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人们曾对勃拉姆斯有过不恰当的评价,认为他是保守的,是复古的。的确,勃拉姆斯对同时代的作曲家的某些革新,是反对的,他并且用自己的创作实践来回答这种革新。但要是细细地对此作一分析,可以发现,他的实践并不是原封不动的复古,而是把古典主义的艺术手法带向前走,并建立了很高的模阶。他的努力是抹杀不了的,其中包含着不少可贵的因素。这里有一段记录他和玛勒的对话很有意思。在勃拉姆斯晚年的最后一个夏天,遇到了玛勒,两人经常花许多小时,一起在奥国的伊舒尔郊外散步,谈及音乐上的各种问题。有一天早晨,两人在杜拉温河畔散步。那一天,勃拉姆斯的心情特别开朗,他对年仅三十岁的玛勒说:
Brahms people have had an inappropriate evaluation, that he is conservative, is retro. Indeed, Brahms opposes some of the innovations of contemporary composers, and he uses this practice of his own to answer such innovations. However, if we analyze this carefully, we can see that his practice is not a retro one as it is, but takes the art of classicism forward and establishes a very high scale. His efforts can not be denied, which contains many valuable factors. It is interesting to note here that there is a dialogue between him and Mary. On the last summer of Brahms’ late summer, Mary met two people, often spending many hours walking along the outskirts of Ishur in Austria talking about various musical issues. One morning, they walked by the Duravan River. On that day, Brahms was particularly cheerful, saying to Male, 30,