第三交响乐《生命》的简介.doc

一次震撼人心的交响流程刘长远第三交响乐生命的简介为纪念抗击“非典”的胜利，广东省文化厅以广州交响乐团的名义，委托了我国著名作曲家刘长远创作一部题为生命、长约45分钟的交响音乐。音乐从四个方面“憧憬”、“遭遇”、“天使”、“阳光”，描绘这一惊心动魄、壮丽恢宏的抗击SARS的场面。这四个标题因此分别成为乐曲四个乐章的表现内容。第一乐章，表现了人们对美好生活的向往，且暗示了SARS的侵袭。采用奏鸣曲式的结构原则写成。引子是由铜管组演奏出严峻的主题音调，预示了全曲气势宏大的音响基调。主部主题采用了广东音调，主要由木管陈述，音乐欢快祥和；充满了节日气氛。当主题再次以弦乐陈述时，进行了加花变奏，使音乐更为活跃。整个主部表现了人们对美好生活的憧憬。副部由两种对比性的主题构成，由木管陈述的第一主题，悠扬甜美，充满了抒情气质，表现了人们生活的甜蜜，可谓“幸福”主题。由弦乐陈述的第二主题，采用了微型复调技术，营造出阴暗神秘音响，象征着SARS，可谓“邪恶”主题，它两次出没于“幸福”主题之间，暗示了某种不祥之兆。音乐的展开由两大部分构成。第一部分是由主部主题材料构成的一个长大的赋格段，表现了动荡不安，危难四起的景象。第二部分是继续由主部主题材料发展，富有戏剧性且逐步将音乐推向高潮。当副部第一主题再现时，它由原表现“幸福”的音乐形象转变为激昂恢宏的音乐形象，象征着人们战胜SARS的决心。尾声采用了引子的主题材料，进一步表现达了人们必胜的信念和信心，最终将该乐章在高潮中结束。第二乐章，用复三部曲式写成。音乐主要以快速的、强动力的音型为动机，在弦乐队中依次出现，此起彼伏，表现了SARS给人类带来恐慌和对生命的威胁。中部，在充满焦急不安的背景上，由第一小提琴陈述的主题旋律，主要以下行为主，表现了人们的焦虑不安和企盼战胜“恶魔”的心境。主部主题在木管组中再次出现时，音乐变得更加激烈，在打击乐、乐队不断的撞击下，音乐达到了情绪的最高点，表现了SARS的肆意横行，人们的焦急不安、恐慌等。第三乐章，是一首“挽歌”，追思和悼念那些为神圣之战而死难的“白衣天使”们，并颂扬了全体医务工作者救死扶伤的崇高精神。音乐采用三部曲式写成。第四乐章，采用了奏鸣曲式。表现了人民抗击非典斗争取得的重大胜利， 歌颂了全国人民万众一心、众志成城的民族精神。主部主题是由快速十六分音型的多声部模仿段和富有进行曲特点的音型联合而成。副部主题则具有田园风格，且引入了第三乐章的主题，再一次表达了对白衣天使的怀念。展开部，通过对主部材料的不断发展，营造出势不可挡的音乐高潮，表现出全国人民的凝聚力。主部再现具有动力性（副部被省略），且直接进入尾声。尾声结构庞大，气势浩然，并充满了阳光和温暖。其中采用了第一乐章的素材和一个具有抒情气质的新主题，并最终将音乐推向灿烂辉煌的总高潮。这部交响曲的音乐语言融合传统与现代、中国与西方的风格于一体，令人感到亲切，充满时代气息，体现出本人对这部作品的美学观念，既反映出作品的艺术价值，又使广大听众充分理解和喜爱，从而达到雅俗共赏的境界。该作品获得第十届全国音乐作品比赛优秀作品奖。An Earthshaking Symphonic Process - Introduction to Life, Symphony No.3 by Liu ChangyuanIn memory of the victory of anti-SARS, the Culture Department of Guang Dong Province, in the name of Guang Zhou orchestra, entrusted the famous composer Liu Changyuan with an about forty-five minutes symphony called Life. The music, in four aspects “ Hope”, “Encounter”, ”Angel” and “Sunshine”, describes the soul-stirring and glorious anti-SARS scenes. The four titles, therefore, are the contents of the four movements separately. In the introduction, a serious music theme is led by brass group, predicting a magnificent acoustical fundamental-tone of the whole work. The theme of the main part is with Guang Dong music tone, mainly by woodwind instruments, so the music sounds lively, harmonious and full of festival atmosphere. When the theme is described again by stringed instruments and with colorful variations, the music becomes even livelier. The whole part represents the peoples longing for a happy and prosperous life. The subpart consists of two comparative subjects. The first subject performed by woodwind instruments is melodious and full of lyric temperaments, saying the sweet life of the people. It can be called a “happy” theme. The second subject, performed by stringed instruments and with slight polyphonic techniques, however, results in a gloomy and mysterious sound effect, i.e. the symbol of SARS. It can be called an “evil “theme. It appears twice in the “happy theme, giving us a hint of some unlucky event.In the first movement, the music represents that people are looking forward to a perfect life, meanwhile it gives us a hint of the SARS attack. The music is written in a sonata form.The music spreads out with two main parts. The first part, which is a long fugue of the theme materials, demonstrates the disturbing and calamitous situation. The second part, the further development of the main theme materials, is dramatic and gradually pushed up to the climax of the music. When the first theme of the subpart reappears, the “happy” music turns to be rousing and extensive, signifying the confidence of people to win over SARS. In the epilogue, the theme materials in the introduction are adopted, once again expressing the belief and confidence in the victory and ending the movement in a high tide. The second movement is written in the form of compound trilogy. The music, with the motive power of the rapid and powerful figures, comes up in the string band in turns, rises one after another, expressing the horror and threat the SARS brings to the human lives. In the middle, in the background of anxiety and expectations for the anti-SARS victory, the melody by the first violinist, mainly at lower levels, expresses these intensive feelings. When the theme of the main part appears again in the woodwind group, the music becomes more intense and powerful. With the continuous strokes from the percussion band, the music reaches the top of the feelings. It expresses that SARS runs wildly and people feel worried, panic, etc. The third movement is actually a “dirge” for those “white angels” who died for the holy fight and to praise all the medical workers for their noble spirit of “healing the wounded and rescuing the dying”. The music is written in the trilogy formIn the fourth movement, the sonata form is used to express the victory in the anti-SARS struggle, praise the whole nation for their strong unity and the great morale of fighting with one heart and one mind. The theme of the main part is composed of a multi-simulation section with rapid 16th-note and march-characteristic figures, while the theme of the subpart is a pastoral style. Besides, it quotes the theme in the third movement and tries again to express the memory of those white angels. In the unfolding part, through continuous developments of the theme materials, it sets up an irresistible music tide to express the condensing force of our nation. The motive power reappears ( the subpart is omitted ) in the main part and then comes directly to the epilogue. The epilogue, with its enormous structure, is of great momentum and full of warmth and sunshine. Here the source material i