣏农⎗↮䁢ᶱᾳ悐↮ˤ㚨⇅䘬㚨䶑㜧 (Largo)ˣ旵 E ⣏婧炻ẍᷕ㍸䏜␴⣏㍸

䏜㫴ⓙ䘬ᷣ柴攳⥳ˤ忁㗗⽆ⶴ冀㬋㔁䘬俾㫴㒟⍾侴Ἦ䘬㕳⼳炻枛㦪⯙㗗ẍ㬌ᶨ㕳

⼳䁢➢䢶徸㻠䘤⯽㒜⻝崟Ἦˤ㒂婒忁㗗⚆ㅞ䣾⚳䘬ᶨ䧖㍷⮓ˤ

℞㫉ẍ埴㜧 (Andante)忚ℍ䫔Ḵ悐↮⼴炻ὧ䓙暁䯏䭉ˣ寶䫃冯㱽⚳嘇⏡⣷↢㚜℟

㚱䭨⣷㳣≃䘬ᷣ柴炻ẍ㬌堐䎦↢Ὤ幵劙≯⁁㇘䘬⦧ン炻㬌悐↮䘬枛㦪℟㚱∃㝼᷎

㾇䘬堐ねˤᶵᷭ⼴炻桐暚嬲刚炻忚ℍ怑⹎䘬⾓㜧 (Allegro giusto) ˣ旵 e ⮷婧炻

崟⇅⎒㚱䇯㭝⿏䘬㦪⾝炻⼴Ἦὧ㶭㤂⏰䎦↢尉⽝㊧䟜ⳁ⣏幵䘬 ˪楔岥㚚˫ℐ尴炻

娯䣢↢暟暮叔懆䘬㯋⊊ˤ枛㦪廱ℍ⋯ F⣏婧⼴炻攳⥳↢䎦⸛䨑䘬㮹嫈桐㕳⼳炻

ⷞἮ⃒㎂冺㙊䘬㯋㯃ˤ忁㗗ẍ媦⣓⒍伭 (Novgorod) 䘬⛘㕡㮹嫈䁢➢䢶䘬㕳⼳ˤ

枛㦪ℵ廱ℍ旵 e ⮷婧⼴炻⌛䓙䭉㦪☐⸛朄⛘⏰䣢↢㖶⾓䘬㮹嫈桐 (倥崟Ἦ⁷准㚚)

䳈㛸ˤ忁㗗㙜桐暐ᷳ⇵䘬⮏朄炻⼟⼧㗗㍷徘Ὤ伭㕗Ṣ㮹䘬⽫ね⟜朊ˤ

㍍叿忚ℍ⇘ C ⣏婧䘬䫔ᶱ悐↮炻攳⥳㍷⮓㱽幵冯Ὤ幵䘬㽨㇘ね㘗炻暁㕡䘬ᷣ柴㕳

⼳⛐Ṍ拗ᷕ↢䎦ˤ㚨⇅㯋⊊㳞㸏䘬˪楔岥㚚˫㕳⼳炻ᶵᷭ⼴徸㻠㼘㔋炻嬲ㆸ㼘㔋

䘬㕳⼳炻↢䎦䲲Ḫ䘬⽝⃮炻䴎Ṣᶨ䧖Ὤ幵⌛⮯䌚⊅䘬⌘尉ˤ䔞枛㦪⚆⇘旵 E ⣏婧

䘬㚨䶑㜧㗪炻䭉㦪☐ḇ≈ℍ⣷↢⮔⺋䘬攳柕ᷣ柴炻᷎枧↢⭋⏲⊅⇑䘬揀倚ˤ㬌㗪

枛㦪嬲ㆸ㳣㻹䘬⾓㜧炻ℐ⎰⣷ẍ⻟⣏䘬 ffff ≃⹎㫴枴↢῱⣏䘬䣾⚳Ὤ伭㕗炻ẍ

㷦⍂䘬㦪倚檀㫴↢ⷅ㓧Ὤ伭㕗䘬⚳㫴ˤ

Piano Trio in A Minor, dedicated to the memory of a great artist, op. 50 (1882)

A ⮷婧护䏜ᶱ慵⣷˪䲨⾝ᶨỵ῱⣏䘬喅埻⭞˫ἄ⑩ 50

I. Pezzo elegiaco ず㫴䘬㦪䪈

II. Theme and Variations ᷣ柴冯嬲⣷

106

˪湹㟫䘯⎶˫“Queenof Spades” op. 68, (1890)

˪傉㟫懿˫剕唦准∯ “The Nutcracker” op. 71 (1892)

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 8烉㞜⎗⣓㕗➢˫(⎘⊿烉伶

㦪炻2000)ˤ

⽟ἃṆ⃳ Dvorák,Antonin (1841-1904)

Symphony No. 8 in G Major, op. 88 (1889)

G ⣏婧䫔ℓ嘇Ṍ枧㚚

I. Allegro con brio 䆎䇃䘬⾓㜧

II. Adagio ㄊ㜧

III. Allegretto grazioso 㹓晭䘬䦵⾓㜧

IV. Allegro ma non troppo ⽆⭡䘬⾓㜧

SymphonyNo. 9 in E Minor, op. 95 (1893)

E ⮷婧䫔ḅ嘇Ṍ枧㚚 ˪㕘ᶾ䓴˫

I. Adagio ㄊ㜧

II. Largo 㚨䶑㜧

III. Molto vivace 娤媏㚚 ⋩↮㳣㻹䘬⾓㜧

107

IV. Allegro con fuoco 䅙ね⤪䀓䘬⾓㜧

Concerto for Cello and Orchestra in B Minor, op. 104 (1895)

