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| 保罗·欣德米特（Paul Hindemith 1895- 1963 ) | |||||||||||||||||||||||
阿拉贝拉·史丹巴克演奏欣德米特小提琴协奏曲 |
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Arabella stambach plays the hindemeter violin concerto |
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音乐历史上的今天
1940年4月30日，保罗·欣德米特（Paul
Hindemith)在耶鲁大学得到教职，他的作品在德国因为“堕落”和“文化布尔什维克主义”而遭禁。
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1915年冬天，亨德米斯成为他的老师阿道夫·莱布纳的四重奏乐队的一员。他先是拉第二小提琴，然后根据自己的要求改拉中提琴。大提琴手是莫里茨·弗兰克，他曾在霍奇音乐学院教过欣德米斯的弟弟鲁道夫。这个四重奏乐团通常在法兰克福和邻近的城镇举行音乐会，在该地区获得了一定的声望。 在1919年12月的《Kolnische Zeitung》中，人们可以看到:“在音乐协会，法兰克福莱布纳四重奏(A. Rebner Quartet, H. Kraus, P. Hindemith, M. Frank)的绅士们是受欢迎的客人……”莱布纳四重奏在晚期的海顿四重奏(作品76，降b大调)和贝多芬的f小调四重奏(作品95…)中表现得尤为明显。1921年，“四重奏”乐队到荷兰和西班牙进行了两次大规模的巡回演出。 在莱布纳四重奏的节目中，只有很少的当代作品，包括巴托克的弦乐四重奏，尚伯格的弦乐四重奏，Op. 7和欣德米斯的第一弦乐四重奏，Op. 10。他们更喜欢演奏海顿的作品，尤其是贝多芬的作品，而莱布纳对贝多芬特别着迷。追求新领域的年轻音乐家Hindemith，很快就厌倦了这种传统的节目:“这种音乐必须被禁止五年!”他精力充沛地问道:“贝多芬对我来说太主观了。”1921年秋，亨德米斯在西班牙巡回演出时，节目编排上的分歧最终导致了他与莱布纳之间的争吵。 |
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| 一身戎装拿着小提琴的欣德米特（Paul Hindemith） | |||||||||||||||||||||||
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Today In
the winter of 1915 Hindemith became a member of the quartet of
his teacher, Adolf Rebner. He first played second violin and
then changed - at his own request - to the viola. The cellist
was Maurits Frank, who had taught Hindemith's brother Rudolf at
Hoch's Conservatory. The Quartet usually performed its concerts
in Frankfurt and neighbouring towns, acquiring a certain
prestige in the region. In the «Kölnische Zeitung» of December 1919 one could read: «At the Musical Society, the gentlemen of the Frankfurt Rebner Quartet (A. Rebner, H. Kraus, P. Hindemith, M. Frank) were welcome guests [...]. The splendid musical and sonorous merits of the Rebner Quartet were particularly apparent in a late Haydn Quartet, Op. 76 in B-flat major and in Beethoven's F-minor Quartet, Op. 95 [...].» Two extensive tours took the Quartet to Holland and Spain in 1921. There were only rarely contemporary compositions on the programmes of the Rebner Quartet, these few including string quartets by Bartok, Schönberg's String Quartet, Op. 7 and Hindemith's 1st String Quartet, Op. 10. They preferred to play Haydn and especially Beethoven, to whom Rebner was particularly devoted. Hindemith, the young musician in pursuit of new frontiers, soon tired of such conventional programmes: «This music would have to be prohibited for five years!» he energetically demanded, «Beethoven is too subjective for me.» Disagreements over programming finally led to a row with Rebner during the Spanish tour in autumn 1921, and Hindemith left the Quartet. |
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| 保罗·欣德米特（Paul Hindemith ) | |||||||||||||||||||||||
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Today in the
history of music On April 30, 1940, Paul Hindemith, whose work was banned in Germany for "decadence" and "cultural Bolshevism," took up a faculty position at Yale. German composer, conductor and viola player Paul hindemeter was born on November 6, 1895, in dequanhano, to a family of handcraft owners.He began formal study of music at the age of nine.At fourteen, he entered the Frankfurt conservatory of music, where he studied composition with a. Mendelssohn and b. sickles.He was a violinist and viola player.In 1915 he was appointed bandmaster of the Frankfurt opera.He was drafted into the army in 1917-18.Since 1921, the creation of the first works, composer and viola known in Germany.In l923, he was promoted to conductor, and at the same time founded the amal quartet, which introduced modern music and served as a viola player.Since 1927, he has been the senior class professor of composition at the Berlin national conservatory of music.When the nazis were in power, they resigned because they were dissatisfied with the regime.Between 1935 and 1937, he was hired by the Turkish government to Ankara to organize Turkish musical life and improve Turkish music.During the Nazi rule, his works were banned