当我看到曲目的时候， 我就知道，这会是一次不同的体验：以往我可以带着旋律的记忆去迎接感动，而今晚，尽管李斯特的魔鬼和拉威尔的水滴是我在郑老师的课堂上听过的，但一次聆听很难让我记住那些不知所云的旋律。

更不同的体会是，今晚有德彪西、拉威尔、拉赫玛尼诺夫，而我在音乐会之前却沉浸在舒伯特作品100号弦乐三重奏，和他的小夜曲李斯特改编版（霍罗威兹演奏），于是我就更没有把握去拥有感动了。

黄河钢协若单单让钢琴独奏，会感觉旋律少一些东西，不过，庆幸的是，我终于知道第四乐章保卫黄河里让我流泪的旋律是什么了——东方红。

整个音乐会，上半场、下半场、安歌，都在我的意料之中，而这就正式完整的音乐会形式。

但令我惊讶的是，安歌居然是波兰女作曲家苔克拉·芭达捷芙丝卡的“少女的祈祷”和肖邦的“降E大调夜曲”，这让我准备的感动得以释放。

When I saw the list of tonight, I knew this night would be a different feeling: once I could take my memory of melody to face it, but tonight I had no idea though I had heard the Ghost or Water.

More different for me was that I would face Debussy, Ravel, Rachmaninov, however I paid a lot of attention on Schubert's op.100, a trio, and his Leise Flehen changed by Liszt (Piano, Horowitz), so that I wondered whether I could own the feel.

The Yellow River was not enough when there was only solo from piano, but luckily, I know what made me crying in the 4^th movement —— Red in East.

1^st half, 2^nd half, then Encore, the entire concert met my expectations, and the sequence was really concert.But amazingly, the Encore were Prayer of a Girl by Tekla Badarzewska and Nocturne in E flat major by Chopin, which let my feel release. 

“Fantastique”一词，来自柏辽兹的作品14号的曲名“Symphonie Fantastique”（《幻想交响曲》，作于1830年），我想应该是个法语词汇。

作品最先吸引我的是第2乐章，圆舞曲的节奏很明显。接着是第1乐章，热情的旋律。

我后来知道柏辽兹为每个乐章加上标题，看过标题，我发现我对前两乐章的幻想与标题是符合的。

作品共有5个乐章，在Charles Munch指挥的波士顿交响乐团版本中，另外收录了柏辽兹的作品17号《罗密欧与朱丽叶》中一段音乐；在卡拉扬指挥犹他交响乐团版本中，曲目5和曲目6是第5乐章的两个版本。

“出乎意料”来自第4乐章，在我听来，那是一场庆祝的盛大集会。在Munch版本中，庄重的开场，1'40”开始的旋律让所有的人都舞动起来，1'50”旋律重复，2'20”重复，结尾热闹依然；卡拉扬指挥犹他交响乐团，就将热闹稍微提前：1'35”，1'46”，2'14”。

这种热闹让我想起柴科夫斯基的《1812序曲》；或是亨德尔《皇家焰火音乐》的第四首；甚至可以是门德尔松的《仲夏夜之梦》序曲，当然普列文指挥伦敦交响乐团的版本最佳。

但标题却是“赴断头台的进行曲”(March to the Scaffold)，与贝多芬第三交响曲（英雄）里的“葬礼进行曲”相比，丝毫没有沉重。

是带着空白去收集幻想，还是带着标题去对比现实？

“Fantastique”, a French word I think, comes from the title “Symphonie Fantastique” of Berlioz's works, op.14, 1830.

I was attracted by the 2^nd movement first, for the rhythm of waltz, then the 1^st movement, for the melody of passions.

Seeing the title of each movement added by the Berlioz, I found my fantastique was similar to the titles.

“Beyond Expectation” comes from the 4^th movement, as far as I heard, that's a great party for celebration. In the edition of Mr. Munch and BostonSO, we can dance following the melody from 1'40”, 1'50”, 2'20”; while in the edition of Karajan and Utah Symphony, that's earlier, from 1'35”, 1'46”, 2'14”.

The celebration reminds me of the 1812 overture of Tchaikovsky, the Royal Fire Music no.4 of Handel, even the Mid-summer Night Dream overture of Mendelssohn, of which I prefer the edition of Andre Previn and LSO.

 But Berlioz used “March to the Scaffold” for the 4^th movement. Comparing with Beethoven's symphony no.3 (Hero) 2^nd movement, I feel no heavy.

Collecting the Fantastique with NULL, or comparing the reality with title.

的确，和我听说的一样，这部作品重复着波莱罗的节奏，一直重复着，丝毫没有改变。可它就妙在，丝毫没有让我觉得枯燥，近20分钟的重复，拉威尔处理得如此恰当。

因为是拉威尔，我不打算能从音乐里听出什么画面。幸运的是，我正看着华兹华斯的《孤独的割麦女》，这音乐突然开始播放了，渐强……

一种奇怪的表现形式，重复但却深深地吸引着我。

As what I heard, the works just contained Bolero rhythm, which was played again and again. But the wonderful thing was that I didn't felt tedious, about 20 minutes' repeat, Ravel did a good job.

For Ravel, I don't think I can feel a picture from the melody. But Luckily, when I was reading “The Solitary Reaper” , the music was appearing, Tempo di Bolero moderato assai.

A strange performing way which has only repeat catches my interesting.