柏林愛樂廳—My Very First Live at Berliner Philharmonie 2013/05/30

Berlin 050

The Berliner Philharmonie on the southern edge of Berlin’s Tiergarten Park (located on the Kulturforum) was built by the architect Hans Scharoun (1893-1972, his first major piece of free-form) in the years 1960-1963. It is a very striking, unconventionally shaped building, asymmetrical and tent-like, with a main concert hall in the form of a pentagon.

Philharmonie-1http://www.berliner-philharmoniker.de/en/

p.s. The foundation stone for the Berliner Philharmonie was laid on 19 September 1960 and the topping out ceremony was held on 1 December 1961. The opening concert was given in the new building on 15 October 1963. The Berlin Philharmoniker played Beethoven’s 9th symphony under the baton of its principal conductor, Herbert von Karajan (1908-1989).

History                                                                                                                                             柏林愛樂被列為歐陸三大樂團之一,但在1882年時,它的前身叫做「前畢爾塞樂團Frühere Bilsesche Kapelle」,剛開始還因為團員們不擅經營而產生許多財務問題, 直到1887年音樂經紀人Hans von Bülow接 掌後,才漸走上軌道,其後又被改名為「柏林愛樂管絃樂團」,直到2002年才完全改成「柏林愛樂」。                                                                                          p.s. In 2006, a group of ten European media outlets voted the Berlin Philharmonic number three on a list of “top ten European Orchestras", after the Vienna Philharmonic and the Royal Concertgebouw Orchestra, while in 2008 it was voted the world’s number two orchestra in a survey among leading international music critics organized by the British magazine Gramophone (behind the Concertgebouw).

Exterior                                                                                                                                                             The Berliner Philharmonie consists of a two-storey base—the bright golden corpus of the concert hall rises up over the base like a monolith. The occasional windows and portholes in the facades appear to be arranged in accordance with some secret scheme.

Berlin 047          Berlin 046

Berlin 044柏林愛樂廳黃色的帳棚外型,當時被戲稱是「卡拉揚的馬戲團 Zirkus Karajani」。

Foyer Landscape

Berlin 049-1Immediately behind the double glass doors is an entrance hall, which precedes the foyer as such. The entrance hall is a low room with little lighting. Scharoun give the entrance of the Berliner Philharmonie a clear and unobtrusive character. The sole distinguishing feature of the entrance is a roof resting on four concrete supports, which projects out into the public space in an unpretentious of welcome.

Berlin 034-1Stairways and landings divide up the foyer landscape, part of which is situated directly beneath the concert hall. This means that the sloping ceiling of the foyer is at the same time the floor of the auditorium.

Berlin 032-1柏林愛樂廳的內部空間規畫並沒有一個清楚的軸線,而是多面形體:四周挑空的緩衝空間,如有機體般生長;陽光透過不同顏色的鑲嵌玻璃映照在挑高空間中,帶來一種中世紀的奇特氛圍。

Concert Hall                                                                                                                         Scharoun used a pentagon to develop the concert hall. The stage for the musicians is positioned slightly away from the centre of the hall. Behind it there is a platform for choirs. The auditorium is broken up into terraced blocks, which are ground around the central space providing seating for 2452 concert goers. The orchestra and the audience are never more than 30 metres apart the most.

Berlin 035為了讓聲音平均往外擴散,樂團頭上有數片既像微笑、又像雲一般的反射板,在精密的建築聲響學的搭配之下,形成了絕佳的音響效果,能讓全場聽眾感受到音樂細微的質地。

Berlin 037-2「音樂源自音樂廳的中央」是夏隆設計柏林愛樂音樂廳最主要的訴求,他認為將樂團置於大廳一端的布局阻礙了觀眾及樂師之間自由且強烈的交流,於是他將整個音樂廳舞臺移到音樂廳的中央—在建築物的最下層,與第一排觀眾平行(看出來了嗎?)—觀眾席則分區分佈在舞臺四週、蜿蜒而上,呈「梯田式」排列。

Berlin 042-1面積1,057平方公尺的音樂廳,被分成18個座位區(H &K是面對指揮區)。各區即使是同高度,也不盡然在同一個平面上,而是各有獨立不同的斜度和面向舞台的角度差異—不管你在哪一個座位,都可以看見舞台上的演奏家。這個區塊觀眾席的概念,被建築師夏隆暱稱為「葡萄園」。這是為減低各區的餘響和反射互相作干擾,也為各區得到最好聆聽角度而設計。

Tonight’s Program                                                                                                                          Berliner Philharmoniker, Sir Simon Rattle                                                                                       Boulez Notations I, VII, IV, III und II                                                                                             Bruckner Symphonie Nr. 7 E-Dur

附記:                                                                                                                                                     1) Sir Simon Rattle, born 19 January 1955 in Liverpool, Chief Conductor of the Berliner Philharmoniker and Artistic Director of Philharmonie Berlin since 2002.                                   2) Pierre Boulez (1925年3月26日~),法國作曲家、指揮家、音樂理論家。1966年在拜魯特音樂節上首次指揮華格納,曲目是帕西法爾。                                                                                 3) Anton Bruckner (1824年9月4日-1896年10月11日) 生於奧地利Ansfelden,逝於維也納。4) Symphony No. 7 in E major was the most beloved of Bruckner’s symphonies with audiences of the time, and is still popular. It was written 1881–1883 and revised in 1885. 1983年初,布魯克納撰寫「第七號交響曲」第二樂章時,傳來華格納病重的消息,讓布魯克納感到非常憂傷,並願為此寫一段c小調的樂章。1883年2月13日當華格納過世時,他決定將第七號交響曲的慢板樂章(Adagio)作為哀悼大師的輓歌,並稱呼第184小節以下為給華格納的「送葬音樂」,並在該樂章結尾處,以四把「華格納低音號」齊奏,來表示對這位音樂巨匠的哀悼—慢板的第二樂章,充滿了哀傷的氣息,一個摯愛的人永遠離去了!               布魯克納去世時,這個第二樂章改編為法國號四重奏,在他出殯時演奏。日本昭和天皇去世時,日本電視台也一再播放這個樂章。希特勒自殺的翌日,德國的電台整日播放華格納的「齊格飛送葬音樂」與這首慢板樂章。

Berlin 041-1能在華格納兩百周年於柏林愛樂廳欣賞此曲演出,堪稱世上最美好的經驗之一。

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