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| 查尔斯·弗朗索瓦·古诺（Charles Francois Gounod,1818－1893） | |||||||||||||||||||||||
中美在线音乐会,田元&爸爸 演奏巴赫-古诺 圣母颂 |
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| 《圣母颂》，原是法国著名作曲家古诺的声乐名曲，为了纪念古诺逝世127周年，田元和爸爸一个在美国费城，一个在中国哈尔滨，远隔太平洋，时空交错地实现了精美的对接，更加体现了古诺崇高的艺术理想。借《圣母颂》的作品的精美构思，一切对亲人的思念，对艺术的追求都蕴含在深沉的旋律及和声当中。 | |||||||||||||||||||||||
| "Ave Maria", originally a famous vocal music by the famous French composer Cournot, in order to commemorate the 127th anniversary of the death of Cournot, Tian Yuan and his father in Philadelphia, the United States, one in Harbin, China, across the Pacific Ocean, time and space interweave to realize the exquisite docking, more reflects the noble artistic ideal of Cournot.Through the exquisite conception of the works of "Ave Maria", all the yearning for relatives and the pursuit of art are contained in the deep melody and harmony. | |||||||||||||||||||||||
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音乐历史上的今天
1893年10月18日，早晨6点25分，查尔斯.古诺离开了人间，享年75岁。他之前已经昏迷了两天，但手中始终握着十字架。 |
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| 查尔斯·弗朗索瓦·古诺（Charles Francois Gounod） | |||||||||||||||||||||||
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查尔斯·古诺(1818年6月17日生于法国巴黎，1893年10月18日死于巴黎附近的圣克鲁)，法国作曲家，以其歌剧著称，其中最著名的是《浮士德》。 古诺的父亲是一位画家，他的母亲是一位有能力的钢琴家，是她给了古诺早期的音乐训练。他在圣路易中学接受教育，一直到1835年。在获得哲学学位后，他开始与波西米亚作曲家安东·赖卡(Anton Reicha)学习音乐。赖莎死后，古诺进入巴黎音乐学院，师从哈里维和让-弗朗索瓦·勒苏埃。三年后，他的《弗尔南多》大合唱为他赢得了罗马音乐奖，他不得不在罗马的美第奇别墅呆了三年。 在意大利，古诺把大量的精力投入到意大利文艺复兴作曲家乔瓦尼·达·帕莱斯特里纳的作品中。1842年和1843年，在意大利创作的弥撒和安魂曲在维也纳举行了演出。回到巴黎后，他经过布拉格、德累斯顿和柏林，在莱比锡遇见了费利克斯·门德尔松。 古诺的父亲是一位画家，他的母亲是一位有能力的钢琴家，是她给了古诺早期的音乐训练。他在圣路易中学接受教育，一直到1835年。在获得哲学学位后，他开始与波西米亚作曲家安东·赖卡(Anton Reicha)学习音乐。赖莎死后，古诺进入巴黎音乐学院，师从哈里维和让-弗朗索瓦·勒苏埃。三年后，他的《弗尔南多》大合唱为他赢得了罗马音乐奖，他不得不在罗马的美第奇别墅呆了三年。 在意大利，古诺把大量的精力投入到意大利文艺复兴作曲家乔瓦尼·达·帕莱斯特里纳的作品中。1842年和1843年，在意大利创作的弥撒和安魂曲在维也纳举行了演出。回到巴黎后，他经过布拉格、德累斯顿和柏林，在莱比锡遇见了费利克斯·门德尔松。 对他最早的歌剧《Sapho》(1851)和《La Nonne sanglante》(1854)的接受;尽管作曲家赫克托尔·柏辽兹对《血腥修女》给予了好评，但他的作品并不十分热情。在他的圣塞西尔展览(1855)中，他试图将神圣与更世俗的创作风格相融合。在1858年的《马格里路的医生》(Le Medecin malgre lui)之后，他开始了对喜剧的探索。《模拟医生》，根据莫里哀的喜剧改编。从1852年开始，古诺就在写《浮士德》，根据J.W.冯·歌德的悲剧改编了M. Carre和J. Barbier的剧本。1859年3月19日的《浮士德》标志着法国歌剧发展的一个新阶段。这一作品继续掩盖了Gounod随后的所有阶段作品，包括《菲利蒙和鲍吉斯》(1860)、《拉科伦坡》(1860;《鸽子》)，相当成功的《米雷耶》(1864年)，改编自弗雷德里克·米斯特拉尔的一首普罗旺斯诗歌，以及《罗密欧与朱丽叶》(1867年)。 1852年，古诺成为巴黎奥菲恩合唱协会的指挥，他为该协会写了许多合唱作品，包括两场弥撒。从1870年起，他在伦敦呆了五年，组建了一个以他的名字命名的唱诗班(后来成为皇家合唱协会)，并把自己几乎全部投入到清唱剧的创作中。《加利亚》是一首为女高音独唱、合唱和管弦乐所作的哀歌，灵感来自于1870年法国军队的战败，它于1871年首次演出，随后在1882年和1885年又上演了《救赎》和《生与死》。1888年，他被授予荣誉军团勋章。 毫无疑问，古诺的旋律是原创的，尽管经常有些过头。他知道如何为人声写作，也是一个熟练的管弦乐手;但在他的歌剧中，他对音乐的刻画虽然不乏魅力，但往往过于肤浅，在他的神圣音乐中所表现的宗教虔诚也往往过于肤浅。他的冥想(圣母颂)与约翰·塞巴斯蒂安·巴赫的《C大调序曲》(选自《和谐键盘》第一卷)叠在一起，展现了他作为一个旋律家的创造力和轻松，以及他在风格方面的天真。歌剧《浮士德》、《米雷耶》和《梅德金·马尔格里·卢伊》充分展示了他的最佳旋律天赋。 |
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| LOT 2077 古 诺（Charles Gounod，1818～1893） 华兹华斯诗《小白屈菜》二重唱亲笔完整手稿2077 | |||||||||||||||||||||||
| 古 诺（Charles Gounod，1818～1893） 华兹华斯诗《小白屈菜》二重唱亲笔完整手稿乐谱 一张四页（附证书）1872、1875年作流传：法国德鲁奥拍卖行（Hotel Drouot），1963年。说明：此为古诺二重唱《小白屈菜（Little Celandine）》完整稿本。《小白屈菜》为英国浪漫主义诗人威廉 华兹华斯（William Wordsworth）的一首诗歌，古诺对其进行改编，由黑色墨水标注女高音、女低音以及钢琴部分，并于1875年由Goddard在伦敦出版。封面有古诺亲笔书写提要并签名。1870年至1874年间古诺曾旅居英格兰，并担任皇家合唱协会第一指挥，他的大部分音乐创作就是从这个时候开始的。CHARLES GOUNOD AUTOGRAPH MANUSCRIPT OF LITTLE CELANDINE THE DUOFour pagesDated 1872 and 187554×35cmRMB: 40,000－60,000作者简介：古诺（Charles Gounod，1818～1893），法国作曲家。生于巴黎，巴黎音乐学院毕业，后至罗马进修，曾在莱比锡受门德尔松热情接待。回巴黎后为教堂管风琴师和歌队指挥、奥费翁合唱团指挥。1870年移居英国，得宠于王室。其《教皇进行曲》被采用为梵蒂冈国歌。代表作有《圣母颂》、抒情歌剧《浮士德》等。 | |||||||||||||||||||||||
