活动通知【识与悟】中央财经大学系列室内音乐会——巴赫六部大提琴组曲
中央财经大学系列室内音乐会：巴赫六部大提琴组曲
Bach: Six Suites for Violoncello
时间:第一部分——2019年4月10日(星期三) 晚7:00
第二部分——2019年4月11日(星期四) 晚7:00
地点:中央财经大学学院南路校区 学术会堂402
Date:The first part——Wed, Apr 10, 2019 7:00pm
The second part——Thurs, Apr 11, 2019 7:00pm
Venue:Academic Hall 402, Xueyuan Nanlu, CUFE
主办单位：中央财经大学校园文化建设组委会
承办单位：中国经济与管理研究院
Introduction
The Six Suites for solo cello by Johann Sebastian Bach are the deepest and most difficult pieces that has been written for this instrument.
We keep asking ourselves what could have been the motivation for Bach to write this great music.
He was not bound by his job to write those pieces. As far we know nobody commissioned him to create this cycle.
One of the possible reasons is that in July 1720, when Bach returned to Cöthen after accompanying his prince on a long journey, he found that his beloved Maria Barbara, mother of 7 children, was dead and buried. This may have caused a huge crisis in his life that was reflected in the creation of the twelve works for violin and cello solo.
In this intimate diary Bach expresses himself about life and death. About Creator and humanity. About his life with the extraordinary woman who has been Maria Barbara.
These cello suites are works full of mystery. The pleasure and pain of existence are interspersed with Bach's mysticism and devotion.
When the young Pablo Casals, later the king of cello, entered a second-hand store and uncovered the printed score of Bach's unaccompanied cello suites in the late 1890s in Barcelona, he probably didn't know that they were going to be the holy piece of every modern cellist. By that time, the whole work was treated as mere exercises in a narrow circle of musicians. The allemande, gigue, sarabande and other dance forms that formulate each suite had existed for more than 180 years before this destined encounter, waiting there for someone to make them alive and known to the world. Anecdote said that Casals practised for the piece for 13 years before making the first public performance. More than 30 years later, between 1936 and 1939, he finally agreed to record the full suites for the first time and soon the recording became a phenomenal success. The unique tempo, inward-looking determination and unparalleled strength in the sound of Casals spoke to the true talent of Bach. Like Beethoven said 'Not Bach, but Meer should be his name', modern cellists try to interpret and explore the endless possibilities of Bach's music.
Sergi Boadella, Spanish cellist, has been passionate for Bach's music since his childhood. After many years of interpreting these pieces separately he decided to string them together to climb one of the highest peaks of art. During the two consecutive days of April 10th and 11th, Sergi will bring us the opportunity to treat our ears and souls with this Bach’s cello piece that at the very height of human creation.
At the same time, there is more to expect. we will explore the hidden mathematical messages imbedded in Bach’s music.
B+A+C+H = 2+1+3+8 =14
We can find this number all over the compositions of Johann Sebastian Bach.
The first prelude and fugue to Book I of the Well-Tempered Clavier:
Remember BACH=14 !!! 14 pieces.
There are 549 notes in the first prelude and 734 in the first fugue and the sum of both is 1283. So what? Well, 1=A; 2=B; 8=H; 3=C
How many notes in the fugal theme: 14 = BACH
Gottfried Wilhelm Leibniz was a German philosopher and mathematician born 19 years before Bach. He had a very interesting correspondence with a catholic priest, Joachim Bouvet, who was living in Beijing during the time of the Kangxi emperor. Bouvet reported to Leibniz about the Yi Jing, the Yin and Yang and the hexagram system. Based on that Leibniz developed the Binary Numeral System. The root of our modern computer systems.
There are a lot of coincidences between the concept of Yin & Yang and the understanding of the life duality in Bach’s spirituality. This may not be just casual.
Let us take a look at those tremendous theories of the work of Bach. Let us go into it with Sergi Boadella and Jochen Settili, who examined the cello solo suites of Bach. A lot of significant relationships will open up our minds and ears. This treasure of the humanity need to be shared. Sergi will play the whole cycle of Six Suites on two evenings (1,2,4 and 3,5,6).
