现在的我非常想学习这首曲子，但指导教授却要我先坐在钢琴前好好练了一星期后，才告诉她我的想法。
我是从某堂课知道了这首曲子，也读了一些文章关于这曲，了解得越多，就发现这曲超迷人~
根据我自己的话，这曲代表
The perfect combination of Emotional Expressiveness with Innovative Compositional Ideas
(感情抒发与革新创作想法的完美结合）
Enjoy！Messiaen's Vingt Regards sur l'Enfant Jesus: X Regard de l'Esprit de Joie
Played by Roger Muraro
这帖怎沉了？我都有（偶尔）来潜水的说。。
我下个月的17号就要考了。再JB
想说有没有大大们可以指点我的program note
曲目：bach- concerto in D minor BWV 974
haydn-sonata in E flat, no, 29 XVI 45
rachmaninoff- etude op/39 no. 2 in a minor
debussy- image no. 1, homage ramaue
bartok- allegro barbaro
Marcello was an Italian nobleman who excelled in various areas, including poetry, philosophy, mathematic music and etc. This concerto in D minor was a concerto for oboe, strings and basso continuo, published about 1717 at Amsterdam in a concerto anthology. That publication attracted the attention of J. S. Bach then an organist in Weimar.
Bach was a distinguished and frequent transcriber of his own works as well as those of others. For the harpsichord, he arranged 16 concertos after several Italian composers including Antonio Vivaldi, Prince Johann Ernst von Sachsen and Georg Philipp Telemann.
This concerto is in the typical Marcello sequence for instrumental concerto - a moderately-paced opening movement followed by a slow Adagio central movement and concluded by a lively Presto finale. Bach had successfully adapt musical idea from the original work while showing his own preference of usage ornaments, contrapuntal voices and etc.
Classical keyboard sonata is developed during the 18th century during Haydn’s life-time which also a period when keyboard instruments were gradually shifted from harpsichord and clavichord to fortepiano.
Though there are many Barouque works marked ‘sonata’ , sonata often related to the relationship of theme and harmony but not its format at that time. Until the middle of the 18th century, Johann Kuhnao, C.P. E. Bach, Joseph Haydn and others furnished the development of the sonata form. C. P. E. Bach was one of the greatest influences on this development. His sonatas laid the groundwork for many composers after him to exploit.
The E flat major sonata composed by Haydn in 1766, an important year in his life. After the death of the old first Kapellmeister Gregor Werner in March, Haydn promoted from second Kapellmeister to first Kapellmeister. This position provided Haydn a secured income thus it allowed Haydn to develop his personal musical style.
The sonata (one of his earlier sonatas) was designed for the harpsichord. It Is unusual for Haydn to compose all three movements for this sonata in sonata form.
haydn 最有特色的作曲手法是 Monothematic，这首曲子是否用了这方式？
关于这三个乐章都是 in sonata form 的一点真的很有趣和特别，如果是我
我会再作点 Research ，关于为什么他要把三个乐章都写成 in sonata form？
既然用同一种 form，他如何把三个乐章写得都不一样？
Along with Ravel, Debussy was considered one of the most influential French Impressionist composers. His innovative compositions significantly ruptured the conventional form and harmony, eventually opened the path that led Romantic era into 20th century.
As opposed to the lavish, pompous and rhetorical style of late Romanticism, Debussy focused on intrinsic sensitivity and essentially utilized diverse harmonies into single work: irregular absence of tonality through periodic used of harmonies derived from modes (usually Lydian or Mixolydian), whole-tone, and pentatonic scale; endorsing used chords built on intervals 4th and 5th; seventh or ninth chords moved in parallel movement, most often in conjunct step; Colorful and vague sonorities resulted and evoked a sensuous and misty atmosphere.
L’isle Joyeuse was written in 1904 and inspired by Watteau’s painting “The Embarkation for Cythera”. The Greek island Cythera was regarded as place of happiness and sensual fulfilment. It symbolized the island of Jersey, to which Debussy left his wife and escaped for the summer of 1904 with Emma Bardac.
L’isle Joyeuse was one of the relatively few extraverted, openly virtuosic works of Debussy. It begins with birdsong-like trills, followed by vivacious dance-like main motive and progressively building momentum, but occasionally interrupted by lyrical and soft passages. Finally the music reaches to the triumphant and ecstatic height and ends by sweep over the whole keyboard, hitting on the lowest A.
Gordon, A History of Keyboard Literature: Music for the Piano and Its Forerunners, 359.
Beethoven: Piano Sonata No.8 in C minor, Opus 13 “Pathetique”
I. Grave – Allegro di molto e con brio
II. Adagio Cantabile
III. Rondo: Allegro
Pathetique sonata was one of the two sonatas assigned by composer’s own descriptive title and written in the significant key: C minor, which was commonly regarded as Beethoven’s most powerful key used in his compositions.
The music was dedicated to Prince Karl von Lichnowsky, composed in 1798 when Beethoven was 28 years old and published in the following year. According to Allegemeine Musikalische Zsitung of 19 Feb, 1800, the music acquired universal popularity, but defectively received by academic public. “Ignaz Moschelles was warned against the music of Beethoven by his teacher when he was 10. He came upon a copy of the new “Pathetique” and took it to his teacher in rapture, he was sternly forbidden to corrupt himself with such eccentric stuff !”[5]
This sonata was inventive and no longer took Mozart as a model. It showed exploration of new directions in emotional style and somehow interestingly obligated to Dussek sonatas, which were significant for their prophecies. No historical event, only definitions, can be associated with the term Pathetique. [6] It implied the music was emotional and remarked as program music of the human will.
The first movement fully displays an outward primitivism through abrupt dynamic, texture, and tempo contrast. The heavy-textured dotted rhythm chords that resemble French Overture style at the beginning of slow introduction create an intense, dark and powerful atmosphere. In addition, it is far more than an introduction and reappears at the beginning of the development and the coda as an integral part of the movement, makes music sounds more dramatic.
Different from the wild and motivic first movement, the second movement is exquisite and has a melancholy melody, considered one of Beethoven’s best-known slow movements. The music is essentially heartfelt appeal and retained in simple rondo form. Pensive and defiant characters alternate in the vivid final Rondo. It was suggested to be played “humorously” by Beethoven. However from his playing, Cherubini described it as “rough”, Cramer found it “inconsistent and muddled”, but all agree that it was full of character and temperament.[7]
[5] Luethi, Beethoven Solo Piano Literature, 142. [6] Drake, The Beethoven Sonatas and The Creative Experience, 77. [7] Matthews, Beethoven Piano Sonatas, 22.
Beethoven Piano Sonata in F minor, Op.57 (Appasionata) 的第二乐章是直接连接第三乐章，连接得超酷！
我去年做了一份报告是关于这首钢琴奏鸣曲。
第二乐章和第三乐章之间没有间断是其中的重大创新作曲手法。
对之后的作曲家带来很大的影响力。
例如 Liszt Piano Sonata in B minor
是单一乐章的奏鸣曲，长达三十分钟。
有些人说这只有一个乐章，其中包括了传统奏鸣曲第一乐章的形式（Sonata Form）：
Exposition, Development, Recapitulation, and Coda.
也像是奏鸣曲的四个乐章。天才的结合两种形式。
就些人就说这首 B minor Sonata 还是根据四个乐章的手法来创作。
只不过乐章间完全没有间断。
我个人比较倾向第一种说法。
根据 Liszt 在这首奏鸣曲中采用 Thematic Transformation 的手法。
我相信他已经宣告与传统奏鸣曲划清界限。
楼主
发表于 18-5-2010 11:13 PM
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