B ⮷婧⣏㍸䏜⋼⣷㚚

I. Allegro ⾓㜧

II. Adagio ma non troppo ᶵ⣒ㄊ䘬ㄊ㜧

III. Allegro moderato ᷕ⹠䘬⾓㜧

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 6烉⽟ἃṆ⃳˫(⎘⊿烉伶㦪炻

1993)ˤ

䲨ỗ䈡(∯ἄ⭞) Gilbert, William (1836-1911 )

㱁⇑㔯(ἄ㚚⭞) Sullivan, Arthur (1842-1900)

˪侸⽫˫ㆾ˪恎⬳䘬㕘⧀˫ “Patience” or “Bunthorne’s Bride” (1881)

˪⤪㬌⣑䘯˫ㆾ˪⣑䘯叔㬚˫“Mikado” or “The Town of Titipu” (1885)

˪䲨ỗ䈡冯㱁⇑㔯普拎˫“Gilbert & Sullivan – Their Greatest Hits”

慴⥮㕗➢Ʉ檀㱁⎗⣓ Rimsky-Korsakov, Nikolay Andreyvich (1844-1908)

Song of Scheherazade (Film)

108

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 22烉Ὤ伭㕗⚳㮹㦪㳦˫(⎘⊿烉伶㦪炻

1995)ˤ

㳒ỗ⭂⃳ Humperdinck, Engelbert (1854-1921)

˪杻⠆䇦冯吃暟㲘˫ㆾ˪䱾㝄⯳㬟晒姀˫“Hänsel und Gretel” (1893)

㴎⣹⯤ Puccini, Giacomo (1858-1924)

˪㲊ⶴ䰛ṆṢ˫“La Bohème” (1896)

˪㈀㕗⌉˫“Tosca” (1900)

˪㜄嗕㛝℔ᷣ˫“Turandot” (1926)

⍫侫㚠䚖烉㜿⊅₨ˣ㛶泃劙嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 24烉⦩䇦䫔/㴎⣹

⯤˫(⎘⊿烉伶㦪炻2010)ˤ

䎮㞍Ʉ⎚䈡⊆㕗 Strauss, Richard (1864-1949)

Don Quixote - Fantastic Variations (for Cello and Orchestra) on a Theme of

Knightly Character, op. 35 (1897) Ṍ枧娑˪Ⓒ⎱庣⽟˫(⣏㍸䏜⋼⣷㚚)

˪匶㦪伶˫“Salome” (1905)

˪䍓䐘榶⢓˫“Der Rosenkavalier” (1911)

˪䲵⃳䳊㕗Ⲟ䘬Ṇ匱旧⽟⥖˫“Ariadne auf Naxos” (1912, 1916)

109

⍫侫㚠䚖烉干䀶㰇ˣ㜿ỗ㜘䫱叿炻˪䘤䎦䎮㞍Ʉ⎚䈡⊆㕗˫(⎘⊿烉㗪⟙炻2006)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 9烉R. ⎚䈡⊆㕗˫(⎘⊿烉伶㦪炻2000)ˤ

大居㳩⢓ Sibelius, Jean (1865-1957)

Finlandia, op. 26 (1899, 1900 㓡妪)

