If your life is coming to an end, I will play you the Requiem of Mozart.
If you are having upsetting days, I will present you Beethoven’s sonata.
If you are experiencing love and farewell, I will share you an opera of Puccini.
If you are wondering about destiny, I will dance with you a Tchaikovsky.
If the Beethoven Fifth is the strike on the door of the fate, then Tchaikovsky Fifth is the magnificent dance of the fate.
Saint Petersburg Philharmonic brought us the music from the great Russian composer Tchaikovsky.
The Saint Petersburg Philharmonic came to Taipei on 2018.11.06 and presented the most beautiful Tchaikovsky Symphony No. 5.
There is always songs and dances in Tchaikovsky’s music. Impacted by his traditional culture, Tchaikovsky created many beautiful ballet and dance music. His piety and persistence towards his religion also shows in his creations.
The conductor Charles Dutoit raised his arms, and the audience held their breaths. The trumpets started by having music stir the air. The darkness of the night came down to the land. The fate made his appearance with the darkness and the orchestra played his melody. He wore black tailcoat with the scallop-edged lace collars and sleeves. His ruby pendant sparked on his neck. His steps were light but sure. His breaths were calm but provocative. He came nearer, and welcomed his guests for tonight.
This was the appearance of the fate. He was obsessing and intriguing. He was too noble to be ignored, too elegant to be offended. He made people yearn for him, and also fear him. Everything secular was nothing in front of him.
In the darkness, he offered his hand, and started his solo dance. This was an invitation to his world. And when you were still hesitating, he had already begun his dance. He stood on his tiptoe, then the music got high spirits. He led the audience to join his dance, and he opened his arms to make more melodies play for him. He made the music his most tempting invitation for the audience. He turned round during the triplet, he slid between chords. And those jumps he made when the wind music rose were dazzling. He was beautiful and elegant, light and gentle. His smile was intoxicating. His every move was captivating, and desiring.
Followed by music, his moves accelerated. In the exciting melodies, there was his main theme again. However, after his ravishing dance, the music was not dark anymore. Instead, it sounded alluring and intriguing.
And the second chapter began.
Charles Dutoit took us to the palace of the fate. Charles Dutoit closed his eyes and touched the romantic melodies created by the French horns. The music let our guards down, and face the sorrow in our deepest memories. But when the sorrow was coming towards us, we started to wonder: By following the step of the fate, can we relief ourselves and get the happiness we had been dreaming of?
In the dialogue of French horns and oboes, we walked through the palace. Charles Dutoit reminded us that we were at the palace of the fate, and there was nowhere to escape.
Charles Dutoit then brightened the melodies. We had already walked through the hall of the palace. What to wait and hesitate in this breathtaking palace when there was golden and sparkle future ahead? However, time passed by, only when you grasped this moment could you find the brief enjoyable happiness.
Therefore, we followed the melodies and danced in the magnificence and the grandeur of the music. The fate had never abandoned us, he awaited us ahead. He awaited our surrenders, our desires and our devotes to him.
With the plucks of the violins, the fate appeared again. He turned around gorgeously, and offered his hand in a dramatic tone. His offer made us tipsy and obsessive. He seemed to be more attractive than the last chapter. He had more than just his appearance and was full of emotions this time. His excitement was derived from our expectation. His fickleness contained our fears. He was always changing, and we could always see ourselves in him. He was never touchable, but we always looked forward to him. He was irresistible and addictive.
Now there was the third chapter.
Charles Dutoit understood that the dance was never a solo dance of the fate anymore. The audience had joined him. It was the waltz of the audience and the fate.
Who could resist him? In his grand palace, there were his dexterous steps and charming figure. Underneath his black tailcoat was his cold breath and warm blood. His waltz was fascinating. We saw his emotions under his mysterious look, and his sincereness behind his stateliness.
He danced swiftly. It was the music composed for him by Tchaikovsky. He danced with each of us. In the music, our steps sparked with his guidance, and our spins shined with his support. When he stopped, I danced like a swan under his gaze. Without conscious, I succumbed to him under his majestic power.
And the fourth chapter began.
Charles Dutoit knew that the fate had got the upper hand, so he played his main theme again. We realized that the fate was still here. However, after all the music, we felt no longer his coldness. Instead, we were filled with his passion and emotions. We felt his pulses in his darkness, and his passion in his coldness. Under his quite appearance was his strong power. Under his impeccable perfectness was endless guidance and acceptance.
We looked at him, looked at him dancing his last chapter. It was his most valuable and fleeting gift for us.
