经典无限，风格有款；疫情设限，温暖相款。 高市交在2021年于卫武营国家艺术文化中心音乐厅，录制这张专辑，也成为台湾第一支职业乐团在卫武营音乐厅录制专辑的乐团，用柴可夫斯基第四号交响曲，也渴望用音乐突破疫情的捆绑，迎向更加光亮的未来。 这张专辑象征着高市交新的样貌并代表着新一年的落款，如柴可夫斯基为这首曲所提献的「献给亲爱的吾友」，高市交献给乐迷朋友这张专辑，藉由音乐传递温暖，用音乐款待人们。 第四号交响曲共有四个乐章。柴可夫斯基在写给梅克夫人的信中，详细地阐述了第四号交响曲的诗意内涵：「第一乐章的导奏是整部交响曲的核心、精髓、主要思想。这就是命运，阻碍人们、使无法成功追求幸福的致命力量，它妒忌地打压和平与舒适，天上不是没有云──其威力如同达摩克利斯之剑（the Sword of Damocles），在头顶不断挥舞、毒害灵魂。除了屈服并徒劳地抱怨，别无他法。」交响曲一开场，如兀鹫般盘旋的「命运」动机先由法国号和低音管奏响，紧接着又由小号和高音木管重申。此动机之后还会出现在第一乐章的每个关键时刻，并在第四乐章的高潮点强力重现。 导奏之后，进入9/8拍的奏鸣曲式第一乐章。呈示部里，焦虑的第一主题由小提琴和大提琴率先奏响；圆舞曲风的第二主题明显分成两段，第一段由单簧管领奏，第二段则始于小提琴和定音鼓。命运动机宣告着发展部的开始，稍后又构筑出发展部的高潮，逼使乐团以最强的力度来开启再现部。尾声同样始于命运动机，最终更以「命运的胜利」残酷地结束乐章。 关于第二乐章，柴可夫斯基写道：「生活令你疲惫不堪，脑中掠过许多回忆……有那青春热血、生活美满的幸福时光；也有充满悲痛与不可挽回之丧失的时刻。过去遥不可及。迷失在过去，既悲伤却又甜蜜。然而，我们厌倦了存在。」在弦乐拨奏的伴奏之上，双簧管唱出忧戚的曲调，以体现这悲伤的陈述。乐章中段如舞蹈般轻快，彷佛象征着「青春热血、生活美满的幸福时光」。没多久，忧戚再次袭来，这次改由小提琴带头吟唱。 第三乐章明亮欢快得多。柴可夫斯基称这音乐是「人们喝了点酒后，开始感到微醺时所听到的」。这样的状态柴可夫斯基自然不陌生：他后来是仰赖催眠克制了严重的酗酒问题。乐章主部由拨奏的弦乐演奏（所有弦乐在这整个乐章中都使用拨奏）；中段则包含木管活泼的俄国舞曲和铜管的进行曲。「你什么也没多想。想象力自由奔驰，且基于某些原因画风开始变得古怪……当我们入睡时，脑中开始闪现令人不安的画面。」 第四乐章（火热的快板）是写给交响乐团的炫技与狂欢。柴可夫斯基下定决心要快乐：「你若无法从自己身上找到快乐的理由，看看别人吧。自我反省一下，别以为这整个世界尽是悲伤……从别人的喜悦里得到快乐。人生毕竟还过得去。」乐章采自由的轮旋曲式，以A–B–A–C–B–A–C–B的顺序呈现三种素材。A段相当喧嚣放纵；B段的主题旋律改写自俄国民谣《原野上立着一颗白桦树》（Во поле берёза стояла）；C段则是个壮盛的进行曲。进入尾声之前，「命运」动机强力重现，但这短暂的阴霾很快就被尾声的狂欢所取代──再没有比这更吵闹的强颜欢笑了！ Tchaikovsky’s Fourth Symphony was composed during a very turbulent time of his personal life. He began his first draft in February 1877, and shortly after he entered into relationships with two women which proved to be greatly significant in his life. A young woman named Antonina Milyukova was Tchaikovsky’s former student from his composition class at the Moscow Conservatory. In early May 1877 she sent a passionate declaration of love to Tchaikovsky which had left him confused. Perhaps his lack of experience in personal matters as well as his desperate desire to hide his sexual orientation, the two were married in early July, shortly after Tchaikovsky agreed to meet at her family home. The marriage however proved to be unsuccessful as they were married for a short few months – and he fled from his wife in October. By the end of their marriage, Tchaikovsky had become so distraught that he had a nervous breakdown and attempted suicide. The second woman would be his patron, Nadezhda von Meck, a wealthy widow who already had an interest in Tchaikovsky’s composition. She made contact via a mutual friend, conductor and pianist Nikolai Rubinstein, and thus began an extraordinary friendship which lasted for 13 years. Madame von Meck agreed to support Tchaikovsky by providing a generous monthly allowance which would have allowed him the freedom to compose at his own will. The two maintained their long-term relationship entirely by correspondence, and remarkably they never met throughout their friendship. It is to her that Tchaikovsky poured out his inner thoughts and provided a complete “programmatic analysis” of the Fourth Symphony. It is through his words that we can have a valuable guide through the music. The symphony was completed in January 1878 and premiered under Rubinstein’s baton the following month in Moscow. It is therefore not a surprise that Tchaikovsky dedicated the Symphony to Madame von Meck. The first movement Andante sostenuto opens with a powerful horn union followed by an ominous brass fanfare introduction, which starts with immense vigour. “This is Fate,” wrote Tchaikovsky, ”that fateful force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above the head like the sword of Damocles, unwaveringly, constantly poisoning the soul. It is an invincible force that can never be overcome—merely endured, hopelessly.” The music then becomes gradually less insistent as the music leads toward the other two themes, a yearning string melody and a joyful dance like theme. These brief moments of consolation is interrupted by the fanfare again, just as described by Tchaikovsky, “it is but a dream; Fate awakens us roughly.” Andantino in modo di canzona brings us another melancholy theme, begins with an oboe solo that provokes the distant memories before passing the melody on to cello and finally across to tutti strings that blossom into rich romantic orchestration. Occasionally the mood brightens up with a bright woodwind tune. It is as Tchaikovsky wrote, “How sad to think how much is already past and gone! And yet these recollections of youth are sweet… How sad, yet how sweet, to lose ourselves in the past.” The gloomy atmosphere is expelled by the spirited Scherzo. Pizzicato ostinato: Allegro, a delicate yet exciting tone colour of pizzicato strings, and is contrasted by passages in the brass and winds suggesting “capricious arabesques” and military band music. In his own words, there are “no definite feelings… only … intangible forms.” The movement gives “free rein to the imagination, which somehow begins to paint strange pictures.” The Finale Allegro con fuoco is an exciting rondo using Russian folk-song “In a Field there stood a birch tree” as an inspiration. The full orchestra joins in to create a joyous celebration with woodwinds introducing the theme. It is as described by Tchaikovsky, “if you can find no reason for happiness in yourself, look at others… See how they can enjoy life and give themselves up entirely to festivity.” In between the celebration the “fate” theme intervenes bringing the festivals to a halt. But all is not lost, “Happiness does exist. Simple and unspoiled. Be glad in others’ gladness. This makes life possible.” In the end the movement ends with a dramatic celebration that brings joy and happiness in all of our hearts.