中财网学信网就业去向怎么改:诺曼·莱布雷希特专栏西贝柳斯《第八交响曲》重见天日
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Jean Sibelius (1865-1957) 
《西贝柳斯选集》的责任编辑蒂莫.维尔塔宁（Timo Virtanen） 全世界没有一部失落的作品能像西贝柳斯的《第八交响曲》一样，激起如此的民族狂热。传说中，这部作品在上世纪40年代初被他扔进了阿依诺拉家中的壁炉里付之一炬。而最近，赫尔辛基爆出特大新闻——《西贝柳斯选集》的责任编辑蒂莫.维尔塔宁（Timo Virtanen）宣布他发现了失落已久的《第八交响曲》草稿，全英国、德国和意大利的音乐家们都相拥而泣，这种情绪，哪怕是新发现了莎士比亚的手稿、歌德《浮士德》的缺失章节或是但丁的长诗也无法比拟。
西贝柳斯佚作的手稿副本立刻被送去了新落成的音乐厅，赫尔辛基爱乐乐团迅速过了一遍。当指挥随后告诉乐手们他们刚才演奏的是民族史上缺失已久的那一环的第一声时，乐手们禁不住掏出手帕擦拭泪水。
西贝柳斯用音乐定义了芬兰这个民族国家，他也曾试图用《第八交响曲》拯救她。1918年芬兰脱离俄国独立后，很快被内战拖得四分五裂，贫困和封闭导致它险些于1939年再度沦陷在前苏联的铁蹄之下。
西贝柳斯自1924年完成《第七交响曲》之后便陷入了沉寂。波士顿的大指挥家谢尔盖.库塞维茨基（Serge Koussevitsky）委托他创作一部新交响曲，他答应了，却从未交稿。托马斯.比彻姆（Thomas Beecham）爵士前来探望，看他过得怎样。嗜酒成性的西贝柳斯满口胡言，什么像样的作品也没拿出来。勋伯格阵营的现代主义者嘲笑这位老交响大师江郎才尽，仰慕者则说他在与心魔抗争。
1939年，西贝柳斯通过广播呼吁世界拯救他那饱受蹂躏的祖国。苏联的进攻被击退了。不久，西贝柳斯烧了新创作的交响曲。他为什么要这样做？作曲家艾诺胡阿尼.劳塔瓦拉（Einojuhani Rautavaara）少时曾见过西贝柳斯，他认为老人是担心任何达不到自己最佳水平的创作都会削弱国际支持，导致芬兰士气崩溃。与之前人们普遍接受的观点不同，他认为西贝柳斯是在喝醉时一气之下烧了作品，我以为这一观点更为可信。
新发现的草稿 (试听：
http://www.hs.fi/kulttuuri/Soiko+HSfin+videolla+Sibeliuksen+kadonnut+sinfonia/a1305548269034 ) 对于西贝柳斯的高远目标来说不过是小试牛刀。音乐语言是百分百的西贝柳斯，木管在弦乐声浪的拍击中痛苦哀叫，旋律线在摸不着的半空中漂浮。不像在晚期作品中与无调性共舞的马勒，西贝柳斯一直待在他的安全区。他理解他的听众，不愿去试探他们的忍耐性。
如果我们听到的是交响曲的开头，那么它极其谨慎。更有可能的，它是某个中间乐章的开始。当试奏的作品片段在全国播出后，又有人在一个铁路员工的阁楼上发现了西贝柳斯的来信，里面提到“一个装满了乐谱的硬纸盒”，还谈及在交响曲中加入大合唱。这部尘封已久的史诗作品，也许还有更多惊喜等着我们。
古典音樂家
西貝流士 Jean Sibelius (1865-1957)
芬蘭近代音樂作曲家西貝流士1865年12月8日生於漢寧利納（Hameenlinna)，1957年9月20日逝於赫爾辛基附近的耶芬帕，享年92歲。
芬蘭原屬瑞典領地，1809年俄瑞戰爭後再由瑞典割讓給俄國因此在整個19世紀中，這個北歐小國經歷過無數次激烈的文化變遷，這種情形在西貝流士的作品中都感受得到。
事實上，芬蘭豐富的神話和民謠遺產在西貝流士之前已有恩格利斯、湘茲等當地作曲家先後依之譜曲，但是到了西貝流士時才真正有系統的加以開發，並運用在他的交響詩作品裡，其中包括依芬蘭史詩「卡列法拉」譜寫的「傳奇」(1892)，以及志在激發民族意識，以反抗沙皇暴政的「芬蘭頌」( 1899/1900)等。
西貝流士於1889年取得獎學金前往柏林和維也納留學，1891年學成歸國後，即以「庫烈弗」交響曲和「傳奇」等依芬蘭史詩譜寫的撼世傑作，成為國際最著名的芬蘭民族音樂作曲家。
其後他除了作曲之外，也曾一度任教於赫爾辛基音樂學院，然不久在出版商有限的年金資助下，於1926年停止所有公開的音樂活動，退隱於赫爾辛基郊區直至離世為止。
西貝流士早年由於酗酒而導致健康情況嚴重受損，晚年的處境則因離群索居而益發孤獨淒涼，他遺世的作品在數量上和種類上都相當繁多，其中尤以七首交響曲，以及「我的祖國」(op92)「大地之歌」(op95)等洋溢芬蘭風彩的合唱曲最為膾炙人口。
by 陳重霖
Is this the sound of Sibelius's lost Eighth Symphony?
