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[文化博览] 【整理】文化 2008-01-10, Beethoven 贝多芬 - 05

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[文化博览] 【整理】文化 2008-01-10, Beethoven 贝多芬 - 05

Beethoven 贝多芬传

犹如蛟龙游遍浩瀚的大海,音乐王国哪里都有他翱翔的身影。他的后辈不可能将他的成就作为起点,只能重新做起,因为他的先辈已经到达艺术的绝顶!----《贝多芬传》






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Transcript for Reference Only

The typical piano of 1790s, say, 3, in Vienna was a fairly light instrument, and it was very well suited to the kind of pianism that were most conventional in Vienna at that time.

 

Beethoven changed the whole style of playing. He wanted bigger pianos, he wanted louder pianos, and we know that he broke strings, he smashed hammers, he also wrote music that implied that the piano range was too small, I mean you, you keep going to the last note of the piano and implying that the musics really could go higher but you can't. That's something that Mozart rarely did only on rare occasions that Beethoven does fairly constantly.

 

Haydn's influence on Beethoven came from his music, not his role as tutor. Beethoven once claimed he'd learned nothing from the lessons.

 

What is different in Beethoven is the emotional seriousness, the feeling, that one has at his music is somehow deeply moral, and there is no question about the amount of resentment that Beethoven inspired in his audiences when he first appeared largely because of the way he made the listener concentrate on the. . the motivic work in the piece, the way he would take one single motif and then you had to realize the way this motif appeared in different forms throughout the work.

 

People didn't like to be forced to listen to music with that intension. On several occasions, Beethoven rebelled when the audience treated his music as mere background entertainment.

 

Beethoven's rebelliousness surfaces into sonata Pathetique in C minor, a work which seemed to be a subversive composition. One of the influences on him was the great poet, dramatist and philosopher Friedrich Schiller. Schiller described tragic art as having to do with not simply the depiction of human suffering, but the attempt to resist succumbing to suffering, in other words, resisting an attitude of resignation and this approach I think is reflected even at the very beginning of a piece like the sonata Pathetique of 13, we have this laden chords in the low register, stressing complex, dissonant sounds like the one I'm playing here. We hear in the main fast section of the piece as a gesture of resistance to this suffering.

[ 本帖最后由 seansxf 于 2008-3-1 17:30 编辑 ]

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