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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani，1687—1762） | |||||||||||||||||||||||
| 吉米尼亚尼：D大调大协奏曲 (H.73/Op.3, No.1) | |||||||||||||||||||||||
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Ole Bull - Violin
Concerto in A major ('Grand Concerto'), Op. 4 (1834) Ole Bull ：1810-1880，挪威享誉世界的小提琴大师 A大调小提琴协奏曲(“大协奏曲”)，作品4 (1834;1864年修订) 一、maestoso行板-快板maestoso [0:00] 2柔情慢板:柔情慢板[12:39] 3田园Rondo pastorale: Moderato 由挪威著名作曲家和小提琴演奏家Ole Bornemann Bull(1810-1880)创作的第一小提琴协奏曲。 小提琴手:安娜·福尔斯? 指挥:奥勒·克里斯蒂安·路德 挪威广播交响乐团 |
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Violin Concerto in A major
("Grand Concerto"), Op. 4 (1834; revised 1864) I. Andante maestoso - Allegro maestoso [0:00] II. Adagio sentimentale: Adagio sostenuto [12:39] III. Rondo pastorale: Moderato [15:38] The first violin concerto by the famous Norwegian composer and virtuoso violinist Ole Bornemann Bull (1810-1880). Violinist: Annar Folles? Conductor: Ole Kristian Ruud Norwegian Radio Orchestra |
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音乐历史上的今天
1762年9月17日，74岁的小提琴家、作曲家弗朗切斯科.杰米尼亚尼（Francesco
Geminiani，1687—1762）发现他的女仆偷走了他尚未出版的唯一一份讲述小提琴演奏的手稿后，在都柏林一蹶不起。 |
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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani) | |||||||||||||||||||||||
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弗朗切斯科.杰米尼亚尼（Francesco
Geminiani，1687– 1762)，意大利小提琴家、作曲家、音乐理论家。 他曾经拜过的老师可能有A. Scarlatti（1660 – 1725，D. Scarlatti的父亲，参见av58532093），C. A. Lonati（c. 1645 – c. 1712）以及科雷利（Arcangelo Corelli，1653 – 1713，参见av57451871）。1711年领导那不勒斯歌剧乐团，与A.斯卡拉蒂继续交流合作。1714年前往伦敦，以高超的小提技术闻名，曾与亨德尔（1685–1759）一起为乔治一世演奏。后来加入了共济会。 Geminiani 一生以教学和作曲为业，培养了很多学生，也曾因为炫技的演奏而被学生们戏称为“疯子”。其代表作品是几套大协奏曲，包括Op.2 (1732)，这里的Op.3 (1733) 和 Op.7 (1746)，在其中一些作品里探索了中提琴的功能。音乐理论方面主要有小提琴演奏著作Art of Playing on the Violin (1751)以及和声学著作Guida harmonica (c.1752)。此外还有一些小提琴独奏曲、重奏曲、协奏曲，以及有关键盘伴奏/演奏，和吉他/西特琴演奏的书本。 后世对于吉米尼亚尼的评价主要有两种声音，一种观点认为他的作品缺乏章法，另一种则认为他的大胆创新值得推崇。 |
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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani)的著名的著作《小提琴的艺术》一书的封面 | |||||||||||||||||||||||
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Francesco
Geminiani (1687 -- 1762) was an Italian violinist, composer and
musicologist. The teachers he may have had were A. Scarlatti (1660 -- 1725, D. Scarlatti's father, av58532093), C. A. Lonati (C.1645 -- C.1712) and Arcangelo Corelli (1653 -- 1713, av57451871).He led the Naples Opera Orchestra in 1711, and continued to communicate and cooperate with A. Scarlatti.He went to London in 1714, and was famous for his excellent skill in drawing small notes. He played for George I with Handel (1685-1759).Later he joined the Freemasons. A lifelong teacher and composer, Geminiani nurtured many students and was nicknamed "crazy" by them for her showy performances.Its representative works are several large concertos, including Op.2 (1732), op. 3 (1733) here, and Op.7 (1746), some of which explore the functions of the viola.In music theory, there are mainly works about Violin Playing on the Violin (1751) and acoustic works Guida Harmonica (C. 1752).There are also violin solos, quartets, concertos, and books on keyboard accompaniments/playing, and guitar/sith playing. There are two main opinions on Geminiani: one is that his work lacks structure; the other is that his bold innovation deserves praise. |
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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani)的著名的著作《小提琴的艺术》中的练习曲 | |||||||||||||||||||||||
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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani)的著名的著作《小提琴的艺术》中的曲目 | |||||||||||||||||||||||
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| 杰米尼亚尼（Francesco Geminiani)的产品方面 | |||||||||||||||||||||||
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| 杰米尼亚尼（Francesco Geminiani)的唱片封面 | |||||||||||||||||||||||
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| 弗朗切斯科.杰米尼亚尼（Francesco Geminiani)的唱片封面 | |||||||||||||||||||||||
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| 这是音乐家恩里科·卡里耶里关于研究弗朗切斯科.杰米尼亚尼（Francesco Geminiani)的著作，说明杰米尼亚尼或者说巴洛克时期的音乐越来越受到人们的重视。 | |||||||||||||||||||||||
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杰米尼亚尼对小提琴的贡献 ——最早小提琴的设计是从模仿人声开始 |