Ṍ枧娑 ˪剔嗕枴˫

㦪㚚ẍ㊩临䘬埴㜧 (Andante sostenuto) 䘬⸷⣷攳⥳ˤ椾⃰䓙戭䭉㦪☐⣷↢㰱慵

䘬ˬ劎暋≽㨇˭ˤ䃞⼴䓙㛐䭉冯⻎㦪㈧㍍㬌ᶨず∯⿏䘬≽㨇炻ℵ⣷↢尉⽝㮹䛦ᷳ

ず▮䘬㕳⼳炻℞⼴⋲徸㻠㽨䁰㎂崟炻ᶵᷭ⼴廱嬲ㆸ➭㰢䘬㚚婧炻᷎䓙㬌忚ℍᷕ⹠

⾓㜧 (Allegro moderato) 䘬⸷⣷⼴⋲ˤ㬌㗪䓙⭂枛溻冯戭䭉㦪☐佌⮾扛⛘⣷↢嘇

⎔㈿䇕䘬≽㨇炻䃞⼴䓙攳柕䘬ˬ劎暋≽㨇˭㍍临炻Ữ⻎㦪☐ᷕḇ㸏崟嶛帵䘬枛✳炻

ᶵᷭ⼴⽆Ỷ枛悐⻟㚱≃⣷↢ˬ嘇⎔㈿䇕䘬䫔Ḵ≽㨇˭炻㦪㚚⌛ẍ㬌䁢崟溆炻攳⥳

↢䎦䆮䘤⿏䘬檀㖪ね䵺炻忚ℍ⇘⻟㚱≃䘬ᷣ悐ˤ忁墉㗗ẍℑᾳˬ嘇⎔㈿䇕˭䘬≽

㨇ᷳ䳬⎰Ἦ㍸檀㦪㚚䘬嵋␛炻Ữ⎎⢾ḇ䷼ℍᶨᾳ⴬㕘䘬≽㨇炻ḇ⯙㗗⤪⎴怩⎹⊅

⇑ᷳ嶗䘬ᷣ柴炻䓐ẍ㘿䣢⮵㈿㙜㓧䘬㛒Ἦ栀㘗ˤ㬌ᶨ㽨䁰䘬㈿䇕䭱崟㦪㚚䘬檀㼖

⼴炻⍰⮯军㬌䁢㬊䘬ᷣ悐ᶨ㧉ᶨ㧋⛘⍵央㺼⣷ᶨ㫉ˤ℞⼴ẍ㻠⻟㕡⺷䭱崟ᶨᾳⰙ

⼊䘬檀溆⼴徸㻠怈暊炻ℵẍ㛐䭉㦪☐⍲⻎㦪⃰⼴㍍临⣷↢孂㫴桐㟤䘬⃒伶㕳⼳ˤ

䓙㕤忁ᾳᷣ柴℟㚱㮹嫈桐␛䘬㚚嵋炻㇨ẍḇ㚱Ṣ娵䁢忁ᾳᷣ柴㗗⽆㮹嫈ῇ䓐侴

Ἦ炻Ữ忁ᶨ溆䴻䓙劙⚳䘬大居㳩⢓䞼䨞⮰⭞伭匶Ʉ䲸楔⣹⤛⢓ (Rosa Newmarch

1857-1940) 䔞朊娊⓷ἄ㚚侭䘬䳸㝄炻⶚䴻䌚⼿⏎⭂䘬䫼㟰ˤ⤪⇵㇨徘炻㬌㭝㕳

⼳㗗⛐㛔㚚 䁢㇚∯惵㦪冱埴⇅㺼ᷳ⼴炻ㇵ䓙娑Ṣ㞗㕗偗⯤俞䰛䁢㬌悐↮ἄ娆侴

塓䔞 ˬ剔嗕枴孂㫴˭㺼ⓙ炻㇨ẍ忁ᾳ㕳⼳⍇㛔⯙ᶵ㗗㮹嫈ㅱ娚㗗㬋䡢䘬゛㱽ˤ

㬌㭝␴⸛䘬孂㫴塓㺼⣷ℑ㫉ᷳ⼴炻ℵ⹎↢䎦ℑᾳˬ㈿䇕䘬≽㨇˭冯ˬ怩⎹⊅⇑䘬

110

≽㨇˭炻ᶨ⎋㯋ἧ㦪㚚檀㻚崟ἮˤỮ忁㫉㗗ẍ䚠⎴䘬≽㨇䄥崟㦪㚚䘬䅙⹎炻᷎⛐

㛓⯦䘬檀㼖ᷕ㓡䓙戭䭉㦪☐檀倚⣷↢⼴Ἦㆸ䁢ˬ剔嗕枴孂㫴˭䘬ᶨ悐↮㕳⼳炻ẍ

㬌⮶ℍ⻟㚱≃䘬䳪㬊ˤ

Concertofor Violin and Orchestra in D Minor, op. 47 (1905)

D ⮷婧⮷㍸䏜⋼⣷㚚炻ἄ⑩ 47

I. Allegro moderato ᷕ⹠䘬⾓㜧

II. Adagio di molto ⼰ㄊ䘬ㄊ㜧

III. Allegro ma non tanto ⽆⭡䘬⾓㜧

⍫侫㚠䚖烉㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 18烉⊿㫸䘬ⶐ⋈Ᾱ˫(⎘⊿烉

伶㦪炻1994)ˤ

㕗䈡㉱㹓㕗➢炻⎚䈡㉱㰞⎠➢ Stravinsky, Igor (1882-1971)

L’oiseau De Feu Ballet (Firebird)(1910) ˪䀓沍˫剕唦枛㦪

˪㴒⫸䓇㵗˫ㆾ˪㴒⫸䘬㬟䦳˫ㆾ˪㴒⫸䘬㛓㖍˫“The Rake’s Progress” (1951)

ⶫ㳃⃳ Bloch,Ernest (1880-1959)

Schelomo– Hebraic Rhapsody for Cello and Orchestra

㇨伭攨䌳 – ⶴỗἮ䉪゛㚚

㝷㜿ッ㦪Ṍ枧㦪⛀ Berliner Philharmoniker (1882-) 㬟⸜㊯㎖⭞

111

䔊伭 Bülow, Hans von (1830-1894) ⽟⚳

⯤➢ⶴ Nikisch, Arthur (1855-1922) ⽟⚳

䤷䈡叔㟤≺ Furtwängler, Wilhelm (1886-1954) ⽟⚳

⣹⇑㭼忼↙ Celibidache, Sergiu (1912- ) 伭楔⯤Ṇ塼⽟⚳

⌉㉱㎂ Karajan, Herbert von (1908-1989) ⤏⛘⇑ (Berliner,1955-1989)

旧⶜⣂ Abbado, Claudio (1933- ) 佑⣏⇑ (Berliner,1989-2002)

䐆⚾ Sir Rattle, Simon (1955 -)劙⚳ (Berliner, 2002-)