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| 年轻的查尔斯·弗朗索瓦·古诺（Charles Francois Gounod） | |||||||||||||||||||||||
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2077 Charles
Gounod (1818-1893) Complete handwritten transcription of the duet of
Wordsworth's poem "Little Beluga", four pages (with certificate),
circulated in 1872 and 1875: Hotel Drouot, 1963.Description: This is the
complete manuscript of Little Celandine by Cournot duet."Little Flexor,"
a poem by the English romantic poet William Wordsworth that Mr. Cournot
adapted for soprano, alto and piano in black ink, was published by
Goddard in London in 1875.The cover had an outline written and signed by
Cournot in his own handwriting.From 1870 to 1874, when He lived in
England and served as first Conductor of the Royal Choral Society, he
began much of his music.CHARLES GOUNOD GOUNOD MANUSCRIPT OF LITTLE
CELANDINE THE DUOFour pagesDated 1872 and 187554×35cmRMB: 40,000-60,000
Author introduction: CHARLES GOUNOD (1818-1893), French composer.Born in
Paris, graduated from the Paris Conservatory, studied in Rome, and was
warmly received by Mendelssohn in Leipzig.After returning to Paris, he
was the organist and conductor of the choir and the conductor of the
Chorus of Orpheon.He moved to England in 1870 and became popular with
the royal family.His "Papal March" was adopted as the Vatican anthem.His
masterpieces include Ode to the Virgin Mary, lyric opera Faust and so
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| 查尔斯·弗朗索瓦·古诺（Charles Francois Gounod）一个平静的家庭 | |||||||||||||||||||||||
| Charles Francois Gounod | |||||||||||||||||||||||
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Charles Gounod, in
full Charles-françois Gounod, (born June 17, 1818, Paris, France—died
Oct. 18, 1893, Saint-Cloud, near Paris), French composer noted
particularly for his operas, of which the most famous is Faust. Gounod’s father was a painter, and his mother was a capable pianist who gave Gounod his early training in music. He was educated at the Lycée Saint-Louis, where he remained until 1835. After taking his degree in philosophy, he began to study music with the Bohemian composer Anton Reicha. On Reicha’s death Gounod entered the Paris Conservatoire, where he studied under Fromental Halévy and Jean-François Lesueur. Three years later his cantata Fernand won him the Prix de Rome for music, an award that entailed a three-year stay in Rome at the Villa Medici. In Italy Gounod devoted a considerable amount of his attention to the works of Giovanni da Palestrina, an Italian Renaissance composer. From Rome he proceeded to Vienna, where a mass and requiem, composed in Italy, were performed in 1842 and 1843. Returning to Paris, he passed through Prague, Dresden, and Berlin and met Felix Mendelssohn in Leipzig. Gounod’s father was a painter, and his mother was a capable pianist who gave Gounod his early training in music. He was educated at the Lycée Saint-Louis, where he remained until 1835. After taking his degree in philosophy, he began to study music with the Bohemian composer Anton Reicha. On Reicha’s death Gounod entered the