【BON音樂】深入認識管弦樂團指揮（三）「Know How V.S. Know Why」以2021年Ammodo指揮大師班為例

0:13 – Var.1 Theme is broken up between horns and strings.

0:25 – V.2 The lower strings play the theme in syncopation, above which the winds begin a smooth, wondering line.

0:40 – V.3 The strings now play the theme on the strong beats, while the wondering line is now detached and more threatening.

0:50 – V.4 The first violins begin a broad, arching melody above syncopated off-beat accompaniment. The theme is in the lower strings and bassoon, played in broken octaves.

1:06 – V.5 The strings elaborate on the broad melody. The winds enter with embellishments in clashing polyrhythms.

1:18 – V.6 The contour of the broad melody is changed so that it arches downward. The accompaniment from winds is sparser.

1:31 – V.7 The violins, again taking the lead, introduce sharp dotted figures. The woodwinds provide responses. The theme in the bass also uses these dotted rhythms.

1:45 – V.8 The violins play rapid oscillation figures, ending with cascading triplet arpeggios.

1:59 – V.9 Essentially an embellished, fierier version of the previous variation.

2:14 – V.10 Very softly, the strings and winds pass the theme between each other. The music starts to lose its edge.

2:32 – V.11 Above the chords of variation 10 (now played in broken octaves by lower strings), a beautiful melody forms for a brief moment, before descending scales take us to the next variation.

3:28 – V.13 The first variation in a major key. The soft, detached off-beat chords continue, as lines from the flute solo are transformed and passed around the orchestra. The notes of the theme are buried inconspicuously in the musical texture.

4:01 – V.14 The trombones transform the theme into a solemn chorale, broken up by expressive silences.

4:36 – V.15 The chorale continues, now with fuller orchestration.

5:21 – V.17 The winds play agitated two-note phrases beginning on the weak beats. The theme is in the string tremolos.

5:31 – V.18 The string tremolos continue, but the detached phrases are replaced with broad swelling gestures.

5:42 – V.19 Strings and horns now alternate with woodwinds on detached, angular lines.

5:52 – V.20 The previous variation is developed into a line with feverish triplet motion and disorienting syncopation.

6:04 – V. 21 The tension increases greatly here, as the flutes and violins play sweeping upward scales against syncopated horn blasts that obscure the meter.

6:14 – V.22 The dynamics quiet down to pianissimo, as an oscillating triplet figuration passes through the orchestra. The winds play descending syncopated chords. The theme is nowhere to be found.

6:24 – V.23 The relation of the previous variation to the theme is revealed, as the theme distinctly reappears in the horns over a more agitated version of the oscillating triplet figuration.

6:46 – V.25 This variation is similar to variation 2, but again, much more powerful and dramatic. The wondering line is transferred to forceful violins playing in tremolo, while the rest of the orchestra outlines the theme with off-beat triplets.

6:58 – V.26 Similar to variation 3, but in a more sombre state. The oscillating triplets remain in the strings, with the brass, and later winds taking over the melody.

7:10 – V.27 The music once again manages to arrive at a major tonality. The wind section plays long two-note descends harmonized in thirds, with decorative accompaniment from the strings.

7:21 – V.28 The long two-note descends blossom into a beautiful flowing melody, with triplet accompaniment.

7:32 – V.29 This variation marks the start of the music’s tragic turn back to minor. The strings pluck a series of descending thirds on weak beats, while the rising gestures in the winds further distort the bar line.

7:43 – V.30 The descending thirds now take the foreground, played loudly on the strong beats, and in canonic imitation between violins and lower strings. The winds take over the offbeat accompaniment.