Jun 25, 2022 3pm Apollosaal, Staatsoper Berlin
Stephan Mai / Preussens Hofmusik
Bach: The Art of Fugue
(arranged for Oboe, English Horn, Baritone Oboe, Bassoon, Harpsichord, Organ, Strings)
(scroll down for English review)
臨時決定到柏林國立歌劇院聽這場巴哈《賦格的藝術》，本來不想聽，是因為見到「普魯士宮廷音樂」這個團名，先入為主以為會是用銅管四重奏吹。上一次在歌劇院內這個阿波羅廳看演出，又正好是理察史特勞斯的管樂。開場前兩小時在劇院網頁開了場刊來看，見到既有弦樂團，又有古鍵琴、管風琴，更要命是有冷門樂器如低音單簧管、巴塞管、次低音雙簧管（baritone oboe），便決定去馬。
樂手都是柏林國立歌劇院樂團的成員，可能除了領奏Stephan Mai。樂師出場後，我才明白這個樂器編排的思維。五部弦樂（4+3+3+2+1）即是對應原曲的四個聲部，大提琴及低音大提琴當一個聲部。弦樂都坐或站在後面，在前面圍圈的是四支木管，高音至低音：雙簧管、英國管、次低音雙簧管、巴松管。場刊寫有單簧管家族，是錯的，也沒有我當初假設有的銅管。
於是就是弦樂有四聲部、木管也有四聲部，他們不會時時一起演奏，有時先弦樂、然後木管加入把聲音變大，或者反轉。但音量、音色不是唯一變化，而是四支木管有時扮演了獨奏的角色，來和弦樂的齊奏組抗衡或互補，也就是在巴哈器樂協奏曲或者清唱劇中solo對ripieno。另外，三首卡農曲由古鍵琴或管風琴演奏，因為只得兩個聲部，給樂隊奏有點無謂。演奏上，簡單而色彩充足的配器在Mai的熱情領奏後，把這首作品變得很有生命力，假如和其他常見的非獨奏鍵琴的編排比，我認為感情遠超弦樂四重奏或者古提琴四重奏。
不能不提巴哈沒完成的第14對位曲，這個演奏如此安排：
主題一：未等上一首卡農曲結束後，木管便插入，去到一半弦樂加入。
主題二：先弦樂、後管樂，推到另一高潮。
主題三：也是先弦樂，但音量極微，速度極慢，再加大聲及加速到更大的高潮。
主題四：只剩弦樂四重奏，比之前更氣若游絲，然後斷了，巴哈死了。
幸好臨時轉軚來看，既是萊比鍚巴哈節一個美妙的注腳或coda，也不知幾時才可以聽到更有趣的《賦格的藝術》了。
Translated as “Prussian Court Music” this group is comprised of members from the Staatskapelle Berlin, and led from the leader seat by Stephan Mai. This torso of Bach is increasingly heard as string quartet, viol consort, brass quartet, or even saxophone quartet. But this arrangement, or choice of instruments was more subtle but rich. A 13-piece string section served as a four-part unit, but a woodwind quartet of oboe, English horn, baritone oboe and bassoon is yet another even-sounding four-part group. In this arrangement, the strings and the woodwinds didn’t play all the time and their combination at strategic moments heightened the music flow, or in the opposite direction.
But the significance of this “double quartet” wasn’t just volume or colour nuances. The woodwinds often performed as quasi-solo instruments, before being joined by the strings. Such layering was clearly influenced by Bach’s use of solo and ripieno in his instrumental concertos or cantatas. The canons were played by either a harpsichord or an organ (by the same player). Performance-wise Mai led his players with passion, with the conviction this piece is more than a counterpoint treatise and profound emotions could be provoked by an appropriate performance style.
The uncompleted 4-subject Contrapunctus XVI was definitely the high point and I didn’t expect such treatment:
Subject 1: The bassoon dovetailed into the finishing bar of the previous canon, played on organ. Strings entered at the second half.
Subject 2: String first, then woodwind came in for another climax.
Subject 3: Suddenly it got very slow and light, played by the strings. Likewise the woodwinds joined in, the whole group got louder and faster, onto a bigger climax.
Subject 4: String quartet only, and at an almost inaudible volume. And then there is no more, a very intriguing representation of Bach’s death, perhaps?