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啊哦，不可思议的是这个报告竟然是台湾国立大学研究的。颇爱弦乐的你一定会知道意大利拨弦乐器工匠们高超的技艺，以及近于天价的价格，他们制作的琴是普通人可望而不可及的，但是爱屋及乌的你还需要知道这些！ 自从16世纪安德里亚·阿玛蒂(Andrea Amati)开始在意大利的克雷莫纳制作他的乐器以来，现代小提琴的设计几乎没有改变。现在，科学家们认为他们可能已经找到了他的设计能够持续近500年的原因，为啥如此让人着迷？其实早期的小提琴制造者努力再现人的声音是有充分根据的，巴洛克小提琴家弗朗切斯科•杰米尼亚尼(Francesco Geminiani)(1687年生于意大利)在他的作品《拉小提琴的艺术》中写道，演奏小提琴的秘诀是“给乐器一种可以与最完美的人类声音相媲美的音调”。 为什么要媲美人的音调，这难道是一种过度自恋的表现吗？ 受弗朗切斯科•杰米尼亚尼的启发，台湾国立大学的学生们决定在成千上百只小提琴的共鸣特点去查明事实的真相，这其中包括世界上最古老的两把琴：1570年安德里亚·阿玛蒂的小提琴和1560年加斯帕罗·达·萨罗的小提琴。 他们还分析了六把斯特拉迪瓦里小提琴的声音，以及同一时期的七把意大利小提琴；比较了小提琴的声音和8个女歌手和8个男歌手唱英语元音的声音。他们特别研究了共振峰——人类发出元音声音时的特征相同。研究小组发现，阿玛蒂乐器的共振非常接近男性的歌声，而斯特拉迪瓦里的乐器则更接近男高音和阿尔托斯的声音。 “早期的小提琴不是独奏乐器，而是歌曲和舞蹈的伴奏。” “可以想见，安德里亚·阿玛蒂可能想要制造一种弦乐器，可以模仿人类的声音来融入音乐的世界里。” 也是很神奇的举动了。。。哈哈 当世界各地的人都涌往意大利学习小提琴制作的时候，都不是不无根据的。而安东尼奥则是弦乐器的手作大师！只要是弦乐，你就说吧，只能更精致，大师级的打造，而人们会用Strad作为他乐器的代号。据估计他老人家一生制作了1116只弦乐器，其中有960只都是小提琴，后来大约650只幸存，包括450到512只小提琴。 他还制作过琉特、曼陀林等，可谓是弦乐器制作大师，现存世界上最昂贵的小提琴中就有他的作品。如今很多地方可以见到他的大名,甚至在动漫《名侦探柯南》也有他的小提琴的登场，如果你没看过，该补课啦～ |
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| 世界上独一无二的斯特拉迪瓦里小提琴，因为它的制作精美和音色的漂亮，以及保存完好，堪称世界之最。 | |||||||||||||||||||||||
| Album cover of Balakirev's piano Concerto | |||||||||||||||||||||||
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Uh-oh, it's
amazing that this report was studied by a university.If you're a fan of
strings, you'll know that Italian harpsichons are extremely skilled and
expensive, and that their instruments are beyond the reach of the
average person. But if you love me and my dog, you need to know more! The design of modern violins has changed little since Andrea Amati began making his instruments in Cremona, Italy, in the 16th century.Now, scientists think they may have figured out why his designs last for nearly 500 years. What's so fascinating?Actually early violin makers trying to recreate the voice of the people is well-founded, baroque violinist Francesco, • jamie nyongani (Francesco Geminiani) (born in Italy in 1687) in his works wrote in the art of playing the violin, playing the violin is the secret of a "instruments can be comparable to those of the perfect human voice tone". Why rival the human voice? Is it a form of narcissism? Inspired by Francesco Geminiani, students at ** * University decided to find out the truth by exploring the resonance of hundreds of violins, including two of the world's oldest: Andrea Amati's violin of 1570 and Gasparo da Salo's violin of 1560. They also analyzed the sounds of six Stradivarius violins and seven Italian violins from the same period;The violin sounds were compared with the English vowel sounds of eight female singers and eight male singers.In particular, they looked at formant - the same characteristics that humans have when they make vowel sounds.The team found that the Resonance of the Amati instrument was very close to the male voice, while the Stradivari instrument was closer to the tenor and Altos. "Early violins were not solo instruments, but accompaniments to songs and dances." "It's conceivable that Andrea Amati might want to create a stringed instrument that mimics the human voice to fit into the world of music." It's a pretty amazing move...Ha ha When people from all over the world flocked to Italy to learn violin-making, it was not without reason.And Antonio is the master of the string instrument!As long as it's a string, you know, it's more elaborate, it's more masterly, and people use the Strad as the code name for their instrument.It is estimated that he made 1,116 stringed instruments in his life, of which 960 were violins. Some 650 survived, including 450 to 512 violins. He also made Lute, Mandolin, etc., is a string instrument maker master, the world's most expensive violin is his work.Now you can see his name in many places, even in the anime Detective Conan his violin appearance, if you haven't seen it, it's time to make up for it |
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| 安东尼奥·斯特拉迪瓦里(Antonio Stradivari)正在测试自己制作的小提琴 | |||||||||||||||||||||||
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Today in the