Readers of Helsingin Sanomat get a chance to hear the Helsinki Philharmonic performing a fragment of draft material that sounds tantalisingly like it might be from Sibelius's famously burned late work
Timo Virtanen 
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By Vesa SirénMy hands are trembling just a little bit as I run the magnifying glass over the 80-year-old score in the National Library.
That boom from the timpani, those dissonances, and the symphonic progression of those fragments…
Yes, the handwriting, both literally and figuratively, is familiar: late period Jean Sibelius (1865-1957), but what we have here does not belong to any known orchestral work by the master.
Could it be? Could this be the Holy Grail of Finnish classical music - a sketch of Sibelius’s lost Eighth Symphony? “Yes, this could very well be a fragment of the Eighth Symphony or from the beginning of one of its movements”, replies Timo Virtanen, editor-in-chief of the critical edition of the collected works of Jean Sibelius, his voice suitably hushed.
This was not supposed to be possible. Sibelius’s Seventh Symphony was completed in 1924.
He worked on an Eighth, for quite some time in fact, without anything material appearing (in spite of considerable public expectation, on both sides of the Atlantic), and then in the 1940s, something happened that should have put a full stop to the matter.
The composer’s grandson Erkki Virkkunen drove to Sibelius’s home of Ainola and heard of “a great bonfire” that had just taken place in the grate of the living-room fireplace.
“Grandmother was almost in tears; she was totally shocked. I don’t know what scores it was that went up in smoke that day. I presume the self-criticism had reached such a point that… well, you know. Grandpa just mentioned, almost in passing, that we’d had a big bonfire. He didn’t make a big thing of it; it seemed more a subject for humour than anything”, recalled Virkkunen in an interview in the 1990s.
But did something, anything, escape the flames?
Sibelius reportedly stated as late as in the 1950s that “sketches” of the symphony were complete.
It has been possible to explore the subject with a little more accuracy since the 1990s, when Sibelius scholar Kari Kilpel?inen completed the cataloguing of the vast body of manuscript material that the Sibelius family handed over to the University of Helsinki and the National Library in 1982.
Among this body of material are a good many unidentified drafts dating from the time Sibelius was supposed to be working on the Eighth Symphony, but there has been no prima facie evidence to link them to the work itself.
One page does admittedly bear the words “Sinfonia VIII commincio”, suggesting the beginning of the work, but the reverse of the sheet of music paper contains nothing more than a sketch for a few bars of orchestral music.
Another page contains drafts for the Seventh Symphony and the cryptic “VIII” attached to a particular fragment of melody.
Basically, that was all that was assumed to exist.
The discussion took a startling new direction when Sibelius researcher Nors S. Josephson (an external editor of the critical edition) became excited at the sheer volume of unidentified sketches.
There are indeed a lot of them, at a rough glance something like 800 pages of music - and a sizeable proportion of this material dates from the period when Sibelius might have been at work on the missing Eighth Symphony.
In 2004, Josephson published an article entitled “On Some Apparent Sketches for Sibelius’s Eighth Symphony”, in which he made a determined case for suggesting that the entire symphony could be reconstructed!
Timo Virtanen does not share this view, having himself written an article on the fragments for a Finnish music magazine. Virtanen also presented the subject at a recent seminar.
“It is not possible to patch together Sibelius’s entire symphony from these sketches”, he argues.
In Virtanen’s view, Josephson drew some interesting, bold, and ultimately probably also false conclusions from what were basically only a few isolated instrumental lines for a couple of bars of music.
At the same time, Josephson did not take any account of sketches found in another file of archived documents that hinted at orchestration.
Virtanen is actually the first researcher who has sifted out from the enormous body of material the most orchestrated sketches from the late period for "unknown works". Obviously these are likely to be the strongest candidates when we look for sketches of the lost symphony.
“These [other] sketches could well point us towards the Eighth Symphony, and they indicate that Sibelius had taken off in a quite startling direction”, says Virtanen.
