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| 巴蒂斯塔·维奥蒂（Battista Viotti,1755-1824） | |||||||||||||||||||||||
格鲁米欧演奏维奥蒂第22号小提琴协奏曲，Grumiaux plays Viotti Concerto 22 |
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音乐历史上的今天 1798年3月4日，受到嫉妒的音乐家们的陷害，传奇小提琴家乔万尼·巴蒂斯塔·维奥蒂（Giovanni Battista Viotti)因煽动革命罪而被英国驱赶。
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| 巴蒂斯塔·维奥蒂（Battista Viotti） | |||||||||||||||||||||||
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Today in music
history On March 4, 1798, framed by jealous musicians, the legendary violinist Giovanni Battista Viotti was expelled from Britain for sedition. Battista Viotti (1755-1824) was so famous in his lifetime that it is hard to imagine him today.However, as long as we talk about the development of the performing art of violin in the past two hundred years, we have to mention him.Generations of violinists have played his works, and his concertos, in particular, have been a model for composers to write this kind of music.Even Beethoven conceived his immortal concerto and at one point used viotti's twentieth concerto as his guide. Viotti, whose nationality was originally Italian, became the founder of the classical school of the French violin.Very worship to him is his student Harold and about Iraq and clay policy in their co-authored textbook which specially wrote the following few lines for him warmly celebrate word: "this originally belongs to the nature of Musical Instruments, in order to dominate everything and take orders at a conference in music Yu Tiancai needs, because so obedient at the mercy of the great masters and begin to have some who give it very different colour and emotional appeal.It falls on the fingers of corelli, simple and sweet;The sound of the bow made by tautini is harmonic, gentle, and very graceful;Gaviniere made it sweet and pure;Pugnani made it grand and solemn;As for the d foti's hands, it became simply enormous enthusiasm and matchless valour, magnificent great sorrow, in order to express is worthy of his departure rispectable status that full and noble passion, he sent the instrument to the seventh heaven on high, he has make convincing power is just like that from such a place." On May 23, 1753, viotti was born to a blacksmith who played the French horn in the town of caitneto, near cresantino in the region of piedmont.The first teacher of a son's music lesson was his father.At the age of eight, the child's musical talent was discovered.His father went to the market and bought him a violin, and little viotti began to learn the instrument without really teaching him anything.Yes, Giovanniryi, a lyricist who had lived in their town for a year, had taught him lessons and given him some benefit.Viotti was eleven years old.Giovanni has always been considered a great musical hometown, but the fact that they spend so little time together is enough to suggest that he could not have taught viotti much. Viotti left for Turin in 1766.Pavia, who seemed to be a flutist, introduced him to bishop stramboyski.The bishop, interested in the talent of the violinist, was determined to assist him, and, knowing that the marquis DE voguer was seeking a companion for his prince prince DE cestern, who was already eighteen, recommended him to the marquis.In order to make their children successful in the future, noble families were always willing to invite talented young people to live at home.In this way, viotti became a guest in the prince's family.Not only that, he was sent to the famous pugnani to learn the violin.Later prince DE la cestern boasted that it had cost him more than twenty thousand francs to send viotti to learn the piano from puniani."But I don't feel bad about spending it.It is not too high a price to pay to produce such an artist.Viotti's piano skills after the wonderful pugnani temper, constantly improving changes, and finally trained him into a real master.Pugnani, who truly loved his amazing pupil, had just found his training complete when he took him on a tour of Europe himself.Before a long journey abroad;Since 1775, viotti has worked in the band of the Turin royal orchestra.Viotti began his stunts on the stage in Geneva, Bern, dresden and even Petersburg.Concerts by young violinists everywhere have continued with increasing success.So by the time they got to Paris around 1781, there were a lot of people who knew viotti's name.Viotti, who had just arrived in Paris, saw a boiling scene everywhere.The absolute monarchy is in its twilight years.The spread of democracy stirred the minds of all