正所謂報應循環，先是我突然發現本周五有朋友從杭州來而取消和好友的聚會（還有Happy節目），現在報應就是週六音樂會遇到阻礙......

雖然有些阻礙，本週六的音樂會，小提琴由薛偉負責（我的鋼琴世家好友SISI報告說，小時候已經聽過他的Cassette，要知道那時候中國出個Cassette可是不容易的事情，除非很厲害），指揮是德國指揮家克利斯朵夫．波旁，曲目也很頗吸引人：

莫扎特：歌劇《狄托的仁慈》序曲 K.620
勃拉姆斯：D大調小提琴協奏曲 作品77
門德爾松：A大調第四交響曲 作品90 “意大利”

　　一．莫扎特的這個歌劇是他臨終前的作品。1791年八月初，他雖患疾，卻收到一份關於為波希米亞國王利奧波德二世的加冕創作歌劇的請求，而且要三個月完成。這齣最後的歌劇《狄托王的仁慈》（屬於義大利式正歌劇或莊歌劇），根據莫札特的早期傳記作者尼梅特舍克記載，莫札特於十八天內，在和妻子赴布拉格途中的馬車上完成了此劇的創作。本次上演的序曲一般已經是被人耳熟能詳，可惜不一定知道出處。

狄托(Tito)，即古羅馬一世紀的提圖斯皇帝，看看整齣歌劇的劇情吧（引用）：

Act I

Vitellia, daughter of the deposed Emperor Vitellius, is enraged. She has been rejected by Emperor Tito, who proposes to marry his lover, Berenice, instead. Vitellia demands that her admirer, Sesto, lead a conspiracy to kill Tito. Sesto is so bewitched by Vitellia that he agrees to carry out the assassination, even though Tito is his dearest friend.

Annio, another friend of Sesto, arrives with the news that Tito has decided not to marry Berenice after all. Vitellia tells Sesto to delay the plot. Annio wants to marry Sesto’s sister, Servilia, and asks Sesto to seek Tito’s consent.

Before Sesto can plead Annio’s case, Tito announces that he has chosen Servilia to be his own bride. Annio delivers the news to Servilia, and the two affirm their undying love despite the turn of fate which will separate them. But when Servilia confesses her true feelings to Tito, the Emperor is so impressed by her honesty that he grants permission for her to marry Annio after all.

Vitellia, having heard that Servilia is to be the new Empress, orders Sesto to carry out the assassination plot. But just as Sesto leaves, word comes that Tito has now decided to marry Vitellia. She realizes in horror that it is too late to stop what she has set in motion.

As Sesto agonizes over whether he will join the conspirators, anguished cries are heard in the distance as the Capitol is seen in flames. Sesto is overcome with remorse, and everyone mourns the loss of Rome’s beloved Emperor.

Act II

Annio tells Sesto that Tito was not killed in the riot after all, and urges Sesto to confess everything to the Emperor. Publio arrives to bring Sesto to the Senate, where his case is to be tried.

Sesto is found guilty, but Tito refuses to sign the death warrant without speaking to him first. Sesto is brought in, and Tito begs him to explain the reasons for his treachery. Determined to protect Vitellia at all cost, Sesto will say only that he is a traitor and deserves to die. Left alone, Tito hesitates. In a moment of resolve he signs the warrant, and then changes his mind. Let history remember him for mercy, not for severity, he decides, and tears up the order.

Vitellia, learning of Sesto’s refusal to implicate her, decides that she cannot stand by and let him take all the blame. She will confess everything to Tito. By now Tito and the people of the city are assembled at the arena where Sesto is to be thrown to the lions. Tito addresses Sesto, but before the Emperor can reveal his decision, Vitellia throws herself at his feet and confesses that it was she who lead the conspiracy. To everyone’s astonishment, Tito frees the conspirators and pardons them all. “I know everything; I absolve everyone; I forget all,” he declares. He prays that the Gods will end his life if ever the good of Rome ceases to be his first care.