℞Ṿ叿⎵㊯㎖⭞

㈀㕗⌉⯤⯤ Toscanini, Arturo (1867-1957) 佑⣏⇑

厗䇦䈡 Walter, Bruno (1876-1962) ⽟塼伶⚳

⃳ΐἑ≺ Klemperer, Otto (1885-1973) ⽟⚳

厲䲵 Reiner, Fritz (1888-1963) ⊰䈁⇑塼伶⚳

⃳厲ỗ Kleiber, Erich (1890-1956)⤏⛘⇑

ỗ】㕗✎ Bernstein, Leonard (1918-1990) 伶⚳

唕㍸ Solti, Georg (1912-1997)⊰䈁⇑↢䓇䘬劙⚳㊯㎖⭞

唕㍸㕤 1997 ⸜㕤㱽⚳⋿悐⍣ᶾ炻䳸㜇℞ 85 ⸜䘬⁛⣯䓇㵗ˤṾ㖑⸜㗗⶜䇦㈀⃳ˣ

檀⣏⭄䘬⬠䓇炻⼴Ἦ㑼ả忶厗䇦䈡⍲㈀㕗⌉⯤⯤䘬≑ㇳˤ䎮㞍Ʉ⎚䈡⊆㕗ḇ奒冒

㊯溆Ṿ㺼↢ˬ䍓䐘榶⢓˭烊ΐ㔎㞗剔⚺䘯⭞㫴∯昊⛐Ṿㇳᷕ慵㊦㥖侨炻ᷳ≈⒍Ṍ

枧㦪⛀ḇ⚈Ṿ侴ㆸ䁢ᶾ䓴枪⮾㦪⛀烊Ṿ⼿忶 32 ⹏吃厲伶䋶ˤ晾䃞嫃⇘唕㍸⯙Ẍ

Ṣ倗゛⇘剅≈⒍Ṍ枧㦪⛀炻Ữ㗗唕㍸冯ΐ㔎ッ㦪䘬斄Ὢ㚜㗗㶝怈㳩攟ˤ㖑⛐ 1950

⸜⯙㚦⎰ἄ㿴抬㴟枻Ṍ枧㚚炻1974 ⸜ả㦪⛀椾ⷕ⭊⹏㊯㎖炻1979 ⸜ả椾ⷕ㊯㎖

ℤ喅埻䷥䚋炻1983 ⸜ㆸ䁢㟪ⅈ㊯㎖ˤ1996 ⸜⸽䌯柀ΐ㔎ッ㦪⇘佑⣏⇑啑ᶩ⯤Ṇ

㺼↢炻㬌㗪⣏ⷓṵ䃞䱦䤆梥㺧ˣ䤆慯梃㎂炻㰺㚱Ṣ㕁⇘忁㚫㗗Ṿ㚨⼴䘬ᶨ⟜枛㦪

112

㚫ˤṢ䓇⶚⇘㤝农䘬Ṿ炻⃭㺧Ḯ㘢ㄏ冯⮵Ṣ䓇䘬橼槿ˤ㚚䚖䁢居⣂剔䫔ℓ嘇Ṍ枧

㚚ˣⶫ㉱⥮㕗䫔ᶨ嘇Ṍ枧㚚ˣ⬱⎗㚚䁢居⣂剔˪刦㟤呁˫⸷㚚ˤ

ἃ䐆呁 Fremont, Louis de (1921-1994) 㱽⚳

ⶫ↿勚 Boulez, Pierre (1925-) 㱽⚳ἄ㚚⭞炻㊯㎖⭞

㴟ᶩ⃳ Haitink, Bernard (1929- ) 匟嗕

⑰彚⹓䈡 Harnoncourt, Nicolaus (1929-) ⤏⛘⇑

楔⇯䇦 Maazel, Lorin (1930-) 㱽⚳↢䓇䘬伶⚳㊯㎖⭞

⃳厲ỗ Kleiber, Carlo (1930-2004) ⤏⛘⇑

㠭⟼ Mehta, Zubin (1936-) ⌘⹎

䈡䰛䇦⌉媦⣓ Temirkanov, Yuri Khatuevich (1938-) Ὤ⚳

⶜忋㲊枛 Barenboim, Daniel (1942-) 旧㟡⺟塼ẍ刚↿Ṣ

媦㜿枻 Sir Norrington, Roger (1934-) 劙⚳

暵㟤䁷⽟ Hogwood, Christopher (1941-) 劙⚳

㴎伭檀厚⣓炻㘖伭㞗厚⣓ Prokofiev, Sergey (1891-1953)

˪ᶱ㨀ᷳㆨ˫“L’Amour des Trois Oranges” (“The Love for Three Oranges”) (1921)

˪⼤⼿冯䊤˫ (旬㚿嬨䘬䭉⻎㦪㚚 + „∯) “Peter and the Wolf” (1936)

˪㇘䇕冯␴⸛˫“War and Peace” (1945)

George Gershwin (1898-1937) ╔㱣Ʉ味ⶴ㔯

Rhapsody in Blue 啵刚䉪゛㚚

ⶫ䐆枻 Britten, Edward Benjamin (1913-1976)

113

˪⼤⼿Ʉ吃䐆⥮㕗˫“Peter Grimes” (1945)

⮞⠂㫴准⛀ The Takarazuka Revue (1914-)

䙖ṆỸ㉱ Piazzolla, Astor (1921-1992)