Paris Conservatoire, where he studied under Fromental Halévy and Jean-François Lesueur. Three years later his cantata Fernand won him the Prix de Rome for music, an award that entailed a three-year stay in Rome at the Villa Medici. In Italy Gounod devoted a considerable amount of his attention to the works of Giovanni da Palestrina, an Italian Renaissance composer. From Rome he proceeded to Vienna, where a mass and requiem, composed in Italy, were performed in 1842 and 1843. Returning to Paris, he passed through Prague, Dresden, and Berlin and met Felix Mendelssohn in Leipzig. The reception of his earliest operas, Sapho (1851) and La Nonne sanglante (1854; “The Bloody Nun”), was not very enthusiastic, despite favourable reviews by the composer Hector Berlioz. In his Messe de Sainte-Cécile (1855) he attempted to blend the sacred with a more secular style of composition. An excursion into comic opera followed with Le Médecin malgré lui (1858; The Mock Doctor), based on Molière’s comedy. From 1852 Gounod worked on Faust, using a libretto by M. Carré and J. Barbier based on J.W. von Goethe’s tragedy. The production of Faust on March 19, 1859, marked a new phase in the development of French opera. This work has continued to overshadow all of Gounod’s subsequent stage works, including Philémon et Baucis (1860), La Colombe (1860; “The Dove”), the fairly successful Mireille (1864), based on a Provençal poem by Frédéric Mistral, and Roméo et Juliette (1867). In 1852 Gounod had become conductor of the Orphéon Choral Society in Paris, for which he wrote a number of choral works, including two masses. From 1870 he spent five years in London, formed a choir to which he gave his name (and which later became the Royal Choral Society), and devoted himself almost entirely to the writing of oratorios. Gallia, a lamentation for solo soprano, chorus, and orchestra, inspired by the French military defeat of 1870, was first performed in 1871 and was followed by the oratorios La Rédemption and Mors et Vita (Life and Death) in 1882 and 1885. He was made a grand officier of the Legion of Honour in 1888. Gounod’s melodic vein is unmistakably original, though often oversentimental. He knew how to write for the voice and was also a skillful orchestrator; but in his operas his sense of musical characterization, though rarely devoid of charm, is often excessively facile, and the religiosity displayed in his sacred music is too often superficial. His Meditation (Ave Maria) superimposed on Johann Sebastian Bach’s Prelude in C Major (from The Well-Tempered Clavier, Book I) illustrates both his inventiveness and ease as a melodist and his naïveté in matters of style. The operas Faust, Mireille, and Le Médecin malgré lui show his melodic talents at their best. |
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| 《草地上的圣母》拉斐尔(Raphael) | |||||||||||||||||||||||
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拉斐尔·桑西（Raffaello
Santi，全名Raffaello Sanzio da
Urbino，1483年3月28日或4月6日—1520年4月6日），常称为拉斐尔（Raphael），意大利著名画家，也是“文艺复兴后三杰”中最年轻的一位，代表了文艺复兴时期艺术家从事理想美的事业所能达到的巅峰。 十六世纪之前，一说起圣母，信徒的脑海中会出现各种各样的形象，有的死板，有的慈祥，有的悲戚，有的欢乐。拉斐尔这幅《草地上的圣母》一出，迅速变成了她的标准像。 画中的她，慈爱，祥和，平静。多日劳作的人看到她，身体上的疲劳几乎瞬间消失；罪孽深重的人看到她，愿意在她面前坦诚自己的罪，并相信自己一定能得到宽恕；涉世未深的年轻人看到她，增加了面对无常世事的信心；行将就木的人看到她，也就不再畏惧那未知的天堂。 栩栩如生的效果，来自拉斐尔妙到毫巅的技法和反反复复的探索。这圣母的脸，是理想化的脸，画中的风景，也是理想化的现实。 拉斐尔笔下的色彩，产生了发光的效果。以颜色明暗的变化，让画中事物的边缘有阴影，让事物的中间有高光。同时这又产生色彩振动的效果：画面左边圣母的红色上衣与绿色草地、右边黄色土地与蓝色袍子，这些互补色互相映衬，构成和谐。 这幅画又是几何形状的集合：圣母头上的光晕、她的发髻、她的领口、袖口上的金线，圣约翰和耶稣头上的光晕，都是圆形；而三个主要人物的构图、圣约翰和十字架、耶稣和圣母的右手，这又都是三角形。包容的圆形和稳定的三角形，让观者对圣母和耶稣充满信任和敬仰。 这幅画集不同形式的美之大成，理想的人体、充沛的光线、简约的构图、和谐的秩序，一切的一切都在告诉观者：来吧，拜倒这三位一体之前，这就是你的救赎。 |