This is a special experience of intellect and feelings… but:
"People who believe in the significance of such numeric relationships in music are victims of a fundamental error: that written notes and music are identical. But music obeys a simple formula: What we do not hear is not music" (Klaus Eidam's biography of Bach, p.340).
Bach’s music doesn’t need to be comprehended with our mind, we just need to listen with our ears and feel with our hearts. There is a Bach for each of us if we can just empty ourselves and let us fill by his music.
We are going to undertake a fascinating and complete journey through these six diamonds of the music in two days.
Enjoy the ride!
音乐会介绍
约翰·塞巴斯蒂安·巴赫创作的六部大提琴独奏组曲是为这种乐器谱写的最深奥难解的作品。
我们一直在问自己，巴赫创作这首伟大音乐的动机是什么？他并不是因工作需要被要求谱写这些乐章的。据我们所知，并没有人委托他创作这组曲目。其中一个可能的原因是，1720年7月，在陪同他的亲王长途旅行之后，巴赫回到了Cöthen，他发现自己心爱的玛丽亚·芭芭拉，他七个孩子的母亲，已经去世并下葬了。这可能在他的生活中引起了一场巨大的危机，并反映在其创作的12部小提琴和大提琴独奏作品中。在他的日记中，巴赫表达了自己对生死、神与人的看法，以及关于他和玛丽亚·芭芭拉这位非凡女性的生活。这些组曲神秘莫测。存在的欢乐与痛苦充满了巴赫的神秘主义和对生命的奉献之中。
19世纪90年代晚期的巴塞罗那，当年轻的巴勃罗·卡萨尔斯——后来的大提琴之王，在一家二手商店里发现了一份巴赫的无伴奏大提琴组曲的印刷乐谱时，他可能不知道它们将被每一位现代大提琴家奉为圣物。在当时，整部作品只不过被当作是音乐家小圈子里的练习曲。阿勒曼德舞曲、吉格舞曲、萨拉班德舞曲和构成每一部组曲的其他舞曲形式在这场注定的相遇之前已经存在了180多年，等待着有人为它们注入生命并为世界所知。有传闻说，卡萨尔斯将这部作品练习了13年才首次将它们公开演出。30多年后，在1936年到1939年之间，他终于同意首次录制整部组曲，很快这段录音就取得了惊人的成功。卡萨尔斯的演奏中那独特的节奏、内在的决心和无与伦比的力量，充分体现了巴赫真正的才华。正如贝多芬所说，“他不是小溪（德语：Bach），是大海（德语：Meer）”，现代大提琴家在试图诠释和探索巴赫音乐的无限可能。
西班牙大提琴家塞尔吉·博阿德拉从小就对巴赫的音乐充满热情。在分别对这些作品进行了多年的诠释后，他决定攀登这座艺术的最高峰，将它们完整呈现。4月10日和11日连续两天，塞尔吉就将为我们带来聆听巴赫这部登峰造极的大提琴作品的机会。
与此同时，还有更多要期待：让我们一起探索蕴含在巴赫音乐中的数学语言。
B+A+C+H = 2+1+3+8 =14
我们可以在约翰·塞巴斯蒂安·巴赫的作品里到处都找到这个数字。
《十二平均律钢琴曲集》第一部中的第一首前奏曲和赋格曲：请记住BACH=14！！14部作品。
第一首前奏曲有549个音符，第一首赋格曲有734个音符，二者之和为1283。那又怎么样？请看：1=A；2=B；8=H；3=C
赋格主题中有多少音符：14= BACH
戈特弗里德·威廉·莱布尼茨是德国哲学家和数学家，比巴赫早19年出生。他与一位旅居中国的天主教传教士，于康熙年间住在北京的约阿希姆·布韦有一封非常有趣的信件。布韦告诉了莱布尼兹关于易经、阴阳和六十四卦的系统。在此基础上，莱布尼兹发展出二进制数字系统，它是现代计算机系统的根源。
在阴阳观和巴赫对生命二元性的精神理解上，存在着许多巧合，这可能不只是偶然。
无论怎样，这些音乐都像一颗华丽的钻石，不论你从哪一面看它都是完满的。
让我们来看看关于巴赫作品中的这些伟大理论吧。让我们与研究了巴赫大提琴独奏组曲的塞尔吉·博阿德拉(Sergi Boadella)和约亨·塞提利(Jochen Settili)一起深入探索。很多重要的联系会激发我们的感官、开拓我们的思维。这一人性的瑰宝需要被分享。塞尔吉将在两个晚上演奏整套组曲（1、2、4和3、5、6）。
这将是一场有关智慧和情感体验的特别经历……但是：“那些相信这种数字关系在音乐中的重要性的人，可能会犯一个根本性错误：即将纸上的音符与音乐本身画等号。但音乐遵循一个简单的法则：凡是不能听到的都不是音乐”(《巴赫传》，克劳斯·艾达姆，第340页)。
巴赫的音乐无需我们用头脑去理解， 只要我们敞开心扉，用耳聆听。每个人心中都有一个巴赫，只要我们能够放空自己并让他的音乐将我们充满。
我们将通过沉浸于这六颗音乐中的钻石从而进行一次令人陶醉的完满旅程。
让我们一起尽情享受和讨论吧！
祝旅途愉快！
PROGRAM
CONCERT I
SUITE One in G Major
Prelude
Allemande
Courante
Sarabande
Menuet I & II
