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莫扎特之旅－文化交流－音乐历史上的今天


	田润德编译文/图 2020-06-25 20:36

乔治·菲利浦·泰勒曼(Georg Philipp Telemann 1681 – 1767）

米歇尔·奥克莱尔演奏泰勒曼、舒曼、德布西和圣桑作品

Michèle Auclair plays Telemann, Schumann, Debussy and Saint-Saëns

乔治·菲利浦·泰勒曼
——G大调组曲选段
罗伯特·舒曼
童话图片, Op. 113，第一季
德彪西一样
- G小调小提琴奏鸣曲，L. 140
米歇尔·奥克莱尔小提琴
克里斯蒂安·伊瓦尔迪，钢琴
法国广播电视公司，1965年
卡米尔·圣桑
B小调第三小提琴协奏曲，作品61
米歇尔•奥克莱尔;小提琴
康斯坦丁·西尔维斯特里,指挥
在大礼堂直播，法国广播电视交响乐团，1967年

Georg Philipp Telemann
- Excerpts from Suite in G major
Robert Schumann
- Märchenbilder, Op. 113 1st mov
Claude Debussy
- Violin Sonata in G minor, L. 140
Michèle Auclair, violin
Christian Ivaldi, piano
TV broadcast Recording of ORTF, 1965

Camille Saint-Saëns
- Violin Concerto No. 3 in B minor, Op. 61
Michèle Auclair, violin
Constantin Silvestri, conductor
Orchestre Philharmonique de l'ORTF
Live at the Grand Auditorium, Maison de la Radio, France in 1967

音乐历史上的今天

1767年6月25日，乔治·菲利浦·泰勒曼（Georg Philipp Telemann)在汉堡去世，终年86岁。留下一千多首未归类的康塔塔、120首协奏曲和40部歌剧。
乔治·菲利浦·泰勒曼(Georg Philipp Telemann 1681 – 1767)，1681年3月14日生于马格德堡﹐1767年6月25日卒于汉堡。出身于牧师家庭。10岁学小提琴﹑长笛与键盘乐器。12岁时﹐因其母没收其所有乐器﹐遂倾全力攻读名家总谱﹐从中分析曲式﹑和声﹐领悟作曲原理﹐并试行作曲。1700年入莱比锡大学读法律﹑文学﹐偶被同学发现其作品﹐试奏公演後博得好评。莱比锡市长惊为天才﹐命其每两周作一部清唱剧付诸演出﹐由此名声大噪。他在大学中主持“音乐之友社”﹐课馀演奏﹐开欧洲各大学音乐风气之先。1702年被莱比锡歌剧院聘为音乐指导﹐1704年聘为新教堂管风琴手﹐并上演了他的圣乐清唱剧﹑室内乐与歌剧等。其中最成功的为歌剧《坚忍的苏格拉底》。1721年就任汉堡大教堂乐长。次年莱比锡圣托马斯大教堂又争聘其为乐长﹐他因热爱汉堡人民，便将此职位让给挚友巴赫﹐J.S.。1737年後漫游巴黎﹑柏林等地﹐采风作曲。
泰勒曼被公认为18世纪中叶的权威作曲家之一。他的曲调流畅甘美﹐结构清晰明快﹐一扫繁琐晦涩之风﹐因而被认为是连结巴洛克後期与新兴的古典乐派之间的桥梁及重要过渡人物。他又是音乐理论的权威和有影响力的音乐教育家。他曾组织各种形式的音乐会﹐使教会音乐也能在世俗音乐会中演出﹐打破了宗教音乐不出教堂的界限﹐从而普及了音乐。
泰勒曼毕生学习探索不懈﹐因此他的作品风格也屡经改变。他的初期作品受法﹑义影响较深﹐与科雷利﹐A.学派相近﹔後期作品则被认为近似斯塔米茨﹐J.﹐而在形式﹑配器﹑和声等方面﹐又可以找到巴赫的许多痕迹。在歌剧方面﹐当时的朗诵调崇尚意大利朗诵式﹐即用朗诵语调由演员即兴念出。当时法国的拉莫﹐J.-P.已首先创用乐谱规定其音高﹑节奏﹐写出按谱唱出的咏叹式的朗诵调﹐但不为时人所重视。经泰勒曼努力倡导采用﹐才为人们所接受。此後意大利歌剧也逐渐摒弃即兴朗诵式﹐改用咏叹式的朗诵调﹐并通行於所有大歌剧中﹐成为与轻歌剧体裁相区别的重要标志之一。
泰勒曼是靠自学获得杰出成就的作曲家﹐这在音乐史上是罕见的。他是一位多产作家。1739年﹐根据他自己统计﹐曾作过序曲﹑三重奏﹑协奏曲﹑哈普西科德曲与合唱曲等600馀首﹐歌剧﹑清唱剧各40馀部﹐各种礼仪用曲100馀部以及给婚丧嫁娶用的小曲3000首（确实是3000首）。此後他又活了28年﹐作品总数无法确定﹐至今仍在继续发掘﹑出版中。自20世纪40年代以来﹐他的乐谱出版的有200馀种﹐研究他的传记与作品的专著有十馀种﹔他的作品风靡欧美﹐成为音乐会中经常上演的曲目。泰勒曼与巴赫﹑亨德尔﹐G.F.处於同一时代﹐珠玉在前﹔莫扎特﹐W.A.﹑贝多芬﹐L.van又接踵而起﹐盛名之下﹐泰勒曼遂黯然失色。至20世纪中叶起﹐始逐渐为人所重视﹐评价日高﹐有人将他与巴赫并列。