kinds of people in society.Viotti could not remain indifferent to what was happening.The encyclopedic school, and especially the Rousseau school of thought, which he had admired all his life, had taken hold of him. On the eve of the great revolution of 1789, count provansky, the emperor's younger brother, joined in the establishment of a "royal brother's theatre", and hired mardini and viotti as managers.All his life, viotti had always liked to take part in any kind of management activity, but at the end of it, as usual, it made him very sad.The Italian opera troupe he had built was the heart of the new theatre.But the revolution was the impetus for the theatre's downfall."Then, as the terrible current approached me, I really knew what terror was." Viotti probably wanted to keep his feet on the ground and watch until the situation reached a certain stage of clarity.He refused to emigrate, but put on the uniform of the national guard and lived with the theatre.When the theater finally closed in 1791, viotti decided to leave France.On July 21 or 22, 1792, the day before his arrest, he fled from Paris to London.He was warmly received in the British capital.A year later, he had to make a trip to Italy because his mother had died and he had to go back to take care of his younger brother.Viotti did not live in England until 1794. He traveled not only all of Italy, but also Switzerland, Germany, and Flanders. Back in London, he led a very busy show life for two years.It turns out that Johann Peter Salomon (1745-1815), a famous German violinist who lived in England, hosted a regular concert in London at that time. In October 1794, he performed the most interesting concert with the famous double fiddler d 'aragonite.They played a duet by viotti, and d 'aragonite played the part of the double bass that should have belonged to the second violin. Viotti, who lives in London, is once again involved in management activities.He agreed to take part in the administration of the royal opera house, where he was responsible for the management of Italian operas.After Wilhelm kramer resigned as director of the royal theatre, he became his successor. In 1798, a fairly peaceful life suddenly became unbearable.The new dean was the subject of a police indictment because of a conspiracy by his enemies and the fact that he was still in contact with certain French revolutionary leaders.He was ordered to leave Britain within 24 hours. Viotti moved to shanfredez, a town near Hamburg, for about three years.There he redoubled his efforts to compose music, keeping up correspondence with his best girlfriend in England, chennelly, and giving it back to friedrich Wilhelm.He became one of the most famous violinists and educators in the Czech republic. He was also the founder of the Prague school of violin playing. Viotti was given permission to return to London in 1981.But he was forbidden to take part in the musical life of the English capital, and so, following the advice of chennelly, he began to sell wine.This step was so bad that viotti, who could not have done business, was ruined and owed chennelly twenty-four thousand francs. By 1802, viotti had finally returned to music, although he lived in London and occasionally visited Paris. Little was known about how viotti lived in London between 1803 and 1813.Only in 1813 he was actively involved in the establishment of the philharmonic society of London.Sharing this honor with him was Clementi o Unable to cope with his growing financial difficulties, he had to return to Paris in 1819, and with the help of his former patron, count provansky, now renamed emperor Louis xviii. in the French capital, he was appointed director of the Italian opera house.On 13 February 1820, duke belizsky was assassinated in the theatre, and the doors to the opera house were closed.The group that staged the Italian opera moved like a nomad several times, barely making ends meet.After that, the economy did not improve, and viotti's brain became confused.He returned to London in the spring of 1822, exhausted by setbacks.His health deteriorated rapidly.On March 3, 1824, at seven o 'clock in the morning, in Caroline.Death at chennelly's home. Viotti's performance art is worthy of being the peak of the mountains in the world of classical music;He had always been known for his extraordinary nobility, his passion, his vigor, his enthusiasm, and his purity;It is the product of reason's rule over everything, and it is especially strong, inspiring and eloquent.Viotti's voice from the piano has always been very loud