在古典钢琴音乐的宝库中,有着形象上千姿百态,风格上各具特色的无数珍品。如果说,贝多芬的钢琴奏鸣曲犹如巨幅油画,以其大气磅礴、浓笔重彩的笔触,感人肺腑、催人奋进的话,那么,肖邦的前奏曲、夜曲、幻想曲则更象是一首首抒情诗篇,以其柔美、悠长的音调,层层揭示心灵深处一瞬间的思绪、感叹、憧憬与激情。相比较而言,格里格的抒情钢琴小品既没有贝多芬式的宏伟气势,也不象肖邦那样焕发出浪漫的激情,其作品篇幅短小,手法精炼,多用“白描”的手法与明快的色调,再现富于乡土气息的挪威风土人情,乡村景色或民间传说的一个断片,就象一幅幅精美的素描、水彩,而以不落窠臼的传神之笔,令人悠然神往,回 In the treasure house of classical piano music, there are innumerable treasures of various poses and styles on the images. If Beethoven’s piano sonata is like a huge oil painting, with its magnificent, concentrated brush strokes, touching, inspiring words, then Chopin’s prelude, nocturnes, fantasia is more like a first lyric poem , With its soft, long tone, layers of deep thoughts to reveal the depths of thoughts, sighs, longing and passion. Comparatively speaking, Grieg’s lyrical piano pieces have neither the magnificent Beethoven-like magnificence nor the romantic passion radiating like Chopin’s. His works are short and refined, they use the technique of “white drawing” and the bright colors , To reproduce the native flavor of Norwegian customs and practices, rural scenery or folklore fragment, like an exquisite sketch, watercolor, and unmoved expressive pen, it is leisurely, back