Symphonie Nr. 8 Symphony of a Thousand 马勒．古斯塔夫 交响曲 交响曲 总谱 环球版

我以前的交响曲都只是这部作品的前奏。在其他作品中，一切都是主观的悲剧，而这部作品则是欢乐的巨大给予者"。(古斯塔夫-马勒）古斯塔夫-马勒的第八交响曲是一部例外作品。从外观上看，它所使用的演出阵容也是如此：三个合唱团、八名独唱演员和一个由一百多名音乐家组成的管弦乐队，在音乐史上几乎没有类似的作品。这样的演出阵容决定了这部作品的第二个特殊元素，即器乐与声乐的结合，使其成为 "声乐交响曲 "的原型，正如马勒所说，"从头到尾都是歌唱"。反过来，歌唱的文本也影响着整部作品的结构，用两个截然不同的 "部分 "取代了交响曲通常的四个乐章。最后，为了强调这种差异，所使用的文本--第一部分中的 "Veni Creator Spiritus "赞美诗和第二部分中歌德《浮士德》的最后一幕--不仅是用两种语言写成的，而且在起源上也相差一千多年。因此，这是一部极端和矛盾的作品。然而，似乎正是这些鲜明的特点使这部交响曲超越了其他作品，并使马勒确信他的第八交响曲是'我创作的''最伟大'的作品"

作曲家: Mahler, Gustav
编者: Fuessl, Karl Heinz
乐器: for soli, boys' choir, 2 mixed choirs (SATB) and orchestra
出版社: Universal Edition
原文简介:
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'.