His main theme was the same deep and obsessing. From the cold and treacherous start, to the tender and gentle moment, now it sounded gracious and dignified. He sounded so magnificent, and so emotional. He danced the dance of fate, and danced our admiration, our belief, our struggles, our helplessness, and our surrenders.
He knew that we all belonged to him at this moment. Tonight, we got rid of the fetter of the world, we forgot the love and hatred from the human. We had no secrets hidden, and no souls bounded. We walked towards him, towards his splendors, his dooms and his endlessness.
At last, the music brightened the entire music hall. Charles Dutoit enlightened the night with the theme of the fate written by Tchaikovsky.
Therefore, tonight, we all became religious. Because even if you didn’t believe in fate, you believed in Tchaikovsky.
如果你明日就要安息，我會為你播放莫札特的安魂曲
如果你近日總不遂心，我會請你聽聽貝多芬的奏鳴曲
如果你經過愛恨別離，我會與你共享一齣普契尼
如果你正在疑惑命運，我會邀你共舞一首柴可夫斯基
都說貝多芬第五號交響曲是命運來敲門的撞擊，
那麼柴可夫斯基第五號就是命運與你共舞的華麗。
2018.11.6 的夜晚，在國家音樂廳，依然是俄系作曲家的光采熠熠，不知道為什麼，近來柏林愛樂、紐約愛樂等知名樂團，都經常演出俄系作品，更別說今天是聖彼得堡愛樂來訪，自然是演出俄國作曲家的曲目。
柴可夫斯基的音樂，總是有著歌與舞。
因為傳統文化的影響，柴科夫斯基因此寫出無數動人的芭蕾舞劇與舞曲，他對信仰的虔誠與執著，也化成如聖歌般的旋律，在樂章中緩緩顯現。
指揮夏爾．杜特華將曲目換了，今夜特地獻上這首俄國大師的不朽傑作，雖說如今人們最為熟悉的是第四號交響曲「悲愴」，但是大師鉅作如同詩篇，篇篇讓人陶醉。
夏爾．杜特華緩緩抬起雙臂，聽眾跟著交響樂團屏氣凝神，小號吹起低音不安的旋律，此時，天鵝絨般的夜幕垂降於世，命運緩緩降臨，四周空氣沈降，光線流逝，這是命運到來的前奏，他穿著漆黑的燕尾禮服，胸口和袖口露出巴洛克的華麗荷葉，領口酒紅色的寶石隨著發著陣陣光芒，他的步伐輕盈卻肯定，他的呼吸平穩卻挑釁，他步步靠近，迎接今晚到訪的貴客。
這就是命運的迷人與挑逗，他高貴不可被侵犯、優雅不可被褻瀆，他讓人嚮往，也讓人畏懼，在他的面前，所有的世俗之物，都已被排除在千里之外。
就在黑暗之中，他伸出一雙修長的手，邀請你加入他的晚宴。
當你還在猶豫之時，他已翩然起舞。這是命運的主題，是命運的主旋律。
他一掂起腳尖，旋律就開始高昂起來，他領著管弦樂加入他的華麗舞步，他伸長雙臂，讓更多旋律為他演奏，奏起屬於他的華麗樂章，奏起屬於他給聽眾最誘惑的邀請。
這是命運的獨舞，是命運千變萬化的姿態，他在一個又一個的三連音中優雅轉身，在一次又一次的弦樂旋律中滑步，在每次的管樂響奏時跳躍，他完美又溫柔、美麗又優雅，他的眼神迷惑，他的微笑含蓄，他的一舉一動，都是引誘，都是慾望。
在音樂的跟隨之下，他的舞步漸快，在激動與興奮的樂聲之間，又是他的主題旋律了，不過，經過他目眩神迷的舞步，這次的旋律彷彿沒有先前的不安，取而代之的，是讓人傾心的美好與期待，是挑動人心的誘惑與嚮往。