旧㟡⺟ἄ㚚⭞炻㊯㎖⭞ℤㇳ桐䏜 (bandoneon) 㺼⣷⭞ˤẍ旧㟡⺟㍊ㆰ⇵堃㳦䘬幓

↮炻⽆ 1940 ⸜ẋᷕ㛇崟ẍ㕘桐㟤ἄ㚚炻奒冒㊯㎖㦪⛀炻᷎ẍㇳ桐䏜㺼⣷⭞䘬幓

↮㳣帵ˤ1924 ⸜晐䇞㭵⇵⼨䲸䲬炻晐⬱⽟↿Ʉ忼⎱㉱⬠佺ㇳ桐䏜㺼⣷㱽炻1930

⸜⚆⚳ˤ1934 ⸜䘤堐嗽⤛ἄ炻1937 ⸜⛐ⶫ⭄媦㕗刦⇑㕗⯽攳ἄ㚚ˣ㺼⣷㳣≽炻

1940 ⸜≈ℍ旧⯤⶜䇦Ʉ䈡伭Ẳ㳃㦪⛀ˤ1946 ⸜䘤堐ġ ˪El Desbande˫䫱䈡⿏䘬㍊

ㆰ㚚炻᷎䳬䷼㦪⛀炻1954 ⸜崜㱽⚳ⷓḳⶫ嗕‹ (Nadia Boulanger)炻⚆⚳⼴ 1955

⸜䳬ㆸⶫ⭄媦㕗刦⇑㕗ℓ慵⣷⛀炻⯽攳⇵堃䘬㺼⣷ˤ℞⼴Ṏ䌯柀䙖ṆỸ㉱Ḽ慵⣷

⛀炻᷎冯䇝⢓㦪Ṣℙ㺼炻昌䘤堐⮷㫴∯˪ⶫ⭄媦㕗刦⇑㕗䘬䐒匱Ṇ˫(1968) ⢾炻

1970 ⸜Ṏẍ˪伭⎗䘬㔀ḳ㚚 Balada para un loco˫䫱㊩临⣂⼑䘬㳣≽ˤ䓙⣏㍸䏜

冯护䏜㺼⣷䘬˪⣏㍊ㆰ Le Grand Tango˫ᷫ䌣䴎伭㕗䈡㳃㲊䵕⣹ˤ

Bandoneon炢大炣炻Bandonion 炢⽟炣烉䎕⣂⯤佩 (ㇳ桐䏜)ˤ旧㟡⺟㍊ㆰ准㚚

(Tango) ᷕ䘬ᷣ天㦪☐ᷳᶨ炻冯 1830 ⸜ⶎ⎛⛐⽟⚳䘤㖶䘬ㇳ桐䏜 (accordion) 䁢

⎴栆㦪☐ˤ攟㕡⼊噯儡䘬ℑ怲旬㚱㊱憽⺷䘬挝䚌炻ᶲ朊旬㚱ᶨᾳ䓐ㇳ僽䨧忶ẍ㓗

㐸㦪☐䘬䙖ⷞˤ⎛ㇳ䘬挝䚌䁢檀枛悐炻ⶎ挝䚌䁢Ỷ枛悐ˤ⎛挝䚌䘬“朊旬㚱㑵ἄ

䨢㯋⫼冯攳攱䯏䘬慹Ⱄ墥㳣⠆ˤ⎛怲 38 挝炻ℙ⎗䘤↢ 142 枛炻昌⚻㹹⣷⢾炻Ṏ

⎗㺼⣷ᶨ凔ㇳ桐䏜㇨㰺㚱䘬㭝⣷枛炻枛刚⬷Ṗ侴徟Ṣˤ1880 ⸜ⶎ⎛塓䓐㕤㍊ㆰ

㦪昲炻攳⥳㓡嬲Ḯ㍊ㆰ䘬㺼⣷桐㟤ˤ1910 ⸜⇵⼴炻bandoneon 冯护䏜␴⮷㍸䏜⎴

㗪ㆸ䁢㍊ㆰ准㚚䘬ᷣ天㦪☐炻⼊ㆸḮ㇨媪 orchesta tipica 䘬㧁㸾⊾㦪昲ˤ

⶜䇦㈀⃳ Bartok, Béla (1881-1945) ⊰䈁⇑ἄ㚚⭞

114

⎚䈡㉱㹓㕗➢ Stravinsky, Igor (1882-1971) Ὤ⚳ἄ㚚⭞炻1945 ⍾⼿㱽⚳䯵

ⶫ嗕‹ Boulanger, Nadia (1887-1979)ġ 㱽⚳⤛ἄ㚚⭞ˣ㊯㎖⭞ℤ㔁做⭞ˤ

櫷㉱Į伭ỗ㕗 Villa – Lobos, Heitor (1887-1959)ġ ⶜大ἄ㚚⭞

䚏屻㕗✎ Rubinstein, Arthur (1887-1982) 㲊嗕塼伶⚳护䏜⭞

㴎暟㔯 Previn, André (1929 -)

ġ ˪ㄦ㛃埿干˫“A Streetcar Named Desired”(1998)

The Butterfly Lovers Violin Concerto (1959)

˪㠩䤅⮷㍸䏜⋼⣷㚚˫ġ 昛护 (1935- )ˣỽ⌈尒 (1933)

⍾㛸冒ᷕ⚳⎌ẋ䘬㮹攻⁛婒ġ˪㠩Ⱉỗ冯䤅劙⎘˫ˤ⛐⏠⍾崲∯䘬ⓙ僼䁢枛㦪

䳈㛸䘬⎴㗪炻㬌ἄ⑩ḇ䳸⎰Ḯ㜙大㕡䘬枛㦪桐㟤ˤ

䚠ッ 㳣㻹䘬徜㕳㚚ㆸ≇⛘㍷丒㠩Ⱉỗ冯䤅劙⎘⎴䨿ᶱ庱␴⪱㇚忲䍑䘬

ね㘗ˤᶵ㕁炻䤅劙⎘塓従彼⚆⭞悱炻⋩ℓ慴攟ṕ䚠復炻ℑṢὅὅや⇍ˤ

㈿⨂ 䤅劙⎘⍵㈿℞䇞䁢⤡⬱㌺䘬⨂⦣ˤ℞⼴炻冯㠩Ⱉỗ㦻⎘䚠㚫炻Ḻ䚠

⁦姜堟儠ˤ㠩Ⱉỗ⚈忶↮ず 䳽㛃䕭必ˤ䤅劙⎘⛐塓彶⧞忶攨䘬徼ᷕ炻ずㅌ⛘䷙

幓㈽ℍ䨩䃞䆮攳䘬⡛⠻ˤ

⊾圞 㠩Ⱉỗ冯䤅劙⎘⽆⡛⠻ᷕ⊾䁢ᶨ⮵伶渿䘬圜圞炻⛐䘦剙攻㬉⾓冒䓙

⛘梃准炻㯠ᶵ↮暊ˤ

“Yellow River”Piano Concerto (1969)

