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进入21世纪以来,作曲家瓦雷兹(Edgard Varese,1883-1965)①再次引起世人关注,他作品CD全集(1998)的集结出版,吸引了世界各地无数听众、音乐学家,尤其是当代作曲家们的视线。周文中先生从20世纪40年代起就是瓦雷兹的学生和朋友,为瓦雷兹《阿美利加》②的每一个音作过多版本的勘误,并重新编订过瓦雷兹的两个版本的总谱。本文是周文中先生为迪卡(Decca)公司1998年录制里卡多·切利率荷兰皇家音乐会乐团演奏的瓦雷兹作品全集2张的出版所撰,对研究工作具有很高的价值。作为世界公认的瓦雷兹专家,他在这篇文章中精辟准确地介绍了瓦雷兹和他的创作思想。在目前国内对于瓦雷兹的研究资料极难于找到的情况下,这篇相当权威的,并且是最新的文章将更正以往我们对瓦雷兹研究中的一些偏差,帮助我们理解他的音乐创作,使我们更接近于真实。这个曾在四处碰壁的冷遇中仍不断思考、试验着的孤独的作曲家,今天,是什么使他的音乐令21世纪的我们感到新异和震惊?
Since entering the 21st century, the composer Edgard Varese (1883-1965) once again aroused the attention of the world. The collection and publication of his works CD Complete Works (1998) attracted countless listeners and musicologists from all over the world, especially the contemporary composers The family’s attention. Mr. Zhou Wenzhong, a student and friend of Valais since the 1940s, overreads many versions of Errata for each of Varese’s Amelia and redesigns two versions of Varese Score. This article is written by Mr. Zhou Wenzhong for the work of Decca on the 1998 edition of the Complete Works of Varez by Ricardo Celli for the Royal Netherlands Orchestra. It is of great value to the research community. As a recognized Valais expert in the world, he elaborates on Varez and his creative ideas in this article. In the current domestic research data for Varese extremely difficult to find circumstances, this fairly authoritative and up-to-date article will correct some of our past Varez study deviations to help us understand his music, Keep us closer to reality. This lonely composer, who was still trying to think and experiment in the run-off, today, is what shocked us with his music in the twenty-first century?