简介 Introduction
柴可夫斯基除了六首有序号的交响曲外，还有一首无序号的b小调标题交响曲《曼弗雷德》，作品58号。这是柴可夫斯基受“五人强力集团”之一的巴拉基列夫委托，根据拜伦的同名诗剧的四个场面作于1885年，1886年3月23日首演。在这部诗剧中，曼弗雷德对知识和生活感到厌倦和失望，从而放弃对生活的任何探求。他不愿再在人群中生活，独自躲在阿尔卑斯山上人迹不到的一座堡寨中，拒绝向诸命运之神和众精灵之王屈膝，拒绝修道院院长的挽救，一心寻求遗忘，宁愿在孤寂中死去。柴可夫斯基对这部作品的创作表现了极大的热情，作品写完后他给巴拉基列夫写信道：“《曼弗雷德》完成了……在我一生中向来没有这样努力过，也没有由于工作而觉得这样疲倦，交响曲是依照您的提示而写成四个乐章……自然，它是献给您的。”
乐章
作品共分四个乐章，也就是四个场面：
- 1、悲哀的慢板。柴科夫斯基自己写作的说明是，曼弗雷德在阿尔卑斯山中徘徊。由于为人生种种奥秘使他忘记所苦恼，为毫无指望的强烈痛苦和对罪恶的过去的回忆所折磨，他忍受着极大的精神痛苦。曼弗雷德完全陷入神秘的魔法控制之中，并与地狱的强大势力交往。但是世上没有任何人或任何东西能使他忘记徒然追求而留下的痛苦印记，而热恋过又死去的爱丝塔蒂的回忆，又撕碎了他的心，曼弗雷德极度的绝望永无止境。这一乐章为序奏―奏鸣曲式呈示部―结尾的形态。序奏部为悲哀的缓板，b小调，表现曼弗雷德的徘徊;第二部分为速度渐快的行板;第三部分中板，形成曼弗雷德的心理描述;第四部分行板，装弱音器的四声部弦乐、单簧管、低音提琴表现对死去的爱丝塔蒂的回忆;第五部分为忧郁的行板，为有力的终结部。
- 2、谐谑曲。标题为“阿尔卑斯山的精灵”，b小调，柴科夫斯基的解说是：“阿尔卑斯山的魔女在瀑布急流上的彩虹中出现在曼弗雷德面前。”音乐体现了大自然的美和生机勃勃的景象。中段如歌的旋律(2'59"处)，充满了田园诗意，优美深情十分动人，我一直认为这是柴可夫斯基最迷人的旋律。进入高潮时，出现曼弗雷德主题，仿佛是主人公在回味着人间的悲苦。
- 3、 “间奏曲”式的行板、活泼轻快的牧歌，标题为“乡村生活”，G大调，回旋曲式。柴科夫斯基解说：“田园诗、山民的厚朴、清贫和自由自在的生活场景。”双簧管先以G大调表现远处传来牧人歌声的旋律，圆号持续后，英国管与单簧管反复牧歌情调。远处传来钟声，长笛与英国管、单簧管再反复牧歌部分。曲速转快后，描写山民朝气蓬勃的快乐生活，独奏双簧管、英国管、单簧管重复主题开头而结束。
- 4、热情如火的快板。标题为“地下的阿里曼宫殿”，b小调。柴科夫斯基解说：“阿里曼的殿堂，地狱的宴饮。曼弗雷德在狂宴中出现，爱丝塔蒂的幽魂······ 而显灵。曼弗雷德得到饶恕。曼弗雷德之死。”地狱的统治者阿里曼的王国，在拜伦诗中寓意为世界罪恶的代表。曼弗雷德之死，即尾声，重现第一场结尾的葬礼进行曲，是整部作品的高潮，最后出现一段庄严的《安魂曲》，曼弗雷德的新主题在中世纪歌调《愤怒的日子》的背景上，出现在管风琴平静而宏伟的圣咏中，他得到了宽恕。他的灵魂得到了凌空高飞。这一乐章分为4部分：先以快板狂暴地表现群魔在地下宫殿的乱舞;转a小调后速度变为行板，表现曼弗雷德出现;竖琴呼唤出爱丝塔蒂，再以不很快的快板表现曼弗雷德与爱丝塔蒂相会，由于曼弗雷德的死亡，使其他灵魂无法获救;最后转G大调，最慢板，仿佛祭悼死亡。
英文
The Manfred Symphony in B minor, Op. 58, is a programmatic symphony composed by Pyotr Ilyich Tchaikovsky between May and September 1885. It is based on the poem "Manfred" written by Lord Byron in 1817. It is the only one of Tchaikovsky's symphonies he completed that is not numbered (the Symphony in E flat is a conjectural work left unfinished by the composer) and was written between the Fourth and Fifth Symphonies.
Like the fantasy-overture Romeo and Juliet, Tchaikovsky wrote the Manfred Symphony at the behest of nationalist composer Mily Balakirev, who provided a program written by critic Vladimir Stasov. Stasov had sent the program to Balakirev in 1868, hoping that Balakirev would write a symphony based on it. Balakirev did not feel capable of carrying out this project and sent the program to French composer Hector Berlioz, whose programmatic works had genuinely impressed him. Berlioz refused, claiming old age and ill health, and returned the program to Balakirev. Balakirev kept the program until he reestablished contact with Tchaikovsky in the early 1880s.
The Manfred Symphony is the only programmatic symphonic work by Tchaikovsky in more than one movement. He initially considered the work one of his best, and in a typical reversal of opinion later considered destroying all but the opening movement. The symphony was greeted with mixed reviews, some finding much to laud in it, and others feeling that its programmatic aspects only weakened it. Manfred remained rarely performed for many years, probably due to its length and complexity. It has been recorded with increasing frequency but is still seldom heard in the concert hall.