˪湫㱛护䏜⋼⣷㚚˫㭟㈧⬿ˣ⃚㛃厗ˣ∱⸬ˣ䚃䥖㳒ˣ䞛⍼婈ˣ姙㔸㗇普橼∝

115

ἄ

㛔⋼⣷㚚㗗㟡㒂㲿㗇㴟䘬ġ ˪湫㱛⣏⎰ⓙ˫(“Yellow River Cantata”⺞⬱ 1939)

∝ἄ䘬ˤ⬫ẍ㈿㖍㇘䇕䁢㬟⎚側㘗ˤ湫㱛尉⽝ᷕ厗㮹㕷炻堐䎦␴㫴枴Ḯᷕ厗㮹

㕷䘬晬῱㯋㤪␴櫍䇕䱦䤆ˤ

⇵⣷ 㦪昲ẍ䡭䣉䘬㯋⊊⇣䔓Ḯ凡ⶍ␴樂㾌榕㴒㬲㬣㎷櫍䘬ね㘗ˤ

湫㱛枴 啱䓙㦪㚚徥㚼Ḯᷕ厗㮹㕷⋫䘦⸜Ἦ⊌⊆䘬Ṣ㮹⛐湫㱛ℑⱠ⊆≽ˣ櫍

䇕ˣ䓇㳣䘬⟜朊ˤ

湫㱛ㅌ ẍ㦪㭝堐䎦ḮṢ㮹佌䛦⮵㔝Ṣ䘬㺧僼ṯ【ˤ湫㱛⾺㾌㺦㺦⎹⇵…

ᾅ堃湫㱛 㦪㚚㽨䁰⛘堐䎦Ḯ㈿㖍幵㮹⣼崜㇘⟜炻櫍⽿㖪㎂炻䅙ね⛘㫴枴Ḯ

ᷕ厗㮹㕷䘬῱⣏⊅⇑ˤ

˪䵕ḇ䲵㫴∯昊ㄞ䤅慵㕘攳ヽḼ⋩忙⸜䲨⾝枛㦪㚫˫“Gala Concert: 50th

Anniversary of the Reopening of the Vienna State Opera”(2005)

Appalachian Journey (2000)

Yo-YoMa, Cello EdgarMeyer, Double Bass MarkO’Connor, Violin (Fiddle) JamesTaylor, Guitar AllisonKrauss, Singer from the “Union Station” Lincoln Center, Avery Fisher Hall, 2000

116

Tan Dun “The First Emperor” 嬂䚦㫴∯ “䦎⥳䘯” (2008) 䲸䲬⣏悥㚫㫴∯昊

㫴∯ (䤆∯ˣ⬱櫪㚚ˣ剕唦准∯) DVD 䚖抬

呁⎘⦩䇦䫔 Monteverdi, Claudio (1567-1643)

˪㲊ἑṆᷳ≈ℽ˫ “L’Incoronazione di Poppea” (1643)

杳䒎䫔 Vivaldi, Antonio (1678-1741)

˪⤏嗕⣂䘬䉪⾺˫ “Orlando Furioso” (after 1713)

㉱㐑 Rameau, Jean-Philippe (1683-1764)

˪⣑岄列䶋˫ “Platée” (1745)

味Ẳ (∯ἄ⭞)Gay, John (1685-1732)

ἑ㘖ⶴ (ἄ㚚⭞) Pepusch, Johann Christoph (1667-1752)

˪Ḇᶸ㫴∯˫ “The Beggar’s Opera” (1728)

杻⽟䇦 Handel , George Frideric (1685-1759)

˪暟䲵⹎˫ “Rinaldo” (1731)

˪刦慴Ⓒ䈡˫“Ariodante” (1735)

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˪岥䐇㕗˫“Xerxes” (1738) ㆾ ˪䐇大˫“Serse”

˪⻴岥Ṇ XXI˫“Messiah XXI for a New Millennium”(1742)

⶜⑰ Bach, Johann Sebastien (1685-1750)

˪婳Ἦ炻叔ḳ㓹ᷣ˫Cantata BWV 61, “Nun Komm, der Heiden Heiland”(1714)

˪⽫ˣ⎋ˣ埴䁢冯䓇␥˫Cantata BWV 147, “Herz und Mund” (Heart and Mouth

andDeed and Life)(1716)

˪D ⣏婧俾㭵䐒⇑Ṇ枴㫴˫“Magnificat in D Major, BWV 243”(1723)

˪楔⣒⍿暋㚚˫“Matthäus-Passion”, “St. Matthew Passion” (1729)

吃嶗⃳ Gluck, Christoph Willibald (1714-1787)

˪⤏厚㫸冯⯌匱徒䴚˫“Orfeo ed Euridice” (1762)

˪旧䇦岥㕗䈡˫“Alceste” (1767)

㴟枻 Haydn, Franz Joseph (1732-1809)

˪∝ᶾ䲨˫“Die Schöpfung” ( “The Creation”) (1798)

卓ㇶ䈡 Mozart, Wolfgang Amadeus (1756-1791)

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˪Ẳ⣂伶⯤⤏˫“Idomeneo” (1781)

˪⼴⭖婀徫˫“Die Entführung aus dem Serail” (1782)

˪屣≈㳃䘬⨂䥖˫“Le Nozze di Figaro” (1786)

˪ⒸɄ╔↉⯤˫“Don Giovanni” (1787)

˪⤛Ṣ䘮⤪㗗˫“Cosi fan tutte” (1790)

˪櫼䫃˫ (⽟婆㫴∯䇰ˣ⽟婆ㆠ䴚㛐„䇰ˣ劙婆暣⼙㇘

䇕䇰) “Die Zauberflöte” (1791)

˪⬱櫪㚚˫“Requiem” (1791)

居⣂剔 Beethoven, Ludwig van (1770-1827)