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| 波提切利 《维纳斯的诞生》 | |||||||||||||||||||||||
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画面中，在波光粼粼的爱琴海上，花瓣从天空坠落。裸体的维纳斯略显娇弱无力地站在一个大贝壳上，她微曲右腿，身体向右微微倾斜，一头金色长发被海风轻轻吹散。她的皮肤光洁剔透，美丽的面庞略显出某种淡淡的迷惘。那双纯真无邪的眼睛，笼罩着一种脉脉的忧郁和哀怨，显示出她刚刚来到这个世界的无助和迷茫。维纳斯的脖子和双手显得长了一些，但这更增加了她的优雅和风韵。画面的左上方，长着翅膀的风神正鼓起双唇把维纳斯徐徐吹向岸边，那里，来迎接她的春之女神身着华丽服装，正准备把一件缀满鲜花的红色披风披到她裸露的身上 这幅画很多人都不陌生，乌菲齐美术馆的馆藏目录是这样介绍的：维纳斯被描绘成一个年轻的女子，乘着贝壳在波浪起伏的海面上荡漾而来，一路来到塞浦路斯的浅滩，左边的两位相拥着的西风之神的推动着她，岸边穿着花裙的春神把披肩递给维纳斯保护她。 作者波提切利（1445-1510），佛罗伦萨画派的最后一位画家，1487年，波提切利被要求为佛罗伦萨统治者梅第奇家族的一个远房兄弟创作一幅画用于装饰别墅。 |
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| 今天，田元和爸爸远隔太平洋，时空交错地实现了精美的对接，更加体现了古诺崇高的艺术理想。借巴赫-古诺这首《圣母颂》的作品的精美构思，一切对亲人的思念，对艺术的追求都蕴含在深沉的旋律及和声中，本曲被认为是音乐家跨年代合作的典范之作。在今天美国疫情泛滥的今天，田元以及很多留学生的学习和生活都受到了不同程度的影响，我们演奏这首曲目一种更深层的寓意，就是祈祷更多的亲人朋友远离疾病，更加健康更加幸福快乐！更多的人能从新冠病毒的魔爪中挣脱出来，成功融入美好的生活！ | |||||||||||||||||||||||
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| 田元和爸爸妈妈在青岛旅游的照片 | |||||||||||||||||||||||
| Today, Tian Yuan and father are far apart from each other in the Pacific Ocean, spatio-temporal interlacing realized the exquisite docking, more reflected the noble artistic ideal of the ancient Nuo.By virtue of the exquisite conception of the works of "Ave Maria", all the yearning for relatives and the pursuit of art are contained in the deep melody and harmony, this piece is regarded as a model work of musicians' cooperation across the ages.In today's epidemic situation in the United States, Tian Yuan and many overseas students' study and life have been affected to different degrees. We play this piece of music with a deeper meaning, that is, we pray for more relatives and friends to stay away from disease, be healthier and happier!Many more can escape from the novel Coronavirus and successfully blend into the happy life! | |||||||||||||||||||||||
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| 田元在爸爸监督下练琴 | |||||||||||||||||||||||
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| 2011年，田元在中央音乐学院附小读书期间，和爸爸在国家大剧院的欧艺琴声乐器展览上演奏。 | |||||||||||||||||||||||
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"Ave Maria" by
Baker-Gounod This is often used for violin solo "Madonna", originally is the famous French composer Gounod vocal music.It has been adapted for violin, flute, cello, harp solo, orchestra and chorus."Ode to our Lady" is a Catholic carol with fixed lyrics.Most of the "Madonna" lyrics that appeared after the 19th century were composed by later generations, such as Schubert's "Madonna".Cournot adopts the original church lyrics, but notes "the religious song attached to Bach's first prelude" on the title of the song, that is, the secular music of Bach as the accompaniment part, which indicates that this song is no longer a pure religious work.Cournot, who commuted between church, monastery and opera all his life, made great achievements in religious music and opera.The melody and Bach's prelude complement each other in a seamless and integrated way, showing