今日视频：1、米歇尔·奥克莱尔演奏泰勒曼、舒曼、德布西和圣桑作品；2、泰勒曼：G大调巴黎四重奏TWV43:G4《前奏曲》；3、蒂勒曼 G 大调四小提琴协奏曲 TWV 40:201 （柯蒂斯音乐学院）。 ——莫扎特之旅

乔治·菲利浦·泰勒曼(Georg Philipp Telemann 1681 – 1767)

Today in the history of music
May 25, 1965, "zenakis' music makes stockhausen sound like an old master."(the New York herald Tribune on the first zenakis festival in Paris)
On May 25, 1984, the second part of stockhausen's opera series "Licbt", "Saturday" (Samstag), was performed in milan.
Karlheinz stockhausen1928 -- 2007 karlheinz stockhausen1928 (karlheinz stockhausen1928 -- 2007) was born in murratt, near cologne, 1928, the son of a village teacher.He began to learn piano, violin and oboe at the age of five.He worked as a farmer in his hometown in 1945, studied piano and theory at the cologne conservatory of music from 1947 to 1951, and studied at the university of cologne in 1952.He studied composition with frank Martin in 1950 and began his own analysis of schoenberg, bartok, and webern.In 1951 he wrote the cross game for piano, oboe, bass clarinet, and percussion.Some of his works are appreciated by a wide audience, such as "song of the youth" and "intonation".In addition, he published several volumes of theoretical works.
Stockhausen was not only a controversial composer of the 20th century, but also had a huge influence on the whole field of serious post-war music writing.
Stockhausen was born near cologne, Germany, the son of a teacher and an amateur pianist and singer.In 1945, when he was 14 or 5 years old, stockhausen's worldview and artistic outlook were deeply influenced by his experience of the Nazi dictatorship and the destruction of cultural ideology.
By the winter of 1949-50, stockhausen's studies had reached the point where he could analyze and understand the likes of hindemeter and stravinsky
The extent of the work of the great masters of modern music, but he was encouraged when he discovered schoenberg, just in time for the anti-tonality of the cologne school of music, when he transferred to the composition class of frank Martin, and this encouragement led him to complete an essay on bartok.The breakthrough opened the way to a summer workshop in darmstadt in 1951, where he met the young composer karel guevelvelz.At the time, guevelvelz was fascinated by the theory that messi had just introduced, which interpreted music as a rational process that constructed all the components of the work, such as the notes (high pitch, high intensity, timbre, duration) separately;Instead of subjecting them to a theme, as they used to be, they were brought together in a new way, even mathematically.
In the 1960s, stockhausen became fascinated by the interpretation of structure and process, not the exact details of the finished product, and there were fewer and fewer fixed things in his work.The magic of the process and the spark of inspiration can be found in "seven days from now" (1968), often performed by stockhausen and his ensemble (formed in 1964 for the performance of "microphone I").This work has only some marks indicating the direction of change and the overall structure, and all the details of the music are left to the performer.Another of stockhausen's passions in the 1960s was the new fusion of music from all over the world, culminating in "ode" (1968), a two-hour electronic musical composition that incorporated a specific musical style, including the national anthem from all over the world.The work immediately caused controversy. People thought that stockhausen did not "write" the work, but for stockhausen, that in itself was the most important thing.He believed that the combination of these unrelated elements and processes would be the main direction of his new creation and his intellectual belief.His work intonation (in which six voices sing different sequences of phonemes on a static chord) explores the color and nature of combined vocal patterns and timbre.The work was mercilessly mocked at some concerts, with listeners even mimicking meows to vent their prejudice against stockhausen.
1. Three orchestras from the Paris conservatory of music play stockhausen's orchestral works;2. Patricia and gabetta play zenakis's duet for violin and cello.-- a trip to Mozart

