Two Episodes 林德貝里．馬格努斯 頌歌 總譜 博浩版

這部作品由倫敦愛樂樂團委託創作，是貝多芬第九交響曲的伴奏作品。正如馬丁-安德森（Martin Anderson）所解釋的，"馬格努斯-林德伯格（Magnus Lindberg）的《兩段插曲》也許是音樂史上第一次嘗試反映人們偶爾在建築中發現的一種程式：它相當於在一些古老而令人尊敬的建築上添加了一個現代的門廊"。林德伯格對貝多芬情有獨鍾： 林德伯格對貝多芬情有獨鍾："如果真的要我從經典作品中選擇一位元作曲家，那一定是貝多芬，因為他是當代作曲家的典範--就像我自己生前的伊尼斯-謝納基斯（Iannis Xenakis）一樣......《兩集》自然分為兩個不同的部分： 一個部分與貝多芬第一樂章的巨大衝擊力相關聯，其巨大的tutti寫作充滿了大膽的聲音和能量，而第二個部分則更接近于慢板樂章的美感，是通往開放五度A和E及其D小調終點（貝多芬第九樂章的調性）的橋樑... 我沒有引用貝多芬的名言，而是在樂曲中加入了許多貝多芬的典故，這樣就有了清晰的聽覺聯繫，配器也與交響樂相匹配，因此樂曲具有'時代'色彩，但沒有我許多作品中的豎琴、鋼琴和奇異的打擊樂。 " 這部作品有兩種結局：第一種結局讓《兩段插曲》直接進入貝多芬的《第九交響曲》，沒有中斷，這也是最初的意圖。第二個結尾是一個完整的結尾，可以分別演奏兩部作品"

作曲家: Lindberg, Magnus
樂器: orchestra
出版社: Boosey & Hawkes
原文簡介:
This work was commissioned by the London Philharmonic Orchestra as a companion piece to Beethoven’s Symphony No. 9. As Martin Anderson explains, “Magnus Lindberg’s Two Episodes attempt – perhaps for the first time in the history of music – to mirror a procedure one occasionally finds in architecture: it is the equivalent of adding a modern portico to some old and revered building.” Lindberg has a particular fondness for Beethoven: “If I was really pressed to choose just one composer from the classical canon it would have to be Beethoven, because he stands out as an example of what it is to be a contemporary composer – just as much as figures like Iannis Xenakis in my own lifetime … Two Episodes falls naturally into two distinct sections: one is linked to the massive impact of Beethoven’s first movement, with its immense tutti writing, full of bold sounds and energy, while the second is closer to the beauty of the slow movement and acts as a bridge towards the open fifth A and E and its D minor destination [the key of Beethoven’s Ninth] … Rather than incorporate quotations, I’ve embedded a number of Beethovenian allusions, so there are clear aural links, and the orchestration matches the symphony, so it has a ‘period’ colour, without the harp, piano and exotic percussion that feature in many of my works.” The work incorporates alternative endings: the first allows Two Episodes to lead directly into Beethoven’s Symphony No. 9 without a break, as originally intended. The second ending comprises a full close, allowing for separate performance of the two works.