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| 约翰内斯·勃拉姆斯（Johannes Brahms，1833—1897） | |||||||||||||||||||||
| 勃拉姆斯：a小调二重奏(小提琴和大提琴)协奏曲，作品102（+指挥解说）【吉东·克雷默/米沙·麦斯基/伦纳德·伯恩斯坦/维也纳爱乐 | |||||||||||||||||||||
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a小调二重奏(小提琴和大提琴)协奏曲 1.快板，开始句由大提琴中较低沉的音色，而不是由明亮的小提琴声来应和，大提琴单独待续奏出狂想般的华彩经过句，最后独奏小提琴加入进来。大、小提琴二重的华彩段越来越丰富，发展成由整个乐队来陈述的主要主题。这是勃拉姆斯所特有的附点节奏和三连音混合的音型。第二主题是一支轻轻摆动的旋律，由独奏大提琴柔和地引进，并由独奏小提琴呼应。这首二重协奏曲类似巴洛克时代大协奏曲的写法：一小组独奏乐器因整个乐队交替出现，形成对比。 2.柔板，以忧郁的、色彩几乎是阴沉暗淡的旋律开始。最初的4个音作为一种动机音型，由管乐部分庄重而又缓慢地奏出，乐章开始和结束都用这一音型。旋律本身由独奏小提琴和大提琴相距一个八度奏出，很像男声和女声混在一起。 3.不太活泼，末乐章以抑制着的欢乐情绪开始，由独奏大提琴奏出舞蹈音型，小提琴重复，之后很快雷鸣般地全奏重复。这个旋律具匈牙利式回旋曲迭句的特征，使人认为这个乐章是回旋曲式，但这个乐章实际却像第一乐章，用明确的传统奏鸣曲—快板曲式写成，舞曲般主题的发展几乎带有轻盈的谐谑曲风格。各主要主题再现时，在音色上都有微妙的变化。 |
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音乐历史上的今天
1876年7月9日，“昨日一大早，勃拉姆斯来和我一起泡澡......我非常欣赏勃拉姆斯魁梧结实有肌肉的身材，但又怕他有发胖的倾向......他坚毅的外形、脸上健康的棕色、只夹着零星灰白的浓密头发，一切都令他看起来具有力量与活力。”（乔治.亨歇尔爵士的渡假日记） |
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| 约翰内斯·勃拉姆斯（Johannes Brahms) | |||||||||||||||||||||
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Today in the
history of music July 9, 1876. "Early yesterday morning Brahms came to take a bath with me...I admired Brahms for his muscular figure, but I was afraid he had a tendency to gain weight...With his determined figure, his healthy brown face and the odd bit of bushy grey hair, he looks strong and energetic."(Sir George Henschel's holiday diary) On May 7, 1833, Johannes Brahms (1833-1897) was in The Gernheim district, Hamburg, Germany. His father was a double cellist in the Hamburg theatre.In 1840, he learned to play the piano from Otto Friedrich Villibard Kossel, who became Brahms's first piano teacher. First public performance as a pianist in Hamburg in 1843;In the same year, he was asked to do a tour of the United States, which was blocked by Cosell;In the same year, she began to learn piano and composition from Edward Markson. Under his guidance, Brahms got to know the works of German classical composers. From 1846 to 1847, to earn money, he played in the ballroom of Belgedorff, near Hamburg.Joseph Joachim was first heard playing Beethoven's violin concerto at a Philharmonic concert in Hamburg on March 11, 1848.On September 21, she held her first solo concert, performing works by Bach, Balkeson, Herz and others. In 1849, under the pseudonym of G. W. Max, he was adapted to music at August Krantz Music Publishing house in Hamburg.In March 1850, he sent his first manuscript to Robert and Clara Schumann, who were giving a concert in Hamburg.In 1851, he met The Hungarian violinist Edouard Ramenyi and learned about gypsy music through him Video of the day: 1.Jidon Kramer and Misha Maisky with Leonard Bernstein, Brahms' Duet Concerto for Violin and Cello in A Minor, Op. 102.2. Hafiz plays Brahms' Scherzo (Third movement of the FAE sonata). |
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| 约翰内斯·勃拉姆斯（Johannes Brahms)故居里面的陈设 | |||||||||||||||||||||
| 1887年10月18日，《a小调小提琴与大提琴协奏曲》在科隆首演，勃拉姆斯亲自指挥，约阿希姆等人参与了演出。1888年，在莱比锡举行的新年音乐会中，遇见作曲家彼得·伊里奇·柴可夫斯基和爱德华·格里格。1889年5月23日，成为汉堡荣誉市民；6月，被奥地利国王授予皇家豹十字勋章。 | |||||||||||||||||||||
| On October 18, 1887, "Concerto for Violin and Cello in A Minor" premiered in Cologne, conducted by Brahms and performed by Joachim and others.1888 Met composers Peter Ilyich Tchaikovsky and Edward Grieg at a New Year's Concert in Leipzig.On 23 May 1889, he became an honorary citizen of Hamburg;In June, he was awarded the Royal Leopard Cross by the King of Austria. | |||||||||||||||||||||
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| 费尔迪南，瓦德姆勒的作品《婚礼的场面》。这个时期的勃拉姆斯以愉快的心情面对音乐，在他的音乐创作中，也时常洋溢着明快欢愉的气氛。 | |||||||||||||||||||||
| The Wedding Scene by Ferdinand Wammler.Brahms in this period with a happy mood to face the music, in his music creation, also often filled with a cheerful atmosphere. | |||||||||||||||||||||
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| 乔治·亨歇尔爵士（Sir George Henschel） | |||||||||||||||||||||