˪屣溃慴⤏˫“Fidelio” (1805)

伭大⯤ Rossini, Gioacchino (1792-1868)

˪旧䇦⍲⇑Ṇ䘬佑⣏⇑⮹⤛˫“L’Italiana in Algeri” (1813)

˪⛐佑⣏⇑䘬⛇俛℞Ṣ˫“Il Turco in Italia” (1814)

吋⯤ㇵ〴 Donizetti, Gaetano (1797-1848)

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˪㉱㐑満䘬曚䏒Ṇ˫ “Lucia di Lammermoor” (1835)

䘥怤⢓ Berlioz, Hector (1803-1869)

˪㴖⢓⽟䘬⣑嬜˫ (∯⊾㓭ḳ炻朆㫴∯) “La Damnation de Faust” (1846)

厗㟤䲵 Wagner, Richard (1813-1883)

˪Ⓒ㆟䐇˫“Tannhäuser” (1845)

˪Ⲽ㕗✎冯Ẳ䳊⽟˫“Tristan und Isode” (1865)

˪䲸ΐ⟉䘬⎵㫴ㇳ˫“Die Meistersinger von Nürnberg” (1868)

˪⯤居漵㟡䘬㊯䑘˫“Der Ring des Nibelungen” (1876)

˪厲勝䘬湫慹˫“Das Rheingold” (1869)

˪⤛㬎䤆˫“Die Walküre” (1870)

˪滲㟤梃˫“Siegfried” (1876)

˪媠䤆䘬湫㖷˫“Götterdämmerung” (1876)

⦩䇦䫔 Verdi, Giuseppe Fortunio Francesco (1813-1901)

˪楔⃳䘥˫“Macbeth” (1847)

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˪⎚ⷅ屣慴㫸˫“Stiffelio” (1850)

˪勞剙⤛˫“La Traviata” (1853)

˪␥忳ᷳ≃˫“La Forza del Destino” (1862)

˪旧Ẳ忼˫“Aida” (1871)

˪⬱櫪㚚˫“Requiem” (1874)

˪⤏㲘伭˫“Otello” (1887)

⎌媦 Gounod, Charles (1818-1893)

˪伭⭮㫸冯務渿叱˫“Roméo et Juliette” (1867)

⤏剔⶜⑰ Offenbach, Jacques (1819-1880)

˪⤏厚㫸㕗⛐⛘⹄˫“Orphée aux enfers”(“Orpheus in the Underworld”) (1858)

⮷䲬侘Ʉ⎚䈡⊆㕗 Strauss (Jr), Johann (1825-1899)

˪圁圈˫“Die Fledermaus” (1874)

漸攳⇑炻漸➢刦⇑ Ponchielli, Amilcare (1834-1886)

˪╔⭖忼˫ㆾ˪⾓㦪䘬⤛⬑˫“La Gioconda” (1876)

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俾㟹 Saint-Saëns, Charles Camile (1835-1921)

˪⍫⬓冯忼渿㉱˫ㆾ˪曠䌳⤾⦔˫“Samson et Dalila” (1877)

㭼ㇵ Bizet, Georges (1838-1875)

˪⌉攨˫“Carmen” (1875)

㞜䥹⣓㕗➢ Tchaikovsky, Pyotr Ilyich (1840-1893)

˪湹㟫䘯⎶˫“Queen of Spades” (1890)

˪傉㟫懿˫剕唦准∯ “The Nutcraker”(1892)

䲨ỗ䈡(∯ἄ⭞) Gilbert, William (1836-1911 )

㱁⇑㔯(ἄ㚚⭞) Sullivan, Arthur (1842-1900)

˪侸⽫˫ㆾ˪恎⬳䘬㕘⧀˫ “Patience” or “Bunthorne’s Bride” (1881)

˪⤪㬌⣑䘯˫ㆾ˪⣑䘯叔㬚˫“Mikado” or “The Town of Titipu” (1885)

˪䲨ỗ䈡冯㱁⇑㔯普拎˫“Gilbert & Sullivan – Their Greatest Hits”

㳒ỗ⭂⃳ Humperdinck, Engelbert (1854-1921)

˪杻⠆䇦冯吃暟㲘˫ㆾ˪䱾㝄⯳㬟晒姀˫“Hänsel und Gretel” (1893)

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㴎⣹⯤ Puccini, Giacomo (1858-1924)

˪㲊ⶴ䰛ṆṢ˫“La Bohème” (1896)

˪㈀㕗⌉˫“Tosca” (1900)

˪㜄嗕㛝℔ᷣ˫“Turandot” (1926)

䎮㞍Ʉ⎚䈡⊆㕗 Strauss, Richard (1864-1949)

˪匶㦪伶˫“Salome” (1905)

˪䍓䐘榶⢓˫“Der Rosenkavalier” (1911)

˪䲵⃳䳊㕗Ⲟ䘬Ṇ匱旧⽟⥖˫“Ariadne auf Naxos” (1912, 1916)

⎚⟼㹓㕗➢炻㕗䈡㉱㹓㕗➢炻⎚䈡㉱㰞⎠➢ Stravinsky, Igor (1882-1971)

˪㴒⫸䓇㵗˫ㆾ˪㴒⫸䘬㬟䦳˫ㆾ˪㴒⫸䘬㛓㖍˫“The Rake’s Progress” (1951)

㴎伭檀厚⣓炻㘖伭㞗厚⣓ Prokofiev, Sergey (1891-1953)

˪ᶱ㨀ᷳㆨ˫“L’Amour des Trois Oranges” (“The Love for Three Oranges”) (1921)

˪⼤⼿冯䊤˫ (旬㚿嬨䘬䭉⻎㦪㚚 + „∯) “Peter and the Wolf” (1936)