It certainly looks that way. The dissonances are similar to those found in Surusoitto (Funeral Music), Op.111b for organ, composed somewhat hurriedly for the funeral in 1931 of the painter Akseli Gallen-Kallela.
How does it sound?
Virtanen has selected from the later sketches and drafts a fragment that Sibelius has worked up for orchestration and a couple of other drafts with hints at an orchestral treatment, and he has written them out as a clean copy on the PC.
I ask him for the parts for the orchestra musicians.
He writes these up, too, as clean versions on the computer, as Sibelius's handwriting is quite tricky.
Nothing is added at this copying process: it is all Sibelius.
We head off to the new Music Centre in Helsinki to have a word or two with Sakari Oramo, Chief Conductor with the Finnish Radio Symphony Orchestra, and with John Storg?rds, his opposite number at the Helsinki Philharmonic.
"Phew. This is pretty heady stuff" , says a dazed Oramo. "It stops right there just as Aino [Sibelius] has called from the kitchen to tell Janne to come and eat", he jokes.
But then he tries out the harmonies on the piano and his mood grows altogether more serious.
"There is a sense of searching and exhaustion in here. The material has an archaic dissonance to it."
One draft is a complete page of scoring for an orchestral work, marked as page 9.
"This is more finished and at the same time more familiar music. Sibelius is banging out dissonant seconds, but in an open fashion."
While Oramo packs up his things to go off and conduct in London, Storg?rds agrees to subject the drafts to a little laboratory testing with the musicians of the Helsinki Philharmonic.
What we get is the first performance, for the readers of the online pages of Helsingin Sanomat.
Sibelius himself would not be best pleased from beyond the grave.
He abandoned the work of all these years and would not have relished hearing them played.
But when even his exercises from the years when he was a callow music student have already wound up on record, it seems only fair that we might hear a quick snatch or two of what sort of music the maestro wrote for orchestra during the gestation period of his fabled Eighth Symphony.
The timpani rings out in the rehearsal hall of the Music Centre.
The possible initial draft of the Eighth Symphony gets its first airing (see also video linked below).
Goosebumps. It's almost scary.
Sitting next to me, the Helsinki Philharmonic's Information Officer Marianna Kankare-Loikkanen bursts into tears.
We've been waiting decades on end for even a snippet of information on what was going through Sibelius's musical mind in his last years, and now these thoughts are filling the room!
"Incredible. Even the dissonant intervals in the horns have a sensual clarity to them", says a stunned Timo Virtanen.
The music is strange, powerful, and with daring, spicy harmonies - a step into the new even after Tapiola and the music for The Tempest. The opening segment, just over a minute in duration, sounds really good!
A second fragment offers a complete page of more conventional music, and is over in eight seconds.
A third fragment is more sketchy, and at the end of a minute's worth of orchestral music Sibelius has shaped out the parts only for the oboe.
"Whoo. Chills going up and down the spine there", confesses John Storg?rds after it is all over.
"You can recognise the composer's late style from the fragments. But particularly in that opening passage the harmonies are so wild and the music so exciting that I'd really love to know how he went on with this."
According to the sketch, he went on by pondering how the opening would sound if the flutes and violins were to play in a higher register.
More than that we do not know, but there are still months and years of scholarly work to be done on the undocumented and unreferenced drafts.
One of the HPO musicians regarded the longer opening fragment as so good it would be worthy of inclusion as an encore number on tour.
We shall see. Pertti Virkkunen, the Chairman of the Sibelius Rights' Holders, granted Helsingin Sanomat permission for this particular ad hoc video recording. The rights' holders collegium will consider any other use of the material at a later date.
And the wait goes on. Will it be possible somehow, some day, to find more fragments of music from the years of the lost Eighth Symphony?
Might it even be possible that a copy of the work escaped the flames in Ainola - even the material copied out in 1933 by Sibelius's long-serving copyist Paul Voigt?
Helsingin Sanomat / First published in print 30.10.2011
The story does continue. In response to this original article from late October, half a dozen personal letters from Sibelius to his copyist Paul Voigt have surfaced for the first time, although not the "box full of notes" mentioned in Voigt's estate. The details are to be found in the accompanying articles.
More on this subject:
Jean Sibelius's own comments on his Eighth Symphony Sibelius letters unearthed from document case BACKGROUND: The loneliness of the long-serving copyistSee also:
Video - contains the Helsinki Philharmonic playing the fragments referred to in the text (click on small image for video, music from 2:10) Timo Virtanen is interviewed in Finnish by Vesa Sirén Links:
Background: Finnish Music Quarterly 4/1995: an article on Sibelius?s Eighth and what happened to it, by Kari Kilpel?inen Sibelius Portal Sibelius Portal: Writing the Eighth Symphony, 1928-1933 Sibelius - Symphony No. 8 (Wikipedia)