in Germany.He traveled to the United States three times from 1937 to 1939, and settled in the United States in April 1940. Later, he became an American citizen and taught at Yale university.There were also some Tours in the United States.He returned to his homeland in 1947.In 1951 he received the Bach prize from the city of hansa.L951 to Switzerland, was appointed a full professor of the university of Zurich.After 1956, he focused on conducting bands.He died at mein-in-frankfort, Frankfurt am main, on 28 February 1963. Hindmeet has been regarded as one of the important representatives of modern music since his youth.Beginning in the 1920s, the talented composer became so well known in Germany that he soon became the man of the European music scene.His teachers were all late romantic composers, but he was deeply influenced by the music of Debussy and reggel, which was evident in his early and late works.With the music innovation after the first world war, hindmeet's creation has a strong neoclassical tendency.He tried to mix Bach's or older musical features with modern styles to resist the late romantic impulses that were still traditional at the turn of the 20th century.Although he deviated from the traditional major and minor tones, he did not tend to be atonal and 12-tone system, but systematically developed a logical new counterpoint method, advocating "linear counterpoint".This new counterpoint method is characterized by the emphasis on the texture of counterpoint, the emphasis on the independent interweaving of melody, and the restoration of diatonic scale without being restricted by harmony.In this counterpoint the harmony ceases to function, and the result is the coincidence of one note to another, that is to say, it is not harmony at all, and neither harmony nor dissonance is considered.Mr. Hindemith used these techniques in his four concertos and piano etudes, among others, and later in his book 'the technique of composition' (Unterweisungin tonsatz).He also praised "practical music", declaring that "the amateur is always in the mind" when composing, and emphasizing the practical purpose of music. He composed many chamber music works, such as the violin for gulls concerto for violin and piano, sonata for violin and piano, sonata for viola, sonata for cello, sonata for cello, sonata for cello and piano, string quartet;Concerto for piano, violin, viola and cello, as well as several operas, such as the painter Matisse (a symphony with three movements of the same name), harmony of the world, etc.Orchestral "variations on weber theme", "theme and four variations", "symphony serenade", "symphony in E flat major", and dance dramas "noble phantom", "st. Francis", etc.An oratorio, "eternity";A requiem for "those we love";A collection of songs "the life of maria" and a few piano songs.A set of twelve fugue pieces for the piano, linked by free lyrical and dance forms with prelude and epilogue, is a typical dissonant "modernist" work, which USES a lot of sophisticated techniques.His works are full of the vitality of the spirit of adventure, full of humor, varied techniques, extraordinary excellence, showing profound, exquisite skills, into their own strong passion.His musical creativity is reminiscent of Bach, Handel, and reiger;He can play not only the violin and viola, but also the piano, clarinet and saxophone, and has a certain degree of proficiency in almost all band instruments.In addition, he has published a number of theoretical books, such as "the technique of composition" (volume 2), "tradition and acoustics" and other works.In his later works (including revisions of his earlier ones), it was clear that he had distanced himself from the most modern musical tendencies, and that his orchestra had turned to Haydn, bruckner, and reggae.His outspoken opposition to the schoenberg and webborn schools made him a bit of an old-fashioned, anachronistic figure in his later years. But there is no doubt that since the 1920s, a group of musicians represented by hindmeet has formed an influential genre in western modern music -- neoclassicism, and hindmeet himself has become a veritable neoclassical composer.It was hindemeter who made the neoclassical style possible within the confines of German music, but he was self-contained, less of stravinsky's capricious nature and more serious and sober. Video of the day: 1. Arabella stambach playing the hindemeter violin concerto; 2.2. Julia fisher performs the third movement of Paul hindmeter's violin sonata in G minor. |