乔治·菲利浦·泰勒曼(Georg Philipp Telemann ）

多产的泰勒曼

泰勒曼是个极为多产的作曲家，他创作音乐的速度令同代作曲家们羡慕不已。他擅长多种创作风格，甚至从东欧的乡村音乐中汲取营养。他最著名的作品集，即三套室内乐组曲《宴席音乐》（1733年）（包括管弦乐组曲、协奏曲和室内乐作品）显示出他对意大利和法国风格的精通。这些作品，从表面上看，就像就餐时使用的背景音乐，但实际上它们适合于任何一个地方使用。每一套组曲都有一酋法国风格的序曲，一首意大利的协奏曲。其中的四重奏作品很少采用巴洛克风格。在他一生的创作中，其教堂音乐最受人称赞：他创作了l700多首宗教康塔塔、多首受难曲，并在暮年时开始创作清唱剧，这可能是受到了朋友亨德尔的影响。他的世俗作品种类也很多，有100多首意大利风格的序曲和近50首为各种独奏乐器创作的协奏曲，这些作品都闪现出他的个人风格——愉快、机灵和娓娓而谈。他创作的歌剧中以喜歌剧最为成功，尤其是《药草》（一译《平皮诺内》（1725年）。泰勒曼死后，古典音乐时期伟大的作曲家们使他黯然失色。l9世纪时，他的声望开始回落，只是在近5O年来他才重又恢复了作为巴洛克时期一位重要作曲家的应有地位。

乔治·菲利浦·泰勒曼(Georg Philipp Telemann）的乐谱手稿

The Georg Philipp Telemann's electronic music

米歇尔·奥克莱尔（Michèle Auclair 1924-2005）

法国小提琴家米歇尔·奥克莱尔(出生于1924年11月16日)曾在巴黎音乐学院学习，师从法国的Jules Boucherit和Jacques Thibaud，以及俄国的Boris Kamensky。他们都影响了她天赋的发展，解释了她的风格与美丽的技术和最重要的是一种自然的激情。1943年，她赢得了雅克·蒂博德·马格丽特·龙“Jacques Thibaud Marguerite Long大奖赛”;1945年，她是日内瓦国际比赛“Concours International de Geneve”的冠军。
小提琴家米歇尔·奥克莱尔。由于左手的故障，遗憾的是在30多岁的时候从现役隐退，所以没有录音。该录音是留在迪斯科菲尔·弗朗西斯的为数不多的演奏会录音，通常用钢琴或张伯罗演奏时，玛丽·克莱尔·艾伦用风琴演奏也是很珍贵的。不让人感觉到奥克莱尔的年龄，沉稳热情高雅的小提琴，用准确的配准支撑的艾伦的风琴融为一体，演奏出了有魅力的巴赫的著名演奏风格。