and rich, and the slow always grasp the shaking of the fingers, especially highlighted this solemn and resolute playing interest."There was something dignified and exciting in his playing to the extent that even the most experienced artists were embarrassed in his presence, and thus seemed to be ordinary people." Viotti's performance and his creation are exactly in tune in style.He wrote 29 violin concertos with an orchestra and 10 piano concertos;Twelve sonatas for violin and piano.A large number of violin duets, 30 trios for two violins and double bass, 7 string quartets and 6 quartets with folk interest;He also wrote many pieces of music for cello and voice -- nearly 200 pieces in all. Among his posthumous works was the violin concerto, which became the most famous.Viotti's works tend to portray some of the classic heroic image.The character of the music's inner duansuzu is reminiscent of the figure depicted in the paintings of the painter David, and because of this resemblance viotti has become a fellow composer of gosek, kerubini and leuchur.Common people usually tend to have in the first movement performance spirit motivation, because of the grief in the adagio movement good fantasy of enthusiasm, however, in the end the cyclotron came in a form of movement of boiling scenes of the masses, from the suburbs of Paris workers song, for he is gracious interest has the characteristics of these very unusual, so in the midst of all of contemporary creation concerto, they received special attention.In fact, viotti's creative talent is not so great, but he is good at reflecting the spirit of the new era, so his works have an extra layer of music to reflect the importance of history. Today's video: 1. Groomio playing violin concerto no. 22 of viotti; 2. The talented violinist Sena Cio plays the first movement of the 23rd concerto in G major. |
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| 阿瑟·格鲁米欧Arthur Grumiaux（1921－1986） | |||||||||||||||||||||||
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阿瑟·格吕米欧认为，技巧只是一种达到目的的手段，演奏中的音乐性总是他考虑的最重要的东西。作为维厄当、伊萨依和塞扎尔·汤姆森的伟大比利时学派的当然继承人，格吕米欧是我们这个时代最重要的小提琴家之一。他对经典作品的忠实表演，他对现代作品的富有音乐性的演奏，不仅对他同时代的人，而且也对年轻一代的小提琴家们有着巨大的影响。当大家都渴望着能像海菲茨一样地演奏时，我们能找到一位小提琴家，把作曲家对技巧和音乐的要求平衡起来，真是令人耳目一新。 阿瑟·格吕米欧1921年诞生在比利时一个名叫维莱一佩尔万的小村庄里。他是在外祖父的家里长大的。他的外祖父是一位自学的全面的音乐家，也正是他的外祖父引起了他对音乐的兴趣。三岁的时候，人们发现他用两块木头模仿着演奏小提琴。即使是在这种原始的状态下，他的外祖父也发现了他在“运弓”时表现出来的那种节奏感，便给他买了一把四分之一尺寸的小提琴和琴弓，给他上了提琴课和一些基本的乐理知识。格吕米欧很快就掌握了音阶的音符，而且在几天之内，他的外祖父就惊讶地发现他有着绝对的音高概念，他能说出教堂钟声名来。 他那古典的纯净，以及他的风格、发音和音准，与他那浪漫主义的热情得到了平衡；在节奏方面是很流畅的，而同时又非常精致而严谨。没有什么比他的这些演奏特点更适合演奏勃拉姆斯的了。 |
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For Arthur
grumeau, technique was simply a means to an end, and musicality in
performance was always the most important thing in his mind.As the
natural heir of the great Belgian school of vierdang, isay, and cezal
Thomson, grumeau was one of the most important violinists of our
time.His faithful performance of classical works and his musical
performance of modern works had a great influence not only on his
contemporaries but also on the younger generation of violinists.It was
refreshing to find a violinist who balanced the composer's demands for
skill and music when everyone was eager to play like heffetz. Arthur grumeau was born in 1921 in the small Belgian village of vile-pelvan.He was brought up in his grandfather's house.It was his grandfather, a self-taught and well-rounded musician, who inspired his interest in music.When he was three years old, he was found playing a violin with two pieces of wood.Even in this primitive state, his grandfather discovered his sense of rhythm when "handling a bow," bought him a quarter-size violin and a bow, and taught him violin lessons and some basic music theory.Grumeau soon mastered the notes of the scale, and within days his grandfather was surprised to discover that he had an absolute idea of pitch. He could name church bells. His classical purity, as well as his style, pronunciation and intonation, was balanced by his romantic passion;It is very smooth in rhythm, but at the same time very delicate and precise.There is nothing better suited to playing Brahms than these characteristics. |
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| 维奥蒂 G大调第二十三协奏曲 第一乐章 Viotti violin concerto No.23 - Sena Cho | |||||||||||||||||||||||
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Viotti violin concerto No.23 Sena Cho チェロとバイオリン
2012年6月12日发布 May 27th 2012, Ms Danielle Belen’s studio class at Colburn School |
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