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| 大卫·奥伊斯特拉赫演奏欣德米特小提琴协奏曲的唱片封面 | |||||||||||||||||||||||
奥伊斯特拉赫 欣德米特小提琴协奏曲 Oistrakh-Violin, Hindemith Violin Concerto |
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| Oistrakh-Violin, Hindemith Violin Concerto Massig Bewegte Halbe Langsam Lebhaft | |||||||||||||||||||||||
| 保罗·欣德米特小提琴协奏曲介绍 | |||||||||||||||||||||||
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当代或任何一个时代的作曲家中几乎没有几位能像保罗·欣德米特那样拥有结实而实在的音乐基础。在他十三岁的时候他已经是一位很有造诣的小提琴家了。作为演奏家他有着广泛的经历，曾经在舞厅，剧院、电影院（为当时的无声电影配音）拉小提琴，后来在法兰克福歌剧院的乐队任提琴手，并被提升为乐队首席。之后他放弃了小提琴，改为中提琴演奏，并因此而成为著名的中提琴演奏家。他在爱玛尔（Amar）四重奏团担任中提琴手多年，并且还是欣德米特三重奏团的创始人，他自己担任中提琴，另外两位成员是小提琴家西蒙·戈尔德贝格(Szymon
Golctbvrg)和已故大提琴家马努埃尔·弗尔曼(Em anuel Feuermann)。 但是更确切地说，欣德米特是一位非常全面的音乐家，因为他认定音乐要通过实践的手段来表达，所以他仔细地研究了所有重要乐器的特点、性能和潜力。一位评论家甚至夸张地这样说： “即使在紧急的情况下，他演奏起自己的作最也绝不会感到不自在。” 欣德米特受到勃拉姆斯(Brahms)和雷格尔(Reger)传统音乐的培育。他早期创作的一些作品，其色彩受到瓦格纳（Vagner）和理查德·施特劳斯(Richard．Strauss)以及法国印象派作家的影响。后来，为了取得表达方式的更大的自由，他在一个短时期内采纳了勋伯格（Arnold SchOnberg）新的学说。可是欣德米特是一位非常实际的音乐家，所以他一直坚持将他的音乐与广大的听众紧密结合。结果，他终于发展了一种讲究实际效果的音乐型式妻他称它为“实用音乐（Gebrauchs musik）——英国的音乐理论家埃里克·布洛姆(Eric Blom)将它译成“日常的音乐” 近年来，欣德米特的音乐带有更园润，柔和的性质，它已经使他的音乐与普通的听众更为接近。他也没有忽视标准的音乐形式——尤其是协奏曲，当他在创作这种乐曲时，一般已经在思想中清楚地肯定了一次音乐会的情景，或者一位独奏家的形象。 欣德米特创作他的小提琴协奏曲是在1939年，它有三个乐章多分别标明：，激动的中速，二分音符为基础节拍(Massing bewegte Halbe)，缓慢的(Langsam)和充满活力的、快速的（Lenaft）.使用的乐器除独奏小提琴外，还有两支长笛，一支短笛，两支双簧管，两支单簧管和一支低音单簧管、两支大管、四个法国号、两个小号、三个长号、一个大号，定音鼓，低音鼓，小军鼓，钗，三角铁、铃鼓，锣，再加上通常的弦乐各声部。 这部协奏曲首次问世于1940年3月19日，在波士顿交响乐团（Boston Symphony Orchestra）举行的一次音乐会上演出，谢尔盖·库什维茨基(Serge Koussevitzky)担任指挥，乐队的首席理查德。比尔金(Richard Burgin)担任小提琴独奏者。 |
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| 威廉·普利姆罗斯演奏欣德米特中提琴协奏曲唱片封面 | |||||||||||||||||||||||
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There are few
composers of our time, or of any era, like Paul.Hindmeet has a solid and
solid musical foundation.By the time he was thirteen he was already an
accomplished violinist.He had a wide range of experiences as a virtuoso,
playing the violin in dance halls, theatres and cinemas (as the voice of
the silent films of the day), and later as a violinist in the orchestra
of the Frankfurt opera, where he was promoted to the head of the
orchestra.He then gave up the violin to play the viola, for which he
became a famous viola player.He played the viola for many years in the
Amar quartet and was the founder of the Szymon Golctbvrg trio, himself a
viola player, along with the violinist Szymon Golctbvrg and the late
cellist Em anuel Feuermann. But it is more accurate to say that hindmeet was a very thorough musician, because he believed that music should be expressed by means of practice, so he carefully studied the characteristics, performance and potential of all the important instruments.One critic even went so far as to exaggerate: "he never felt uncomfortable playing his work, even in an emergency." Hindmeet was nurtured by the traditional music of Brahms and Reger.Some of his early works were influenced by the colors of Vagner and Richard. Strauss, as well as the French impressionist writers.Later, in order to achieve greater freedom of expression, he adopted Arnold SchOnberg's new doctrine in a short period of time.Hindmeet, however, was a very practical musician, so he insisted on keeping his music close to a large audience.As a result, he eventually developed a practical style of music that he called Gebrauchs musik, which the English musicologist Eric Blom translated into "everyday music." In recent years hindmeet's music has taken on a more mellow and mellow character, and it has brought his music closer to the average listener.Nor did he neglect the standard