Gigue
SUITE Two in D Minor
Prelude
Allemande
Courante
Sarabande
Menuet I & II
Gigue
— Intermission —
SUITE Four in E flat Major
Prelude
Allemande
Courante
Sarabande
Bourrée I & II
Gigue
CONCERT II
SUITE Three in C Major
Prelude
Allemande
Courante
Sarabande
Bourrée I & II
Gigue
SUITE Five in C minor
Overture - Fugue
Allemande
Courante
Sarabande
Gavotte I & II
Gigue
— Intermission —
SUITE Six in D Major
Prelude
Allemande
Courante
Sarabande
Gavotte I & II
Gigue
节目单
音乐会第一部分
G大调第一组曲
前奏曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
小步舞曲I&II
吉格舞曲
D小调第二组曲
前奏曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
小步舞曲I&II
吉格舞曲
—幕间休息—
降E大调第四组曲
前奏曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
布雷舞曲I&II
吉格舞曲
音乐会第二部分
C大调第三组曲
前奏曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
布雷舞曲I&II
吉格舞曲
C小调第五组曲
前奏曲-赋格曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
加沃特舞曲I&II
吉格舞曲
—幕间休息—
D大调第六组曲
前奏曲
阿勒曼德舞曲
库朗舞曲
萨拉班德舞曲
加沃特舞曲I&II
吉格舞曲
音乐家介绍
Sergi Boadella
Spanish cellist Sergi Boadella is located in China since 2010.
Sergi Boadella was born in a artist family in Barcelona, Spain.
He began his cello studies in his hometown but moved very soon to Germany to continue them atthe Musikhochschule Trossingen.
He had the privilege to be disciple of Marçal Cervera, disciple at his time of the great spanish cellist Gaspar Cassadó.
He used to teach at the Balearic Islands Conservatory, Valencia Internacional University, and many International Master Courses.
Sergi Boadella extensively performed as a soloist and with different chamber music ensembles in Europe, America and China.
As member of the Quartet de Barcelona during 14 years he has recorded several CDs and performed throughout Europe, premiering many works of Spanish composers, including works dedicated to the quartet.
During his stay in China, he was teaching on Cello and Chamber Music at Shenyang Conservatory of Music in Dalian as a Professor, later he moved to Beijing.
The past seven years he has performed and taught extensively throughout China. He has taught master classes at the Conservatories of Beijing, Dalian, Shenyang, Harbin, Shenzhen and Qongqing among others.
He performed as soloist with the Hunan, Harbin and Daqin symphony orchestras.
He performed as well with the BICO (Beijing International Chamber Orchestra) and the Dunshan Wind Symphony Orchestra as the soloist, which aroused intensive attention from audience.
