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| 海因里希·威廉·恩斯特(Heinrich Wilhelm Ernst 1815－1865) | |||||||||||||||||||||||
薇尔德·弗朗 & 舒伯特-恩斯特《魔王大随想曲》& 小提琴 |
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| Vilde Frang:Ernst-Schubert's "Der Erlkönig" | |||||||||||||||||||||||
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https://www.youtube.com/watch?v=R3h9K4gR2LE 舒伯特-恩斯特《魔王大随想曲》 Vilde Frang – Ernst Grand Caprice (after Schubert's Der Erlkönig) 演奏：薇尔德·弗朗（Vilde Frang） Warner Classics 2019年11月29日发布 |
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小提琴】Hilary Hahn _ Ernst - Der Erlkönig - 魔王 https://www.youtube.com/watch?v=fgWHrYC4LEs&t=327s Hilary Hahn演奏 |
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音乐历史上的今天
1815年5月6日，恩斯特诞生在摩拉维亚犹太家庭中。
由于年代久远，恩斯特诞生日有四个版本，我们采用了今天(5月6日）。 |
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| 海因里希·威廉·恩斯特(Heinrich Wilhelm Ernst） | |||||||||||||||||||||||
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Today in the
history of music On May 6, 1815, ernst was born into a Moravian jewish family. Heinrich Wilhelm Ernst was a Moravian jewish violinist, viola player and composer.Born on May 6, 1815, in brno;He is widely regarded as the greatest violinist and one of paganini's greatest successors. Heinrich.After listening to paganini in Paris, William ernst was fascinated by the master.This is Joseph.Bohm's pupil, at sixteen, was already touring as a mature performer.He met berio in Paris and studied with him for six years.By watching paganini play, ernst learned many of paganini's techniques, such as a long string of fast notes played with a continuous bow, overtones, and left hand plucking.Berlioz said: "his technique was very charming, and he had a nice melody, and he played with such ease...It's like an acrobat playing with diamonds." Ernst, with his slender frame, high cheekbones, long black hair and beard, looks like paganini on stage, but his personality is completely different from paganini's.Berlioz said he was "the most pleasant, humorous man I have ever known...He was a thorough artist, and everything he played was very deep and expressive, but he never lost sight of the technique and the rigor of the music.Today ernst is considered primarily a composer.Leopold ORR thought: "his work was written for the performer...His expressive Elegie, his adaptation of schubert's difficult the devil and his fantasia of otello are compulsory pieces for all violinists." Because of its age, there are four versions of ernst's birthday, and we use today. Today's video: 1. Willard frand playing schubert-ernst's "the devil's big fantasia"; 2.2. Mijimori plays variations on ernst's last summer rose. |
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| 海因里希·威廉·恩斯特(Heinrich Wilhelm Ernst) | |||||||||||||||||||||||
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恩斯特是十九世纪所有小提琴家中最有表现力和技术天赋的一位。他成功地劝舒曼走上音乐的职业道路，挽救了年轻时的约阿希姆的事业。他与门德尔松、肖邦、李斯特、瓦格纳、阿尔坎和克拉拉·舒曼一起演出，并与柏辽兹在意大利为《哈罗德》进行了四次开创性的演出。他发展了几种新的小提琴技巧——尤其是在左手区——有拨奏和人工和声。他是第一位重要的犹太巡回小提琴演奏家;无数其他形式和模式。他创作了十九世纪最受欢迎的两首曲子——《威尼斯狂欢节的滑稽变奏曲》和《挽歌》——以及另外两首影响更深远的曲子:六首复调乐曲，直接进入伊萨耶的《为紫罗兰色调》的奏鸣曲;这首F小调协奏曲对李斯特的B小调钢琴奏鸣曲产生了深远的影响，在20世纪上半叶，埃涅斯库、斯基盖蒂、海菲兹、米尔斯坦、梅纽因和斯特恩的曲目中仍有它的一席之地。 最后，恩斯特是十九世纪早期的小提琴家，他为使贝多芬晚期的四重奏广为人知和受到赞赏做出了最大的贡献。在英国尤其如此，在19世纪40年代和50年代，他在贝多芬四重奏协会、音乐联盟和曼彻斯特古典室内乐音乐会中担任了许多演出的指挥。 恩斯特复兴 尽管恩斯特取得了上述成就，但在1914年至1989年间，他和他的音乐在很大程度上从人们的视野中消失了。没有关于他的书或学术文章发表;也许他的四部作品仍在印刷;他的作品被录制了大约8次——通常是非常晦涩的——录音。关于他生平和作品的最新研究成果中，唯一重要的一篇是简·佩卡(Jan Pecka) 1958年的硕士论文《海因里希·威廉·恩斯特》(Heinrich Wilhelm Ernst)，但这篇论文很难用，因为它是用捷克语写的，没有被翻译，而且仅限于该机构(J.E.)使用布尔诺Purkyne大学)。 在1990,有迹象表明恩斯特在小提琴的兴趣日渐浓厚,具有里程碑意义的录音由Sherban卢普,Ingolf头巾,Gidon克雷默,马修·Trusler Leila Josefowicz和瓦迪姆列宾,风扇Elun提交一个优秀的博士论文——海因里希·威廉·恩斯特的生活和作品(1814 - 1865)强调他作为小提琴家和作曲家的——1993年康奈尔大学音乐系。 21世纪的第一个十年见证了这种复兴的步伐加快。录音太多，数不过来;最终，有两本书问世，让学者和演奏家得以欣赏恩斯特在19世纪音乐生活中的地位:扬·佩卡的《恩斯特:帕格尼尼·z·布尔纳》(Brno: Archiv mesta Brna, 2007)和M.W.恩斯特的《恩斯特:帕格尼尼·z·布尔纳》恩斯特:小提琴演奏家(阿尔德肖特:阿什盖特，2008) |