history of music On September 17, 1762, The 74-year-old violinist and composer Francesco.Francesco Geminiani (1687-1762), in Dublin, was unable to take advantage of the fact that his maid had stolen his only unpublished manuscript on violin playing. Francesco Saverio Geminiani (C.1680 ~ 1762) was born in Lucca in 1679 or 1680.His father, Giuliano Geminiani, was a violinist with the Cappella Palatina and his first teacher.He went on to study in Milan with Carlo Ambrogio Lonati, and eventually went to Rome to learn violin playing from Corelli, whose influence was the strongest of all, and which would become evident in The later works of Jamiani himself.Geminiani has also been to Naples, because we know he learned composition from Alessandro Scarlatti there. In 1706 Geminiani returned to his native land and began his career as a violinist, composer and teacher.He took over his father's duties with the Signoria Theatre or-Chestra and the Court orchestra before being appointed concertmaster of the Naples Opera Orchestra in 1711.According to Burney, Geminiani was so free in the band that most violinists found it difficult to play with him, so he ended up playing the viola.If the story is true, it is most likely not that Geminiani was unable to control his speed.The Neapolitan orchestra, by contrast, is familiar with the older style of the grand concerto and has not yet experienced the stylistic variations found in the solo concerto, in which the solo violin is accompanied by a bass, with a degree of freedom that is not only permitted but even required.In 1714 the disappointed Geminiani went to England and began his successful career abroad.Although he restricted his activities to a relatively small circle of celebrities, he soon became one of the foremost violinists and composers in England. He gave regular concerts and from 1716 published his works in England, where they were warmly received by a usually less enthusiastic English audience.In fact, England became the main place of his life, although he did go to France for the publication of his work.Geminiani visited Ireland several times, spent the last three years of his life there and died there at the age of about 82. Geminiani was not a precocious genius in composing but rather a late starter in his work on the subject.His work is highly affected by the clay column, as clay column, jamie nyongani also concentrate on the violin music writing, especially concertos and played music, though he did also wrote some works for other instruments, jamie nyongani not vivaldi that extremely fast composer, he was not a bit anxious to increase the number of his works, rather than repeatedly to these works of polishing processing and strive to write them more perfect.Although the number of works is not great, the quality and aesthetic taste of these works are enough to prove that Geminiani was indeed an outstanding and important composer of the Baruch period. Another important difference between Geminiani and vivaldi of his generation is that he did not write solo concertos for the violin. He wrote large concertos of the kind corelli loved.The genre was becoming less popular in Italy in Jamiani's day, but in Britain the atmosphere was much more conservative, and Corelli's tradition of stylistic use lasted longer than elsewhere, so the big concerto remained popular.Geminani's grand concerto is usually composed of four movements, with a speed arrangement similar to Corelli's "slow-fast-slow-fast".Corelli also created a dramatic effect by alternating very short passages between soloist and band, a style that was in fact adopted not only by Corelli but also by Bernardo Pasquini (1637 ~ 1710) and Georg Muffat (1653 ~ 1704).But unlike the Concertino in Corelli's grand Concertino, Mr Geminiani added a viola, so that the main volume was increased by an internal part. Geminiani's instrumental music is more church than interior, and dance movements are rarely used in his other works.Geminiani went further than Corelli in decoration, because he used decoration not only in the slow movement but also in the fast movement.Given the age at which these instruments were written, Geminiani's virtuography is highly demanding;In some passages there is even a requirement for the seventh position, which, with the addition of some difficult double notes, jumps of great intervals, complex rhythms, and various complex timbals, made these pieces of music very challenging, and not every violinist could play them at that time.Geminiani also left behind a manuscript of unaccompanied music, which, because there is no tradition of writing this genre in Italy, should be said to be very rare and rare.Both the unadorned and the adorned notation of his opus 1 have survived and are undoubtedly instructive and helpful to modern violinists who want to understand the later baroque style of playing. Geminiani's work was more influential than his big concertos and minstrelsy, or perhaps it was the logical consequence of his career as a teacher;But this is an exception among the best violinists, composers, for