拉爾夫·沃恩·威廉姆斯 (Ralph Vaughan Williams) D大調第五號交響曲（Symphony No. 5 in D major，1943）- 一部深具田園風情和浪漫氣息的交響曲，常被認為是他最寧靜的作品之一。
威廉士的《第五號D大調交響曲》，創作於1938年至1943年間，在他一系列交響曲中，相較於之前那首騷動且不和諧的《第四號交響曲》，這部作品顯得深邃而寧靜。此曲於1943年6月24日在倫敦皇家阿爾伯特音樂廳首演，由威廉士親自指揮倫敦愛樂樂團，被廣泛認為是他成熟時期的傑作之一。
主要特色與影響
田園與光明特質： 這首交響曲常被形容為充滿和平、沉思甚至靈性的特質。它喚起了燦爛的光芒、寧靜的安詳以及崇高的神秘感，常讓人聯想到英格蘭「綠意盎然、宜人」的鄉間景色。
與《天路歷程》的連結： 《第五號交響曲》的一個重要靈感來源是威廉士的歌劇（他稱之為「道德劇」）《天路歷程》，這部作品他花了數十年時間（1909-1952）創作。許多歌劇中未完成的音樂片段與主題被融入了這首交響曲，尤其是在第三樂章「浪漫曲」中。這種連結賦予了交響曲一種精神敘事，儘管它並非明確的標題音樂。例如，「浪漫曲」中的主題與約翰·班揚寓言中的短語，如「他以其悲傷賜予我安息，以其死亡賜予我生命」，產生了聯想。
獻給西貝流士： 這首交響曲題獻給「未經許可，以最真誠的讚美獻給讓·西貝流士，其偉大典範值得效仿」。這份題獻反映了威廉士對這位芬蘭作曲家的敬仰，一些學者指出，在主題發展和音樂的有機成長方面，確實能聽到西貝流士風格的回響。
調式和聲與調性模糊： 威廉士頻繁運用調式和聲，這賦予了交響曲獨特的情感質地，有時也帶來空靈感。例如，第一樂章的開頭，著名的法國號吹奏出D大調的旋律，卻在低音弦樂器上持續著C自然音，創造了一種「波動的」調性，直到作品結束時才清晰地解決到D大調。
配器： 《第五號交響曲》相較於他早期的一些交響曲，使用了較小的樂隊編制，特別是只有兩把法國號，沒有低音號、豎琴，打擊樂器也只有定音鼓。威廉士展現了精湛的配器技巧，經常創造出獨特的「聲音層次」，將透明的織體與較為密集的段落形成對比。
結構與樂章
這首交響曲遵循傳統的四樂章形式：
序曲 (Preludio) (中板 Moderato)： 這個樂章以一種令人難忘的靜謐開頭，法國號的標誌性樂句在持續的C音上響起。音樂以和聲的模糊性展開，帶有一種逐漸發展而非強烈推進的感覺，最終導向一種光芒四射、近乎合唱的多聲部織體。它被形容為「朦朧、調式的夢幻景觀」。
詼諧曲 (Scherzo) (急板 Presto misterioso)： 這是一個更具活力和節奏感的樂章。威廉士著重於節奏的相互作用，並經常使用弱音器弦樂，營造出陰暗卻又活潑的氛圍。他曾將一個早期草稿稱為「過往幽靈的離去」。
浪漫曲 (Romanza) (慢板 Lento)： 這通常被認為是交響曲的情感核心。它以一曲淒美的英國管旋律在豐富、分部的弦樂上展開，與《天路歷程》有著強烈的連結。這個樂章充滿了深刻的冥想與感性，最終消逝於一種安靜、夢幻般的寧靜之中。一些評論家也將其「浪漫」的標題與威廉士與他未來的妻子烏蘇拉·伍德新萌芽的愛情聯繫起來。
帕薩卡利亞 (Passacaglia) (中板 Moderato)： 終曲建立在重複的低音線，即帕薩卡利亞的基礎上，但威廉士以相當大的自由度處理這個形式。它逐漸擺脫調式色彩，轉向純粹的D大調。第一樂章的主題再次出現，導向一個輝煌而超然的頂點。交響曲以光明、輕聲的D大調結束，營造出一種難以言喻的和平感，常被形容為實現了超越。威廉士讚美詩《萬物主宰》中的「哈利路亞」也在此樂章中寧靜地出現。
評論迴響
1943年首演時，《第五號交響曲》受到了高度正面的評價。在二戰的陰霾中，其和平且振奮人心的基調受到歡迎，尤其與更為騷動的《第四號交響曲》形成對比。許多人將其視為威廉士音樂哲學的總結，以及回歸他更抒情風格的表現。儘管有人可能會開玩笑地提及其沉思的本質（如亞倫·科普蘭關於「盯著一頭牛45分鐘」的俏皮話），但普遍認為這是一部感人至深的重要作品，展現了作曲家表達深刻個人情感和複雜作曲構思的能力。
《第五號交響曲》至今仍是威廉士最受喜愛且常被演出的作品之一，其優美、情感深度和獨特的精神共鳴備受讚譽。
尼卡施泰納赫（Neckarsteinach）是德國黑森邦貝格施特拉瑟縣的一個市鎮，位於海德堡以東約15公里處。它以「四城堡之城」聞名，這四座中世紀城堡分別是：前城堡（Vorderburg）、中城堡（Mittelburg）、後城堡（Hinterburg）和沙德克城堡（Burg Schadeck）。
該鎮坐落在內卡河谷，在文化和交通上都與海德堡周邊的北巴登地區緊密相連。內卡河與周圍的森林景觀，大大塑造了這座小鎮的特色。歷史上，尼卡施泰納赫的經濟主要依賴航運、木材浮送、林業和砂岩開採。
Ralph Vaughan Williams's Symphony No. 5 in D major, composed between 1938 and 1943, stands as a profound and often serene work in his symphonic cycle, especially when contrasted with the turbulent and dissonant Symphony No. 4 that preceded it. Premiered on June 24, 1943, at the Royal Albert Hall in London with Vaughan Williams himself conducting the London Philharmonic Orchestra, this symphony is widely considered one of his mature masterpieces.