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| 海因里希·威廉·恩斯特(Heinrich Wilhelm Ernst) | |||||||||||||||||||||||
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Besides being one of the most expressive and
technically gifted of all nineteenth-century violinists, there
are several other reasons for thinking Ernst important. He
successfully advised Schumann to take up music professionally,
and saved the career of the young Joachim. He performed with
Mendelssohn, Chopin, Liszt, Wagner, Alkan and Clara Schumann,
and gave four pioneering performances of Harold in Italy with
Berlioz. He developed several new violin techniques –
particularly in the area of left-had pizzicato and artificial
harmonics. He was the first Jewish touring violin virtuoso of
any importance; the form and pattern for countless others. He
composed two of the nineteenth century’s best loved pieces – the
burlesque variations on the Carnival of Venice, and the Elegy –
and two other pieces of more lasting consequence: the Six
Polyphonic Studies which lead directly into Ysaÿe’s Sonates pour
violon seul; and the F# minor Concerto that was a profound
influence on Liszt’s B minor piano sonata, and still in the
repertoire of Enescu, Szigeti, Heifetz, Milstein, Menuhin and
Stern in the first half of the twentieth century. Finally, Ernst was the early nineteenth-century violinist who did most to make Beethoven’s late quartets widely known and appreciated. This was especially true in England where he led many performances at the Beethoven Quartet Society, the Musical Union and the Manchester Classical Chamber Concerts in the 1840’s and ‘50’s. It is a measure of Ernst’s importance that, in the 1860’s, Hallé, Piatti, Joachim, Brahms and Wieniawski all played – often several times – at benefit concerts designed to raise money for their terminally ill colleague. The Ernst Revival In spite of the achievements listed above, Ernst and his music largely disappeared from view between 1914 and 1989. No book or academic article about him was published; perhaps four of his works remained in print; about eight – often very obscure – recordings were made of his works. The only substantial piece of new research on his life and works was Jan Pecka’s MA thesis ‘Heinrich Wilhelm Ernst’ from 1958, but this was difficult to use since it is written in Czech, has not been translated, and is confined to its institution (the J.E.Purkyne University, Brno). In the 1990, there are signs of growing interest in Ernst amongst violinists – with landmark recordings by Sherban Lupu, Ingolf Turban, Gidon Kremer, Matthew Trusler, Leila Josefowicz and Vadim Repin – and Fan Elun submitted an excellent Ph.D thesis – ‘The Life and Works of Heinrich Wilhelm Ernst (1814-1865) with Emphasis on his reception as Violinist and Composer’ – to the Cornell Music Department in 1993. The first decade of the twenty-first century saw this revival gain pace. There were too many recordings to count easily; and two books were published which at last allowed academics and performers to appreciate Ernst’s place in nineteenth-century musical life: Jan Pecka’s Heinrich Wilhelm Ernst: Paganini z Brna (Brno: Archiv mesta Brna, 2007) [Hereafter ‘Pecka’] and M.W.Rowe’s Heinrich Wilhelm Ernst: Virtuoso Violinist (Aldershot: Ashgate, 2008) |
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| 薇尔德·弗朗（Vilde Frang） | |||||||||||||||||||||||
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她就是小提琴演奏家——薇尔德·弗朗（Vilde
Frang）。此所谓上帝给你打开一扇门，同时也会帮你打开多扇窗，这位被美神眷顾着的女神，也拥有同样令人叹服的小提琴演奏天赋。10岁时，她以独奏家的身份与挪威广播管弦乐团（Norwegian