在命運如詩般的樂聲之中，在命運行雲流水的舞步之後，我們都已經心甘情願地接受他的邀請，在他華麗的盛宴之下，我們忘卻所有，與他共舞。
第二樂章開始了。
指揮夏爾．杜特華引領我們來到命運的殿堂，他閉上眼，輕撫著法國號抒情的浪漫旋律，讓人卸下一切防備，面對記憶最深處的悲傷，緩緩迎面而來之時，我們又開始懷疑，跟隨命運的舞步，是否能讓自己獲得解脫，得到從未有過的美好和幸福？
於是，在法國與雙簧管的對唱之中，我們跟著管弦樂的樂聲，在命運的殿堂中穿梭，夏爾．杜特華用音樂提醒我們，我們早已身處在命運的宮廷，也早已無可脫逃。
夏爾．杜特華於是加快節奏，旋律逐漸明亮起來，音樂帶著我們穿過雄偉的殿堂，都身處此地了，何需再疑惑？何需再等待？此刻，身處華麗的宮廷，前方一片金碧輝煌，而時光飛逝，你唯有把握此時，才能享受到短暫時光的美好滋味。
因此，我們跟著管弦樂音，在命運的宮殿之中，在他的注目與掌握之中，我們跟著音樂，跳起當下最心無旁騖的群舞。
命運也從未棄我們而去，他就站在不遠的前方，他等著我們，等著我們心悅誠服，等著我們對他的渴求，對他的投入。
聽見小提琴的撣播聲，命運的腳步也逼近，他又是一次華麗現身，在一陣高昂的旋律之下，他又站在我們面前緩緩地伸出雙手，溫柔的邀請就像是酒後微醺的美好。彷彿比上一個樂章時更吸引人了，他這次不只是優雅，還有了情緒，他的興奮中有著我們的期待，他的詭譎中有著我們的膽怯；他永遠多變，我們卻永遠能在他的身上看見自己的身影；他永遠不可捉模，我們卻永遠預備著他的出現；他永遠讓人難以抗拒，難以自拔。
夏爾．杜特華知道，此時的舞步，已經不是屬於命運的獨舞，我們都已經加入他的樂音，與命運共舞人世間最美好的華爾滋。
誰能抗拒他呢？在他華麗的大殿，有他輕巧的步伐，有他優雅的身影；他的漆黑禮服之下，是冷冽的氣息，是熾熱的體溫；他的圓舞曲高雅迷人，是他內斂外表下的美好與多情，是他憂鬱氣質下的體貼與真摯。
他的腳步輕快，這是柴可夫斯基為他打造的專屬舞曲，他與我們每個人共舞，在他的引領之下，與音樂的交織之間，我們與他的舞步是行雲流水的光彩。與他的一個旋轉，在他的輕扶之下，顯得無比流暢；與他的一個跳躍，在他的來往之間，是毫無猶豫的自信；他停下腳步，是我的獨舞，在他的注視之下，我是無意識的如天鵝般耀眼；我停下時，在我的顧盼下，他如王者般的氣勢，是我二話不說的臣服。
在夏爾．杜特華的柴可夫斯基中，與命運的雙人舞，就這樣展開。他從不想結束這一場華麗的舞曲，而我亦同，因為在他的世界裡，一切事情都有完美的安排，這樣扣人心弦的圓舞曲，是所有美好情感的集合；與他的舞步之間，彷彿沒有任何熙來攘往，沒有其他執著掙扎；在他的雙臂之間，只有他的步伐與我的跳躍；在他的來往之中，只有他的注目與我的仰望，這一切，是無限的美麗，是無止盡的著迷。
緊接著，第四樂章開始了，夏爾．杜特華知道，命運這時已經佔了上風，於是奏起他的主旋律，讓我們明白，命運依舊存在，只是，經歷這一切之後，我們已不在感覺他的冰冷，取而代之的，是他的豐富與多情。在他漆黑的外型之下，是高貴的血液；在他冰冷的氣質之下，是溫柔的舞步；在他低調的到訪之下，是強壯的氣魄；在他獨善其身的風格下，是無限的引領與接納。
我們看著他，注視著他跳起自己最終的樂章，這是他能給我們最珍貴、也最消縱即逝的禮物。
他的主旋律，依舊那麼深沉、那麼迷人，從一開始的冰冷無情，到後來的溫柔輕快，然後大器莊嚴，現在，他聽起來是如此華麗、如此抒情，他跳的是命運的舞步，也是我們的仰慕、我們的信仰、我們的沈浮、我們的無助、與我們的臣服。
他知道，此時我們都屬於他了，在今晚，我們擺脫世俗的牽絆，我們忘卻人間的愛恨情仇，我們的身上沒有掙扎，我們的心裡沒有秘密，我們的靈魂沒有形體，我們昂首闊步向他走去，走向他的華麗、走向他的注定、走向他的永無止盡。
最後，音樂明亮的大調貫徹整個音樂廳，夏爾．杜特華用命運的主旋律，為柴可夫斯基照耀了整個夜晚。
於是，今夜，我們都成了信徒，因為，即使你不信命運，也都信了柴可夫斯基。
Read more about concerts: 2018.3.18 New York Philharmonic In Taipei
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