musical forms-especially the concerto, in which he had clearly identified in his mind the scene of a concert or the image of a soloist. Hindmeter wrote his violin concerto in 1939. It has three movements, most of them marked:, the excited medium, the basis of the half note beat (Massing bewegte Halbe), slow (Langsam) and a dynamic and fast (Lenaft). Use of Musical Instruments in addition to the solo violin, there are two flutes, a piccolo, two oboe, clarinet and two a bass clarinet, two bull, four three two French horn, trumpet, trombone, a large, timpani, bass drum, snare drum, earth, Angle iron, tambourine, gong, plus the usual string of each parts. The concerto was first performed on March 19, 1940, at a concert of the Boston Symphony Orchestra, conducted by Serge Koussevitzky and headed by Richard.Richard Burgin is a violin soloist. |
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| 阿拉贝拉·史丹巴克 （Arabella Steinbacher）在演奏 | |||||||||||||||||||||||
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德日混血女小提琴家阿拉贝拉·史丹巴克
（Arabella Steinbacher）1981年11月14日生于德国慕尼黑。 史丹巴克的母亲是一位留学德国的日本歌唱家，爸爸也是从事歌剧声乐。史丹巴克三岁开始学琴，九岁进入慕尼黑音乐学院。史丹巴克曾跟随多位名师学习，包括当今最杰出的小提琴教师多罗西·迪蕾（Dorothy DeLay）等。她还获得安娜·穆特（AnneMutter）的奖学金。比她年长18岁的穆特对她也非常爱护和支持，还送了她一把前名家用过的琴弓。 史丹巴克成名前主要演奏室乐。一次偶然的机会命运之神眷顾了她。2004年在巴黎一个音乐会上，她临时顶替一位年长同事登台表演，却被惊为天人，自始走上独奏的舞台。 史丹巴克有着德国音乐家那种深遂精算的音乐感，并拥有高雅的气质和大方得体的台风，表情平和，身体语言稳重。 |
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| 阿拉贝拉·史丹巴克 （Arabella Steinbacher） | |||||||||||||||||||||||
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Arabella
Steinbacher, a german-japanese female violinist, was born on November
14, 1981, in Munich, Germany. His mother was a Japanese singer studying in Germany, and his father was an opera singer.Stanbuck started playing the piano at the age of three and entered the Munich conservatory of music at the age of nine.Stambach studied with many teachers, including Dorothy DeLay, one of today's most prominent violin teachers.She also won a scholarship to Anna muutter.Mut, who is 18 years her senior, is also very loving and supportive, and gave her a former master's bow. Stanbuck played mainly chamber music before he became famous.A stroke of fortune favoured her.At a concert in Paris in 2004, when she took the stage in place of an elderly colleague, she was taken by surprise and began solo. Stanbuck has the deep actuarial musical sense of a German musician, and has the elegant temperament and decent typhoon, the expression is calm, the body language is stable. |
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朱莉娅·费舍尔（Julia Fischer）
，1983年生于德国慕尼黑。母亲维埃拉·费舍尔出生于斯洛伐克，1972年移居联邦德国，是钢琴家。父亲弗朗克-迈克尔·费舍尔是数学家，出生于东德，同年移居西德。 费舍尔曾在林肯中心、卡耐基音乐厅等知名场所演奏。曾与众多国际知名的指挥家合作，诸如洛林·马泽尔、克里斯托夫·艾森巴赫、雅科夫·克莱兹伯格、尤里·捷米尔卡诺夫、内维尔·马里纳、大卫·津曼、丹内克·马卡尔、君·麦克尔、鲁本·加扎里安、马雷克·扬诺夫斯基、赫伯特·布隆斯泰特、迈克尔·蒂尔森·托马斯等等。足迹遍布美国，巴西和日本以及绝大多数欧洲国家。 费舍尔的演奏曲目非常广泛，从维瓦尔第到肖斯塔科维奇，从巴赫到潘德列茨基，她甚至还在2008年1月1日以钢琴家的身份弹奏了爱德华·格里格a小调钢琴协奏曲 。 |
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Julia Fischer was
born in Munich, Germany, in 1983.Her mother, vieira fischer, was
born in Slovakia and moved to federal Germany in 1972. She was a
pianist.His father, frank - Michael fischer, was a mathematician
who was born in east Germany and moved to the west in the same
year. Fisher has played at famous venues such as Lincoln Center and Carnegie Hall.Has cooperation with many international famous conductor, such as lorraine lorin maazel, Christopher eschenbach, yakov klein sulzberger, yuri jie mirka panov, neville marriner, David mann, tianjin, Dan's markal, prince Michael, reuben garza, marek young's base, Herbert bloomberg Tate, Michael tilson Thomas, etc.It has spread to the United States, Brazil and Japan and most European countries. Fischer's repertoire ranges from vivaldi to shostakovich, Bach to penderetsky, and she even played the edouard grieg piano concerto in a minor as a pianist on Jan. 1, 2008. |
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| 朱莉娅·费舍尔(Julia Fischer)演奏——保罗·欣德米特《G小调小提琴奏鸣曲》第三乐章 | |||||||||||||||||||||||
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