Symphonie Nr. 8 Symphony of a Thousand 馬勒．古斯塔夫 交響曲 交響曲 總譜 環球版

我以前的交響曲都只是這部作品的前奏。在其他作品中，一切都是主觀的悲劇，而這部作品則是歡樂的巨大給予者"。(古斯塔夫-馬勒）古斯塔夫-馬勒的第八交響曲是一部例外作品。從外觀上看，它所使用的演出陣容也是如此：三個合唱團、八名獨唱演員和一個由一百多名音樂家組成的管弦樂隊，在音樂史上幾乎沒有類似的作品。這樣的演出陣容決定了這部作品的第二個特殊元素，即器樂與聲樂的結合，使其成為 "聲樂交響曲 "的原型，正如馬勒所說，"從頭到尾都是歌唱"。反過來，歌唱的文本也影響著整部作品的結構，用兩個截然不同的 "部分 "取代了交響曲通常的四個樂章。最後，為了強調這種差異，所使用的文本--第一部分中的 "Veni Creator Spiritus "讚美詩和第二部分中歌德《浮士德》的最後一幕--不僅是用兩種語言寫成的，而且在起源上也相差一千多年。因此，這是一部極端和矛盾的作品。然而，似乎正是這些鮮明的特點使這部交響曲超越了其他作品，並使馬勒確信他的第八交響曲是'我創作的''最偉大'的作品"

作曲家: Mahler, Gustav
編者: Fuessl, Karl Heinz
樂器: for soli, boys' choir, 2 mixed choirs (SATB) and orchestra
出版社: Universal Edition
原文簡介:
All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's Symphony No. 8 is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn Veni creator spiritus in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his Symphony No. 8 was 'the greatest' work 'that I have composed'.