the author's extraordinary talent. In 1859, Cournot accompanied the well-known song "Ode to The Virgin" with Bach's "Prelude in C Major" (from the first volume of Bach's "Piano Works of Equal Law"), which had been written 150 years earlier.Here is an adaptation of the violin.It was sublime, melodious, and in perfect harmony with the accompaniment.Only a musician like Gounod, with great musical genius and sincere religious faith, who has carefully explored the soul of Bach's music can create music full of religious beauty.The original is a soprano with a wide vocal range, which USES the Catholic Madonna liturgy as the lyrics.This piece is considered a masterpiece of cross-generational collaboration among musicians. The music adopts Andante, 4/4 time.At the beginning, the prelude of Bach C major was played gently. The four bars of the broken chord form the tranquil tone of the whole piece.Then comes the main melody. This melody is long and broad, like continuously daydream, full of longing for the future.Lofty feelings, pure atmosphere, with the flow of music and deepening.After the music is repeated over and over, it ends in a rich and harmonious atmosphere. |
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| 田元一岁的时候和妈妈在松花江畔 | |||||||||||||||||||||||
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Today in the
history of music Charles on October 18, 1893, at 6:25 a.m.Gounot died at the age of 75.He had been in a coma for two days but still held the cross in his hand. Charles Francois Gounod (1818-1893) was a French composer, born June 18,1818, in Paris, and died October 18, 1893, in St. Crowe.His father was a painter who finished second in the Rome Grand Prix.His mother is a pianist.Learning music from his mother at an early age, and later under the tutored composer A. Reha, Cournot had developed A high level of musical accomplishment before going to college, as well as studying art. Gounod attended the Paris Conservatory of Music in 1836, from Allevey, E.L.Counterpoint, composition from Lechrer, J.-F., piano from A. Zimmerman.In the second year, he won the Second prize of the Rome Grand Prize and the first prize of the Rome Grand Prize in 1839.In the same year, he went to Rome for further study.On May 1, 1841, his first major work, the Three-part Mass, was performed in Rome.In the autumn of 1842, he left Rome and returned home. He visited Vienna, Berlin and other places along the way, and came into contact with excellent music works and famous people from various countries.In Leipzig, he was warmly received by Mendelssohn F., who played and explained Bach's organ works for him personally.These activities had a profound influence on His later works.After returning to Paris, he worked as a church organist and chorus conductor.In 1852, he became the conductor of the Largest male chorus in Paris, the Chorus of Orfion.In 1858 he went to work at the Lyric Theatre, where he wrote his first successful operatic works, including Faust (1859), which would make him famous.Due to the impact of the Franco-Prussian War, Cournot and his family fled to England in September 1870.Queen Victoria, who loved the royal family for her appreciation of Faust, was once a darling of English musical life.He returned to France in June 1874 and continued to work until his death. Writing