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1830年12月,柏辽兹的《幻想交响曲》在巴黎音乐学院首演,台下一位19岁的年轻人当场为之倾倒并疯狂地鼓掌,继而引发了其对标题性交响音乐的共鸣与思考。他,就是未来追寻标题音乐理想的先锋人物—李斯特。《幻想交响曲》那色彩丰富的管弦乐技法以及这种文学与音乐相结合的体裁形式给予他极大的震撼与启发。他敏锐地感受到这部交响曲的意义,认识到标题音乐将是“未来音乐”的发展方向。但是,与柏辽兹利用传统交响曲框架进行艺术改良所不同的是,同样富于
In December 1830, Berlioz’s “Symphony of Fantasies” premiered at the Conservatoire de Paris, and a 19-year-old young man on stage dulled and applauded wildly, triggering a resonance with the title symphonic music And thinking. He, is the future pursuit of title music ideal vanguard - Liszt. “Symphony of Fantasies” that colorful orchestral techniques and the genre of this combination of literature and music gave him a great shock and inspiration. He was acutely aware of the meaning of this symphony and realized that the title music would be the development direction of “future music.” However, unlike Berlioz’s use of the traditional symphony framework for artistic improvement, the same richness