Key Characteristics and Influences:
Pastoral and Luminous Quality: The symphony is often described as having a peaceful, contemplative, and even spiritual quality. It evokes a sense of radiant light, quiet serenity, and sublime mystery, often associated with the metaphorical "green and pleasant" countryside of England.
Connection to The Pilgrim's Progress: A significant influence on the Fifth Symphony is Vaughan Williams's opera (or "morality" as he called it), The Pilgrim's Progress, which he worked on for decades (1909-1952). Many musical fragments and themes from the unfinished opera found their way into the symphony, particularly in the third movement, "Romanza." This connection imbues the symphony with a spiritual narrative, even if it's not explicitly programmatic. For example, themes in the "Romanza" are associated with phrases from John Bunyan's allegory, such as "He hath given me rest by his sorrow and life by his death."
Dedication to Sibelius: The symphony is dedicated "Without permission and with the sincerest flattery to Jean Sibelius, whose great example is worthy of imitation." This dedication reflects Vaughan Williams's admiration for the Finnish composer, and some scholars note echoes of Sibelius's style, particularly in the thematic development and organic growth of the music.
Modal Harmony and Tonal Ambiguity: Vaughan Williams frequently employs modal harmony, which contributes to the symphony's distinctive emotional texture and at times, its ethereal quality. The opening of the first movement, for instance, famously establishes a tonal ambiguity with a D major horn call over a sustained C natural in the low strings, creating a "fluctuating" tonality that only resolves to a clear D major towards the end of the work.
Orchestration: The Fifth Symphony utilizes a smaller orchestra compared to some of his earlier symphonies, notably with only two horns, no tuba, no harps, and only timpani for percussion. Vaughan Williams demonstrates masterful orchestration, often creating distinct "planes" of sound, contrasting transparent textures with moments of greater density.
Structure and Movements:
The symphony follows the traditional four-movement form:
Preludio (Moderato): This movement begins with a haunting stillness, featuring the iconic horn call over a sustained C pedal. It unfolds with harmonic ambiguity and a sense of unfolding rather than a strong directional drive, leading to a radiant, almost choral, polyphony. It's been described as a "hazy, modal dreamscape."
Scherzo (Presto misterioso): A more energetic and rhythmically driven movement. Vaughan Williams focuses on rhythmic interplay and often uses muted strings, creating a shadowy yet playful atmosphere. He referred to an early sketch as "Exit of the Ghosts of the Past."
Romanza (Lento): This is often considered the emotional heart of the symphony. It features a poignant English horn melody over rich, divided strings, with strong connections to The Pilgrim's Progress. The movement is deeply meditative and sensuous, ultimately fading into a quiet, dreamlike serenity. Some commentators have also linked its "romantic" title to Vaughan Williams's newly found love with his future wife, Ursula Wood.
Passacaglia (Moderato): The finale is built upon a repeating bass line, a passacaglia, but Vaughan Williams treats the form with considerable freedom. It gradually strips away modal colorations, moving towards a pure D major. Themes from the first movement return, leading to a glorious and transcendent culmination. The symphony concludes with a luminous, hushed D major, creating an ineffable sense of peace and often described as achieving transcendence. The "Alleluia" from Vaughan Williams's hymn "All Creatures of Our God and King" also makes a serene appearance.
Critical Reception:
Upon its premiere in 1943, the Fifth Symphony was met with highly positive critical reception. Coming out during the dark days of World War II, its peaceful and uplifting tone was welcomed, particularly in contrast to the more turbulent Fourth Symphony. Many saw it as a summation of Vaughan Williams's musical philosophy and a return to his more lyrical style. While some might jokingly reference its contemplative nature (like Aaron Copland's quip about "staring at a cow for 45 minutes"), the consensus is that it's a deeply moving and significant work, showcasing the composer's ability to express profound, personal feelings and sophisticated compositional plans.
The Fifth Symphony remains one of Vaughan Williams's most beloved and frequently performed works, admired for its beauty, emotional depth, and unique spiritual resonance.