Radio
Orchestra）合作音乐会；千禧之年，12岁时的薇尔德·弗朗遇到了自己音乐生涯中的“伯乐”——“小提琴女王”安妮-索菲·穆特（Anne-Sophie
Mutter）。在聆听了弗朗的演奏后，穆特对她的才华大加赞赏，并以穆特基金会的名义支持和赞助弗朗的学习，同时帮助她开展演奏事业。 在一年之后，时任挪威最好的管弦乐团——奥斯陆爱乐乐团音乐总监的指挥大师马里斯·杨松斯（Mariss Jansons）也邀请弗朗参加乐团乐季音乐会的演出。 这位来自挪威的“冰美人”，曾用小提琴征服了柏林爱乐。 2016年，柏林爱乐乐团一年一度的“欧洲圣城巡演音乐会”在来到了挪威小镇勒罗斯（Rios），当时恰逢这个矿产资源丰富的小镇建成370周年，指挥家西蒙·拉特（Simon Rattle）邀请“挪威的骄傲”薇尔德·弗朗，与乐团共同奏响了经典的门德尔松《E小调小提琴协奏曲》。薇尔德·弗朗的一袭绿色长裙与整个礼堂清新典雅的风格搭配的恰到好处，音乐响起，令人心之神往。 近年来，薇尔德·弗朗的名字频繁出现在国际乐坛上，曾与包括阿什肯纳齐、吉尔顿·克莱默、阿格里奇、长野健在内的众多名家合作。2008年，弗朗签约著名的EMI唱片公司，录制的多张协奏曲专辑屡获大奖，曲目涵盖莫扎特、柴科夫斯基、普罗科菲耶夫等音乐大师的经典名作。在Bachtrack数据库更新的2018年古典音乐的统计情况中，薇尔德·弗朗也因全年演出50场成为年度“最忙小提琴家”之一。 |
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| 薇尔德·弗朗（Vilde Frang） | |||||||||||||||||||||||
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She was the violinist Vilde Frang.God opens a door for you, but
also opens many Windows for you. This goddess, who is blessed by
the god of beauty, has the same amazing talent for playing the
violin.At 10, she performed as a soloist with the Norwegian
Radio Orchestra;At the age of 12, in the year of the millennium,
Willard frang met anne-sophie Mutter, the "queen of the violin"
of her music career.After listening to her play, mutter praised
her talent, supported and sponsored her study in the name of
mutter foundation, and helped her develop her playing career. A year later, Mariss Jansons, the conducting maestro who was then the music director of Norway's best orchestra, the Oslo philharmonic, invited Mr. Fron to perform at the orchestra's season concerts. The ice beauty from Norway used the violin to conquer the Berlin philharmonic. In 2016, the Berlin philharmonic's annual European tour concert "holy city came to a town in Norway, Ross (Rios), was coincided with the small town of rich mineral resources built the 370th anniversary of the conductor Simon's (Simon shadow) invited the pride of the" Norway "val DE franco, together with the orchestra played the classic Mendelssohn's violin concerto in E minor.Veld France's green dress matched the fresh and elegant style of the auditorium, and the music was mesmerizing. In recent years, Wilder fron's name has frequently appeared on the international music scene, having collaborated with many famous artists including ashkenazi, gilton kramer, agritch, and nagano.In 2008, fron signed a contract with the famous EMI record company and has recorded many award-winning concerto albums, including masterpieces by Mozart, Tchaikovsky, prokofiev and other music masters.In the Bachtrack database's updated statistics on classical music in 2018, Wilder frang was also named one of the "busiest violinists" of the year for 50 performances. |
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| 薇尔德·弗朗（Vilde Frang） | |||||||||||||||||||||||
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| 美岛莉(Midori) | |||||||||||||||||||||||
| 美岛莉(Midori)被称作是日本的国宝级小提琴家。这位清纯可爱的小女孩一出道就博得了许多人的赞赏。她是名师迪蕾的学生，并且虚心向世界上许多高明的弦乐家请教。美岛莉的演奏反映了计算机最可宝贵的两个特点：快速、准确，外加纯洁天真的感情。她扎实稳重、循序渐进的作风，代表了日本人最崇尚的敬业精神。 | |||||||||||||||||||||||
| Midori has been called the national treasure of Japan as a violinist.The innocent and lovely little girl won the admiration of many people as soon as she started her career.She was the pupil of the great teacher d 'leh, and humbly consulted many of the world's great stringers.Mijima's performance reflects two of the most valuable qualities of a computer: speed, accuracy, and innocence.Her steady, steady and progressive style represents the Japanese people's most respected professional spirit. | |||||||||||||||||||||||
| 美岛丽演奏《最后的夏日玫瑰》的变奏曲 | |||||||||||||||||||||||
Midori- Variations on The Last Rose of Summer by Ernst |
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