　　二．協奏曲作為交響的大眾版，一直廣受歡迎，因當中有樂隊的強大力量和豐富色彩之餘，又有獨奏聲部輝煌炫目的技巧表演以及細膩的感情抒發，協奏曲結合了交響性和樂器技巧，作曲家在這種結合中平衡著交響性和技巧性，而不同的聽眾則可以根據自己的需求在協奏曲中得到滿足。Brahms的D大調小提琴協奏曲創作於1878年，在小提琴曲目中的地位和貝多芬的協奏曲齊名。話說當時Wagner已經雄起，浪漫主義及標題音樂的浪潮已成主流，而Brahms的古典派仍然堅持古典的傳統，在此引用WIKI的介紹以作說明：

　　布拉姆斯的交響曲在好幾個方面是古典主義的：按慣常的四樂章結構，每一樂章的曲式都同古典格局相近；應用古典主義的對位技巧和動機展開技巧；沒有具體的標題，換言之，和他的室內樂一樣是純音樂。然而，交響曲的和聲語匯、濃郁而色彩繁多的管弦樂音響以及音樂語言的一般特點卻是浪漫主義的。但它們不是古典主義和浪漫主義的單純的綜合；布拉姆斯的風格是統一的、有個性的，其中可以辨認出各種因素，包括旋律線，極其抒情而氣息遼闊的，像敘事歌般奇特，從根本上尊重傳統（這與柏遼玆和李斯特的個人主義音樂觀正好相反）。對他來說光有靈感是不夠的：樂思必須嚴加推敲、賦以完美形式。他避免浮誇的華麗、空洞的炫技、特別是他所認為的（許多同時代人也有同感的）那種顯然靠作曲家心中沒有控制的思想之流串在一起的無曲式可言的音樂。布拉姆斯控制自己的靈感，因此所有的作品經過深思熟慮，這就是何以他的音樂有安詳恬靜的感覺，不同於1830至1860年間的衝動型作品。但不論他是否意識到，這是對時代的總潮流的反應。浪漫主義的童稚般的清新和青春的熱情到世紀中期銳勢已衰，放盪階段已經過去；回到規矩繩墨、恢復秩序和形式，顯然可見於舒曼和柏遼玆的晚期作品，甚至李斯特和瓦格納的作品中。

　　然後需要補充的是，此曲獻給Brahms的伯樂桃阿幸的。話說布拉姆斯二十歲時與好友小提琴家雷梅尼結伴到歐洲各國作旅行演奏，在漢諾威城演出貝多芬的「克羅采奏鳴曲」時 ，在演奏會開始前才發現鋼琴調成比正常低了半音，由於時間緊迫，負責鋼琴的布拉姆斯只好以高半音的調子背譜彈出鋼琴的部份，知道內情的人都非常驚訝。在場的小提琴大師桃阿幸對布拉姆斯的才能很是賞識，於是主動聯絡布拉姆斯並介紹他會見當時樂壇的領導者舒曼及李斯特，由於這樣的機緣，才促使布拉姆斯後來順利踏上音樂創作之路並成為一代大師。

　　三．最後一首是以《結婚進行曲》聞名的門德爾松，是唯一一個富家子弟有專用樂團卻又能名留千古的音樂家，但三十八歲去世。在1842年他協助舒曼成立萊比錫音樂學院，孟德爾頌為首任校長，這所學校後來成為歐洲重要的音樂學校之一。而舒曼當然是Brabms的伯樂，其夫人克拉拉和Brahms還有一種難以表明的感情。而短命則十足莫札特，雖然他比莫先生長一年命……

　　本曲是門德爾松歐洲旅行，在羅馬與柏遼茲相遇後，開始醞釀的。而我剛才聽過第一部分，發現原來我聽過！正如在路上看到某個美麗的女孩，發現，原來她長得那麼像你，而因為這我才會在紛雜的路人中看到她。