only a few violinists in the whole course of the history of violin art have written anything comparable to him in teaching.Perhaps The most important of Gemenani's many books on Violin Playing, guitar Playing, aesthetics, harmony, accompaniment, and The like is The 1715 book "The Art of Playing on The Violin."It is probably the earliest treatises on the art of the high violin systematically, and although it contains less detail than a modern violinist might want to know, the significance of its coming from such an early age can hardly be overestimated. Violin technique are discussed in this book in many ways, a lot of views are far away before his time, for example, the chromatic scale fingering is such, jamie nyongani advocate using change refers to the methods play a chromatic scale interval, and so he would keep people pointed out the troubles of chromatic slide refers to and can be played "clean" the method of chromatic, unfortunately he mentioned this advanced fingering is not cause enough attention and neglected people,So it wasn't until the 20th century that the diatonic fingering, played with alternate fingers, gained widespread use (the 19th century Belgian violinist Berilio developed the diatonic fingering suggested by Geminiani).Jamie nyongani should use of expansion and contraction fingering is mentioned, and he recommended using "as much as possible" knead in the baroque is also unique, seems to have no other violinist ever left behind any works prove knead string in addition to, as a kind of outside should also sometimes used to decorate gimmick of continuous use, so jamie nyongani described at least prove to knead string or have different attitude, he must be a very independent-minded violinist and personality, have the courage to stick to their many years practice cultivated by different aesthetic taste. Although the ideas geminiani sets forth in his work are in many ways ahead of his time and in many ways prophetic.Geminiani's way of holding the bow seems old-fashioned, because his right hand is still far from the bow.But in many ways he was far ahead of his contemporaries in posture;His chin was placed to the left of the string board, so that he could play the position more easily;He also pointed out that the violin should not be held flat but lower on the right, which is more natural for playing the G string;His comments on the role of the elbow and wrist in the playing of short notes, on the part of the shoulder in the playing of the full bow, and on the use of the bow as often as possible were undoubtedly correct and instructive. Geminiani is not an extremely versatile artist, nor is he one eager to show his skill to his small audience.But he was an outstanding violinist and composer who embodied the development of the Italian school of violins from Corelli to Tardini during the baroque heyday.On the one hand, he inherited the tradition of Corelli, on the other hand, he made his own contribution to the glorious tradition with his own works.His works are richer in acoustics, richer in ideas and contrast, and more demanding in skills.His ideas, as recorded in Geminiani's writings, are of particular value to us, because they help us to know what happened more than two centuries ago, and thus to better understand and master the musical styles of that period. Today's video:1、Jiminy: Concerto in D Major (H.73/Op.3, No.1);2. Sonata for gemenani bass for cello;Geminiani's most famous works are three sets of major concertos. |
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| 杰米尼亚尼大提琴通奏低音奏鸣曲 | |||||||||||||||||||||||
| Francesco Geminiani Sonates pour Violoncello | |||||||||||||||||||||||
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Francesco
Geminiani - Sonates pour violoncelle avec la basse
continue 演奏：Bruno Cocset（个人最爱之一）, Les Basses Réunies Francesco Saverio Geminiani (1687－1762) 巴洛克时期意大利作曲家，小提琴家 |
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| 杰米尼亚尼最著名的作品是三套大协奏曲;他的作品2(1732)，作品3(1733)和作品7(1746)，(总共42首)介绍中提琴作为协奏曲组的成员，马金 | |||||||||||||||||||||||
| Geminiani's most well-known compositions are three sets of concerti grossi; his Opus 2 (1732), Opus 3 (1733) and Opus 7 (1746), (there are 42 concerti in all) which introduce the viola as a member of the concertino group of soloists, makin | |||||||||||||||||||||||
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| 未得原作者编者授权严禁转载www.mt77.com任何内容 | |||||||||||||||||||||||
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