米歇尔·奥克莱尔（Michèle Auclair

French violinist Michel Eau Claire (born 16 November 1924) studied at the Paris Conservatory under Jules Boucherit and Jacques Thibaud of France and Boris Kamensky of Russia.They both influenced the development of her talents, explaining her style with beautiful technique and above all a natural passion.In 1943, she won The Jacques Thibaud Marguerite Long "Grand Prix";In 1945, she was the winner of Concours International DE Geneve in Geneva.
Michelle Auclair, violinist.Due to the malfunction of the left hand, I retired from active service in my 30s, so there was no recording.The recording was one of the few recordings left at Disco Phil Francis, and Mary Claire Allen played on the organ, often on the piano or chamberlain.It does not make people feel the age of Auclair. The composed, warm and elegant violin is integrated with Allen's organ with accurate registration and support. It plays the famous playing style of Bach with charm.

米歇尔·奥克莱尔（Michèle Auclair）演奏唱片封面

泰勒曼：G大调巴黎四重奏TWV43:G4【前奏曲，MIDI】

“巴黎四重奏”是泰勒曼两套室内乐作品的合集，包括6 Quadri (1730) 和Nouveaux quatuors en six suites (1738)，共计12首，因泰勒曼当时在巴黎访问而得名。声部一般包含长笛、小提琴、维奥尔琴/大提琴，以及低音，类似配器的重奏作品在当时受到广泛好评。
　

"Paris Quartet" is a collection of Two Of Teleman's chamber works, including 6 Quadri (1730) and Nouveaux Quatuors en Six Suites (1738), a total of 12 pieces, named for his visit to Paris at the time.The parts generally consisted of flute, violin, Viol/cello, and bass, and reprise pieces in similar instruments were widely praised at the time.

蒂勒曼 G 大调四小提琴协奏曲 TWV 40:201 柯蒂斯音乐学院

乔治·菲利普·泰勒曼G大调四小提琴协奏曲，TWV 40:201
珍妮，小提琴手
Ida Kavafian,小提琴
科金,小提琴
克里斯汀•Lim小提琴
2017年3月19日，周日
费城柯蒂斯音乐学院现场音乐厅
格奥尔格·菲利普·泰勒曼(1681-1767)或许是西方音乐史上最多产的作曲家。在他的3600多件作品中，有四首四小提琴协奏曲。协奏曲通常以一个或多个独奏者在管弦乐队或合奏团前表演为特色。然而，在这些“室内协奏曲”中，泰勒曼完全放弃了管弦乐队。
安德鲁巷
柯蒂斯在2017年3月和4月的巡演中
“Fiddlefest”东海岸巡演
旅游表演:
柯蒂斯音乐学院(费城)
康宁玻璃博物馆，康宁市民音乐(康宁，纽约)
圣詹姆斯广场(马大巴林顿)
伊莎贝拉·斯图尔特·加德纳博物馆(波士顿，MA)
Highfield Hall和花园(法尔茅斯，MA)

GEORG PHILIPP TELEMANN Concerto for Four Violins in G Major, TWV 40:201
Jenny Yeyeong Jin, violin
Ida Kavafian, violin
Haram Kim, violin
Christine Lim, violin

Performed on Sunday, March 19, 2017
Field Concert Hall, Curtis Institute of Music, Philadelphia

Georg Philipp Telemann (1681–1767) was perhaps the most prolific composer in the history of Western music. Among his more than 3,600 works are four concertos for four violins. A concerto usually features one or more soloists performing in front of an orchestra or ensemble. However, in these “chamber concertos,” Telemann did away with the orchestra altogether.
—Andrew Lane

Curtis On Tour March and April 2017
“Fiddlefest” East Coast Tour

Tour Performances:
Curtis Institute of Music (Philadelphia)
Corning Museum of Glass, presented by Corning Civic Music (Corning, NY)
Saint James Place (Great Barrington, MA)
Isabella Stewart Gardner Museum (Boston, MA)
Highfield Hall and Gardens (Falmouth, MA)
　

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