He is invited to perform regularly in the most important stages in China, such as the NCPA （国家大剧院） Beijing Concert Hall（北京音乐厅）, Shanghai Concert Hall （上海音乐厅）, Shanghai Oriental Arts Center.
He is currently living with his family in Shanghai. This year of 2019 Sergi Boadella is performing the integral of the 6 Bach Suites for Cello solo. Besides that he is writing a book about Bach and the Cello Suites.
He plays a cello made in Italy before 1700 and with the Bach Suites a bow made by John Dodd, 1790 in London.
Sergi Boadella 出生于巴塞罗那的一个艺术家家庭。
他在巴塞罗那开始大提琴的学习，很快便以专业第一的成绩考入德国Musikhochschule Trossingen音乐学院。
他有幸成为大提琴大师Marçal Cervera的学生，并于长达15年的时间里作为指定专职教授与Marçal Cervera共同教学。Marçal Cervera自幼从师于世界顶级大提琴大师Gaspar Cassadó。
Sergi Boadella曾经执教于Balearic Islands音乐学院, VIU等大学, 以及众多国际大师课。
作为独奏家以及通过与不同室内乐团的合作， Sergi Boadella 丰富的演出经历遍及欧洲，美国和中国。
作为Quartet de Barcelona 大提琴家的14年里，他录制了多张CD并在欧洲进行巡演，其中很多是作曲家作品的首演，有些曲目是专门为Quartet de Barcelona所创作。
旅居中国后，他曾在沈阳音乐学院执教，随后移居北京。在过去的7年里，他的教学和演奏足迹遍及全中国。受邀作为独奏家与多个国内交响乐和室内乐团体进行合作并取得广泛的关注和好评。
Sergi Boadella目前拥有多个室内乐组合，多种不同风格的演奏形式，在国家大剧院，北京音乐厅，上海音乐厅和上海东方艺术中心等重要舞台与观众见面。
Sergi Boadella目前与家人居住在上海。2019年他开始演奏巴赫的无伴奏六组大提琴组曲。此外，他正在着手一本新书的写作，是对于巴赫和其大提琴组曲的不同视角的研究和诠释。
他目前所持的大提琴是公元1700年之前意大利工匠所制作，为巴赫组曲演奏所选用的琴弓是John Dodd于1790年在伦敦制作。
Jochen Settili
(Discussant)
Jochen Settili studied with Georg Zeretzke, Sabine Meyer, Giora Feidman and earned his Master in clarinet at the University of the Arts Berlin, Germany. His orchestral experience includes a wide diversity including “Les miserables” or “Tanz der Vampire” also as engagements in Symphony Orchestras all over Germany. In numerous performances throughout Europe he performed the entire range of the clarinet repertoire (incl. Bass- and Eb-Clarinet). Settili’s career profile in music is broad based with ongoing commitments in performance, conducting, writing a doctoral thesis, and teaching, currently as a teacher for music and philosophy at the School of the German Embassy Beijing. Additional professional skills in flute, oboe and saxes let him feels at home in classical music as well as jazz. Many years he was an executive of “Neuköllner Oper, Berlin” and jury member of the German music competition “Jugend musiziert” and latest in “China Youth Music Competition”. He is artist and consultant of Zhengou-Instruments Company and promoting these instruments all over China as instrumentalist and conductor. Also teaching in masterclasses in Guizhou and Shenyang.
Jochen Settili从师于Georg Zeretzke, Sabine Meyer, Giora Feidman，在德国柏林艺术学院获得了单簧管硕士学位。他有丰富的管弦乐团演奏经历，并参加了包括《悲惨世界》 《吸血鬼之舞》和遍布德国的其他乐团演出。在环游欧洲的众多演奏会中，他几乎演奏了单簧管曲目中的所有篇章。赛迪利的音乐职业生涯广阔，他不懈地投入到表演、指挥、博士论文写作和教学中，目前在北京的德国大使馆教授音乐和哲学。他还精通长笛、双簧管和萨克斯，这让他在古典乐和爵士乐演奏方面都游刃有余。他曾多年担任柏林Neuköllner歌剧院董事，并在德国的青年艺术家音乐比赛以及最近的中国青少年音乐比赛担任评委。
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