for dream

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for dream <<<BOBO vs 微微――冷静与热情之间 | 首页 | 我要去香港>>> 给GATO哥哥的礼物：） 时间: 2004-06-20 匆忙之中难免有不准确不通顺的地方，而且这种音乐评论实在是有点晦涩，哥哥先凑合看吧。等我找找相关的资料看看再修改：） CHOPIN: NOCTURNES One of the idiosyncrasies of music history is the number of composers who flowered far from their native soil. In Chopin’s case the phenomenon rebounds somewhat: though born in Poland, he was the son of a Frenchman who had emigrated there in 1787; and though Paris became his home from the age of 21, this had not been specifically planned when he left his native land to seek his musical fortune in Western Europe. In Paris he became friendly with Berlioz, Liszt, Mendelssohn, Alkan and a host of other composers and virtuosi better celebrated in their own time than by posterity; also with writers and painters, notably Delacroix; and, through visits to Germany, with Schumann. Such influences might be expected to have had an enormous effect on a composer only in his twenties. Yet, though most of Chopin’s output was composed after his arrival in Paris, the music he had produced in the two or three years before that ---- including both his Piano Concertos, most of his first book of Studies(op.10), and sever of his 21 Nocturnes (nos. 1-5 and 19-21) ----already shows a fully mastered musical language and pianistic technique, both of which kept their essential character for the rest of his life. The only obvious changes in his style thereafter are a constant refinement of construction and a sophistication of techniques like counterpoint: Bach’s scores were never far from his side. As a pianistic genre the Nocturne, a “night-piece’, was the invention of John Field, an Irishman whose career in the early 19th century eventually transplanted him to Eastern Europe, geographically almost the reverse of Chopin’s move. Field’s Nocturnes, publishe d under that title between 1812 and 1836, were based on a format of singing melody, much ornamented, over accompanying bass patterns to fill in the harmony ---- obviously Chopin’s departure point. Although Chopin did not meet Field until 1832, he had probably heard, or heard of ,his Nocturnes during childhood years in Warsaw. Chopin himself published eighteen during his life, in sets of either two or three ; his three remaining Nocturnes, from between 1827 and 1837, were discovered and published over the next century, but are quite worthy of their place in the canon. Chopin’s exact significance in music history is still oddly hard to define, partly because his output adheres so largely to the piano, and partly because his music, for all its expressive clarity, stubbornly resists being tucked tidily into analytical compartments. It relies rather on a marvelous capacity for variation and improvisation, usually with one or more of the standard formal types ---- aspects of ternary form (the basis for the Nocturnes) or sonata form, for example ---- fused together as required for the dramatic make-up of each piece, and no two pieces ever using quite the same combination. Similarly, reprises of earlier passages later in a piece not only have their melodies ornamented and varied, but also can move off on quite a different harmonic course, or with the accompaniment transformed, allowing the symmetry of ternary form to be offset by a more forward-moving dramatic shape. Beyond this, the Nocturnes also illustrate Chopin’s love of dissolving the apparent barriers between different genres. Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music’s sense of inhabiting those fugitive realms between sleep and wakefulness. One of t he most haunting examples is op. 15 no. 3, with its glimpses of mazurka, followed by a solemn chorale section that suddenly curtails the piece without the expected return to the opening material ---- evidently a late inspiration, since an early manuscript fragment of the piece assumes the conventional da capo return. (The other side of the same manuscript contains the Study op. 10 no. 9, suggesting that this Nocturne was at least partly composed well before the date of 1833 usually ascribed to it. ) Chopin is said to have associated the piece with Hamlet ---- one of many literary images prompted by his music. In those senses the Nocturnes, for all their intimacy, are built up of essentially the same type of material as Chopin’s Balades or other large works, and often contain just as dramatic contrasts and conflicts. In the later Nocturnes the contrasts themselves become subtler, the shifting of the ground under our feet often the more disquieting the less noise it makes in the process. Extremes of dynamics tend to be reserved for the most rugged pieces, such as op. 48 no. 1---- the title ‘Nocturne’ is pushed rather beyond reasonable limits here ---- a heronic marche funèbre which gradually unleashes an extraordinary tumult of passion that must have startled even Chopin’s excentric contemporary Alkan. In other cases a moment of drama can surprise us almost before we have had time to notice it start ---- for example, the sinister minor-key ending of op. 32 no. 1, which has evoked images of heroic tragedy from many commentators. Doubtless Chopin was wise to keep any such programmes unexplained; the music tells its story in tis own terms ---- in Debussy’s phrase, as ‘conversations between the piano and oneself’. ------ Roy Howat 肖邦：夜曲 音乐历史的特质之一就是那些在远离本土也能够盛名远播的作曲家的数量。在肖邦的例子中，这点可见一斑：他生于波兰，是一个 1787 年移民入境的法国人的儿子；从 21 岁起，巴黎成为了他的家，然而这一切在他离开祖国到西欧去寻求他的音乐梦想时并非是刻意安排的。在巴黎，他成为了柏辽兹，李斯特，门德尔松，以及众多在那个时代远比在以后更负盛名的作曲家们的朋友。而且，在和 SCHUMANN 一起参观德国时，还结交了众多作家和画家，特别是 DELACROIX 。可以想象这一切对于一个 20 多岁的作曲家来说会有怎样显著的影响。然而，尽管肖邦的大多数作品都是在他到达巴黎以后完成的，但是那些两三年前创作的――包括钢琴协奏曲， 21 夜曲――已经显示出了他非常成熟的音乐表现风格和钢琴演奏技巧，这些成为了他以后艺术生活最重要的特征。在那之后最为显著的改变就是结构的精致和技巧的精湛，做个比较吧，巴赫的成就也不高于他。 作为一种钢琴流派的夜曲，“ night-piece ”是由 JOHN FIELD 发明的。 JOHN FIELD 是爱尔兰人，于 19 世纪早期移民到了东欧，从地理角度来说，他的路线刚好和肖邦相反。 JOHN FIELD 于 1812 和 1839 发表的作品都是基于演唱旋律的模式，华丽而并非用低音模式来使旋律协调――这显然就是肖邦的起点。尽管 1832 年以前肖邦和 JOHN FIELD 从未谋面，但他幼年在华沙可能就听说过 JOHN FIELD ，或者是听说过 JOHN FIELD 的作品。在肖邦的一生中，曾经亲自发表了 18 部作品， 1827 年到 1837 年间保存的三部夜曲，在下个世纪才被发现并发表。但是，它们在肖邦作品中的地位却是勿庸置疑的。 肖邦在音乐史上的准确意义至今仍然很难定位，部分的原因是他的作品很大程度上都依赖于钢琴，还有就是因为他的作品都清晰的表现出对那种可以被精准的划分为各个部分的一种倔强的抵制。它们更加依赖于非凡的变化和即兴的表演，为了使每一篇章更为生动，通常会把标准的正式类型的一种或者多种 ­ ――例如使用三元形式（夜曲的基础）或者是奏鸣曲的形式――混合在一起，而且没有哪两个部分会使用相同的混合。同样的，在一个篇章后部对较早段落的重复不仅具有各自不同的加以修饰和改变的旋律，而且还使用不同的合音方式及伴奏配乐。这样一来，就用一种前移的生动形态弥补了三元形式对称的不足。 除此之外，夜曲还表现出了肖邦对融合不同流派外观上差异的特殊兴趣。正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影――例如 C 小调夜曲， NO.20 ――这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。最为典型的例子是 OP.15NO.3 ，在它中间有着玛祖卡舞曲的惊鸿一瞥，之后是肃穆的赞美诗部分，这一部分突然缩减了这一篇章，而不是象预期的那样回到开始之处，而早期的手稿中这里是采用了传统的 DA CAPO 返回（这篇手稿的另一面还写有 OP.10NO.9 ，这表明这部夜曲至少有一部分是在 1833 年以前创作的）据说肖邦把这个乐章和哈姆雷特――在他的音乐中提及的众多文学映像之一――联系在了一起。 这些夜曲构筑了作为肖邦叙事曲和其他大型作品的最基本素材，这其中常常包含着显著的对比与冲突。后来，夜曲之间的对比变得微妙起来，韵脚背景的转换常常越是令人不安，过程中产生的噪音就越是不明显。动态的极端似乎倾向与为那些崎岖不平的篇章所保留，例如 OP.48NO.1 ――这里的名称“夜曲”已经被推至前端的极限―― heronic marche funèbre 逐渐释放出激情的喧哗，这在与肖邦同时代的 ALKAN 身上也是令人震惊的。在另外的例子当中，戏剧性的时刻总能在我们意识到它开始之前就令我们惊讶不已了，――例如， IP32NO.1 的小调结尾从众多的评论者那里获得了英雄主义悲剧的印象。勿庸置疑的，肖邦在保留诸如此类令人惊诧的安排上是非常明智的；音乐用自己的术语讲述了它的故事――在德彪西风格的表述中，这被誉为“钢琴与演奏者自身的交流” anglebobo 发表于 2004-06-20 23:23 引用(Trackback0) 评论 Schumann：舒曼 DELACROIX：德拉克鲁瓦 其他的我也不知道了…… sick_cat ( ) 发表于 2004-06-20 23:48 这么辛苦为了谁？ anglebobo回复相忘于江湖说： 一个喜欢肖邦的GG，呵呵。 举手之劳而已，不算辛苦：） (2004-06-21 18:24) 相忘于江湖 ( () ) 发表于 2004-06-21 02:00 人名懒得翻了，还有些专用的术语，不晓得是什么。 bobo ( anglebobo.blogbus.com ) 发表于 2004-06-21 00:27 发表评论 最后更新 调凉粉里的“高蛋白” VERY MOMENT 浪宝乖乖 都是yoga惹的祸 头痛的约会 卡哇依 天凉好个秋 柳暗花明 SIMPLE HAPPINESS 赢球的心情