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约翰内斯.勃拉姆斯无疑在19世纪欧洲乐坛上有着举足轻重的地位。他虽身处浪漫主义时期,但毕生都坚持着自己的古典主义理想。他的创作也几乎涉及了除了歌剧之外的所有的音乐体裁。本人一直认为用小提琴诠释勃拉姆斯的音乐是非常难的,因为你似乎永远也进入不了勃拉姆斯那复杂的内在精神世界。他似乎在用音乐向世人诉说着一种“不可言喻的奥秘”。在演奏中,这种难度绝大多数来自于对右手的控制,对音色的选择,具体到《第二小提琴奏鸣曲》当中,我该怎么做呢?带着种种的疑惑,我投入到研究中来。我不断地阅读勃拉姆斯的传记和有关文章,也聆听了这首作品的许多录音版本,通过对《第二小提琴奏鸣曲》音乐结构的解剖,以及对他当时写作时期情感状态的把握,最终逐渐融入到实际的演奏当中。今天我主要谈的是《第二小提琴奏鸣曲》第一乐章的演奏。
Johannes Brahms undoubtedly played a decisive role in the 19th century European music scene. Although he is in a romantic period, he has always adhered to his own classicism ideal. His writing has touched almost all musical genres except opera. I have always thought it very hard to interpret Brahms’ music with violins because you never seem to get into Brahms’s complex inner spiritual world. He seems to be using music to tell the world a “unspeakable mystery.” In the performance, the vast majority of this difficulty comes from the control of the right hand, the choice of timbre, specific to the “Second Violin Sonata”, what should I do? With all sorts of doubts, I put into the study . I constantly read Brahms’ biographies and related articles and listened to many recorded versions of this work. Through the dissection of the musical structure of “The Second Violin Sonata” and the grasping of the emotional state of his writing period, I eventually Gradually into the actual performance. Today, I mainly talk about the performance of the first movement of “The Second Violin Sonata”.