career In his early years, Cournot was enthusiastic about religion, and during his time in Rome, he was deeply influenced by the singing of the Sistine Chapel, especially the polyphonic music technique in the works of Palestrina, G.P.DA.Works of this period, almost all religious subjects, one of the premiere on November 22, 1855 "SAN ceci le mass celebration" summed up the style characteristics of this stage: the polyphony of of primitive simplicity style with warm temperament, often with chromatic transferred to modify and expand able to type, rigorous tunes and texture, revealed the rich, flexible in dramatic technique, and USES the solo and orchestra.This is a gorgeous and enthusiastic, but do not lose its sincere, simple style.The work was a reformation of religious music. After leaving the seminary, Gounod turned his attention to opera.His first opera, Sappho, premiered in 1851, was not a success.The second opera, the Cruel Nun, performed in 1852, was an obvious imitation of Meyerbel, G.Grand opera, also failed.He gradually abandoned pomp and pageantry, and established his own simple, soft and sentimental style, which was influenced by the Meyerbel model that had ruled French opera for 30 years. Although Gounod had outstanding talent in both religious music and instrumental music, as well as successful works, he is mainly regarded as an opera composer who is well versed in the art of vocal music and melody, and his representative work is Faust. Faust is a typical lyric opera. The libretteers Babier and Carre only adopt the first stanza of Goethe's original poem and the love tragedy between the heroine Margaret and Faust.In this work, The realistic, rich and varied and natural expression techniques used by Cournot, the superb skills of character-delineating with music, relatively popular tunes in line with the trend of The Times, colorful harmonies and orchestration, dramatic plots and so on, are rarely seen in grand opera.Later, Gounod changed the white to recital and added ballet. It was performed by the Paris Opera In 1869 and has been one of the most popular operas ever since.His famous operas also include Romeo and Juliet, based on Shakespeare's play. Work style Cournot's works give full play to French music's advantages of elegance, clarity, symmetry, simplicity and sincerity, and his artistic views represent the ideals and pursuits of the emerging bourgeoisie.Musically, he was a visionary innovator whose technical abilities were rarely matched by any Other French composer.But his political and aesthetic conservatism, his obsession with religion and his weakness in personality limited his future.His works in his later years show signs of tradition, and the simplicity of those days turns to mediocrity.He was very critical of Bizet, G. Massenet, J., and even Debussy, C. and Tchaikovsky.Later composers had a great influence.In addition to a large number of operas, his works are mostly religious music in various forms, including today's most popular Ave Maria. Today's video: 1. Tian Yuan and his father play "Ave Maria" by Bach cuno; 2.2. Bocelli singing "Ave Maria" by Bach Cuno. |
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| 《Ave Maria（圣母颂）》(Bach、Gounod) Andrea Bocelli | |||||||||||||||||||||||
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