˪㇘䇕冯␴⸛˫“War and Peace” (1945)

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ⶫ䐆枻 Britten, Edward Benjamin (1913-1976)

˪⼤⼿Ʉ吃䐆⥮㕗˫“Peter Grimes” (1945)

㴎暟㔯 Previn, André (1929 -)

ġ ˪ㄦ㛃埿干˫“A Streetcar Named Desired”(1998)

˪䵕ḇ䲵㫴∯昊ㄞ䤅慵㕘攳ヽḼ⋩忙⸜䲨⾝枛㦪㚫˫“Gala Concert: 50th

Anniversary of the Reopening of the Vienna State Opera”(2005)

嬂䚦 Tan, Dun (1957 - )

ġ ˪䦎⥳䘯˫“The First Emperor”(2007)

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⍫侫㚠䚖

Ḷ㼌㲳ᷣ䶐炻˪大㕡枛㦪忂⎚˫(ᶲ㴟烉ᶲ㴟枛㦪↢䇰䣦炻2010 ⸜)

干䀶㰇ˣ㜿ỗ㜘䫱叿炻˪䘤䎦䎮㞍Ʉ⎚䈡⊆㕗˫(⎘⊿烉㗪⟙炻2006)ˤ

㜿⊅₨䶐嬗炻˪㕘䶐枛㦪录℠烉Ṣ⎵˫(⎘⊿烉伶㦪炻2008)ˤ

㜿⊅₨䶐嬗炻˪㕘䶐枛㦪录℠烉㦪婆˫(⎘⊿烉伶㦪炻2008)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 12烉⶜⑰˫(⎘⊿烉伶㦪炻2000)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 26烉㴟枻˫( ⎘⊿烉伶㦪炻2010)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 14烉卓ㇶ䈡 II˫(⎘⊿烉伶㦪炻2000)

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 3烉居⣂剔˫(⎘⊿烉伶㦪炻2006)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 2烉厗㟤䲵˫(⎘⊿烉伶㦪炻1999)ˤ

㜿⊅₨ˣ㛶泃劙嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 24烉⦩䇦䫔/㴎⣹⯤˫(⎘⊿烉

伶㦪炻2010)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 8烉㞜⎗⣓㕗➢˫(⎘⊿烉伶㦪炻2000)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 9烉R. ⎚䈡⊆㕗˫(⎘⊿烉伶㦪炻2000)ˤ

㜿⊅₨嬗炻˪ἄ㚚⭞⇍ ⎵㚚妋婒 䍵啷䇰 20烉㴎伭檀厚⣓˫(⎘⊿烉伶㦪炻2004)ˤ

125

恝佑⻟䶐嬗炻˪⬿㔁枛㦪䱦厗˫(⎘⊿烉⣑⎴炻1984)ˤ

姙㰅䳀㙐枛㦪ẩ∫⮷䳬䶐炻˪⚾妋枛㦪⎚˫(⎘⊿烉㗪⟙炻2010)ˤ

姙渿暗䶐叿炻˪Ἀᶵ⎗ᶵ䞍忻䘬 100 椾⋼⣷㚚䘬㓭ḳ˫(⎘⊿烉檀婯㔯⊾炻2005)ˤ

∱亖㔯ˣ⏪⧱⏃䶐廗炻˪Ἀᶵ⎗ᶵ䞍忻䘬 100 悐㫴∯˫(⎘⊿烉檀婯㔯⊾炻2003 )ˤ

伭➢㓷ˣ㠭㦪ṁ (Jürgen Maehder)炻˪厗㟤䲵Ʉ˪㊯䑘˫Ʉ㊄欗䈡˫(⎘⊿烉檀婯㔯

⊾炻2006)ˤ

Bourne, Joyce 叿炻⻝楐㾌嬗炻˪㫴∯Ṣ䈑䘬㓭ḳ烉娵嬀㫴∯䘬䫔ᶨ㛔㚠˫“Who’s Who in Opera: A Guide to Opera Characters” (⎘⊿烉⓮␐炻2003)ˤ

Craker, Chris 叿炻㳒⥌朄嬗炻˪忚ℍ⎌℠枛㦪䘬ᶾ䓴˫(⎘⊿烉怈㳩炻2004)ˤ

Morris, Edmund 叿炻㛶䵕㉱嬗炻˪㕤㗗炻␥忳Ἦ㔚攨˫(⎘⊿烉怈嵛炻2008)ˤ

Plotkin, Fred 叿炻㛶朄⭄嬗炻㰇曾㲊⮑妪炻˪⎌℠枛㦪 101烉⬠佺冯ッᶲ⎌℠枛㦪˫

(⎘⊿烉怈㳩炻2004 )ˤ

Shakespeare, William 叿炻嵁⣑₨ˣ㜿⺢昮ˣ䌳㶣㸸 䚋ᾖ炻˪匶⢓㭼Ṇℐ普˫(⎘

⊿烉ⲯ㔯棐炻2008)ˤ

Ammer, Christine. The A to Z of Foreign Musical Terms. Boston: ECS Publishing, 1989.

Burkholder, J. Peter & Grout, Donald Jay & Palisca, Claude V. A History of Western

Music. 8th edition, New York: W. W. Norton, 2010.

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Forney, Kristine & Machlis, Joseph. The Enjoyment of Music. 10th Edition, Short

Version, New York: Norton, 2007.

Randel, Don Michael. The New Harvard Dictionary of Music. Cambridge: The

Belknap Press of Harvard University Press, 1986.

Shedlock, J. S. Beethoven’s Letters: with explanatory notes by Dr. A. C. Kalischer.

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