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乔治·亨歇尔爵士（Sir George
Henschel）（1850年2月18日出生，普鲁士布雷斯劳-1934年9月10日，阿维莫雷，英弗内斯，苏格兰），歌手，指挥和作曲家，他当时的主要英国音乐家之一。 亨歇尔开始了他的钢琴家生涯，但后来发现作为一名男中音相当成功。 他在莱比锡和柏林学习，成为布拉姆斯的朋友。 1877年，他去了英国，1890年成为英国公民。他是波士顿交响乐团（1881-84)的第一任指挥，后来在格拉斯哥(1893-95)指挥苏格兰管弦乐队）。 他长期以来一直是一名声乐独奏家，并在英国组织和举办合唱和管弦乐音乐会。 他的作品包括两部歌剧、一部戏剧、一部安魂曲和歌曲。 他写了一本自传，沉思和回忆的音乐家（1918年）。 他于1914年被封为爵士。 |
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Sir George Henschel, (born February 18, 1850, Breslau,
Prussia—died September 10, 1934, Aviemore, Inverness, Scotland),
singer, conductor, and composer, one of the leading English
musicians of his day. henschel began his career as a pianist but later found considerable success as a baritone. he studied in leipzig and berlin and became a friend of brahms. in 1877 he went to england, becoming a british citizen in 1890. he was first conductor of the boston symphony orchestra (1881–84) and later conducted the scottish orchestra at glasgow (1893–95). he was long active as a vocal recitalist and in england organized and conducted choral and orchestral concerts. his compositions include two operas, a stabat mater, a requiem mass, and songs. he wrote an autobiography, musings and memories of a musician (1918). he was knighted in 1914. |
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| 勃拉姆斯的老师罗伯特.舒曼（robert schumann，1810—1856） | |||||||||||||||||||||
| 当勃拉姆斯进入他的音乐生涯时，1853年1O月28日，罗伯特·舒曼在《新音乐杂志》上发表了题为《新途》的文章欣喜赞誉勃拉姆斯：“我认为……突然会，也必须出现一个人，他将以某种理想的方式完善表达我们的时代……此人已经临世……他就是约翰·勃拉姆斯。”舒曼称勃拉姆斯期望的事业是史无前例的，他的欣喜就是预言。“无论他指挥合唱或指挥乐队，他那富有魔力的指挥棒所指之处便立刻爆发力量。”对二十岁的勃拉姆斯，这番话该是一个多么沉重的压力！ | |||||||||||||||||||||
| When Brahms entered his musical career, On October 28, 1853, Robert Schuman published in the New Music Magazine an article entitled "The New Way" in which he was delighted to praise Brahms: "I think...Suddenly, and surely, someone would emerge who would perfect our times in some ideal way...The man had already passed away...He is John Brahms."Schuman called Brahms's quest unprecedented, and his joy prophetic."Whether he conducts a chorus or an orchestra, his magical baton bursts into force wherever it points."What a burden that must have been for Brahms, twenty years old! | |||||||||||||||||||||
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| 阿诺尔德·勋伯格（Arnold Schoenberg 1874－1951） | |||||||||||||||||||||
| 在纪念勃拉姆斯诞辰100周年的时候，阿诺德·勋伯格于1933年2月12日在法兰克福广播电台作过一个报告，后来该报告经过修改于1947年以《勃拉姆斯——先行者》为标题公开发表。该报告算是家喻户晓了。令人惊讶的是，报告称勃拉姆斯的幽默中含有胆大妄为，还说作品音乐节律不合常规，勃拉姆斯采用了“发展的变奏曲”作曲原则（其实勋伯格自己也利用该原则创作），后期作品转而求助音程形成结构的力量，这种方式至少与旧主题概念形成对立云云。舒曼察觉出勃拉姆斯的非凡的艺术气质的时候，他并不糊涂，尽管他对勃拉姆斯要走的路和目标还不能详细预料。 | |||||||||||||||||||||
| In commemoration of the 100th anniversary of Brahms's birth, Arnold Schoenberg gave a report to Radio Frankfurt on 12 February 1933, which was later revised and published in 1947 under the title "Brahms: The Pioneer".The report is a household name.Surprisingly, according to the report of Brahms audacity is contained in humor, also said that work music rhythm off-beat, Brahms adopted "variations" of the development of the composing principle, schoenberg himself by using the principle of creation), later work turned interval form the structure of power, at least this way with old theme concept formation opposite at such a time.Schumann was not confused when he detected Brahms's extraordinary artistic temperament, though he could not predict in detail the path and goal Brahms would take. | |||||||||||||||||||||
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| 【小提琴】海菲兹演奏勃拉姆斯《谐谑曲》（《FAE》奏鸣曲第三乐章) | |||||||||||||||||||||
| Heifetz Plays Brahms: Scherzo from FAE Sonata | |||||||||||||||||||||
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Brahms: Scherzo from
FAE Sonata 勃拉姆斯：《谐谑曲》（《F.A.E》奏鸣曲第三乐章） 《F.A.E》奏鸣曲是由浪漫主义时期伟大的作曲家迪特里赫、舒曼和勃拉姆斯一起创作的,当年在德国的杜赛尔多夫,为了迎接他们的好友小提琴家约阿希姆的到来而作,展示了他们之间伟大的友谊。目前在国内对这首奏鸣曲分析的相关资料较少,只有勃拉姆斯创作的第三乐章,也被称为谐谑曲,该乐章(谐谑曲)经常被列为演出的曲目,也是这首奏鸣曲唯一经常演奏的部分,由此可见,这首奏鸣曲受到了广泛的认可。国外有这首奏鸣曲演奏的完整录音,但是也只有几位演奏家录制,对该作品的演奏并不普遍。 |
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