引用文章芭蕾舞劇 2~ ou les intermittences du coeur~ PROUST according to Roland Petit

此劇音樂很講究使用與普魯斯特人生有關的音樂家或所愛的音樂

最有趣的一段是夏呂斯男爵宴會上曾取笑Morel不該把貝多芬四重奏改成鋼琴曲以致彈不下去.....貝多芬晚期四重奏與法蘭克音樂是他過世錢那十年左右的精神食糧

第四冊《索多姆和戈摩爾》p.436只見他(夏呂斯男爵)渾身充滿藝術家的文雅，洋溢著多情和好意。“還有一天，您(莫雷爾)彈了改編的鋼琴曲，四重奏第十五號作品，這已經夠荒唐的了，因為沒有比這更缺乏鋼琴味的了。它是專門為這樣一些人改編的，那個自命不凡的偉大聾子繃弦過緊，把他們的耳朵都給震痛了。然而，恰恰是這類近乎庸俗的神秘主義才是神聖的作品

在此則是用了貝多芬真正的最後寫的一首第14號四重奏 第五樂章Presto 急版op.131 https://en.wikipedia.org/wiki/String_Quartet_No._14_(Beethoven)

此段音樂(不中斷)之七樂章的第五V Presto(急板)25:28  

<iframe width="560" height="315" src="https://www.youtube.com/embed/ym31mIwFfxE" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>

https://en.wikipedia.org/wiki/String_Quartet_No._14_(Beethoven)Towards the end of the scherzo, there is "an astounding "passage of   pianissimo sul ponticello  writing for all the instruments, mostly on their highest strings." Joseph Kerman asks "Was this a sound Beethoven had actually heard, back in the days when he was hearing, or did he make up the sound for the first time in 1826? Beethoven deaf was quite capable of hearing or imagining or inventing not only relationships between notes but also sonorities pure and simple."

較清楚的舞蹈畫面必須連去中國    https://www.bilibili.com/video/av5480211/ 

即全劇影片 47:15 起的舞蹈

其他兩段夏呂斯男爵, 音樂比較不直接相關

https://nonsoloproust.wordpress.com/2009/10/02/proust-ou-les-intermittences-du-coeur-roland-petit/

 Proust Ballet - Monsieur de Charlus face à linsaisissable(Monsieur de Charlus facing the elusive難以捉摸) 第四冊《索多姆和戈摩爾》即上一段

In this, we see Monsieur de Charlus falling in love with Morel, we see him courting the violinist. The music chosen by Petit is that Quartetto per Archi op.131 of Beethovenche Proust loved so much that one night he sent for the Quartetto Poulet to make him play his own house. The musical choice of Petit and the skill of the étoile Manuel Legris return us all the nuances of that complex, charming character that is the Baron of Charlus and all this Petit gets him keeping an eye - even if he does not mention them directly - the fundamental pages of the sexual encounter between Monsieur de Charlus and the Jupien faker initial of Sodom and Gomorrah.

Look carefully, please, the skirts of M. de Charlus / Legris from 3.28 onwards ...

By doing this, Petit therefore achieves a double operation of "displacement" and "condensation". Two typically Proustian operations.

 Proust Ballet - Monsieur de Charlus vaincu par limpossibile (Monsieur de Charlus defeated by impossibility)

Still Manuel Legris who plays M. de Charlus.

Here we see him when he discovers the depravity, the betrayals, the pettiness of his young lover and protégé, the violinist Morel

The music is the Havanaise for violin and orchestra by Camille Saint-Saëns https://www.youtube.com/watch?v=-y0By518HEU

 Proust Ballet - Les enfers de Monsieur de Charlus (The underworld of Monsieur de Charlus)第七冊”重現的時光”旅館

 What about this? The pages of Time found in which, in the male brothel held by Jupien, the Narrator assists unseen to the masochistic practices to which the Baron of Charlus undergoes.

Terrible, but also grotesque and incredibly comical. They are among the most entertaining pages of the RTP.

Petit has taken full advantage of this aspect, neglected by more (we know that when it comes to Proust in general you only see hawthorns, hats, teacups and madeleinettes ... we know, we know ...), and gives it back to us.

Music is the Heroic March of Camille Saint-Saëns

https://www.youtube.com/watch?v=HxChUYHbm-s