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| 约瑟夫·西盖蒂（Joseph Szigeti 1892-1973） | ||||||||||||||||||||||||
| Joseph Szigeti 西盖蒂演奏莫扎特小提琴协奏曲 | ||||||||||||||||||||||||
莫扎特K.216 纽约爱乐乐团 George Szell 1955/12/4 现场
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音乐历史上的今天
1892年9月5日，约瑟夫·西盖蒂（Joseph Szigeti）出生在匈牙利的布达佩斯。 |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
| 用小提琴歌唱——追忆西盖蒂：郑延益 | ||||||||||||||||||||||||
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20世纪的小提琴大师中，克莱斯勒被公认是“提琴之王”，海菲茨是霸主，地位超越
众多小提琴家之上，另一个拥有独特地位的就是怪杰西盖蒂（Szigeti）。在1943年他刀岁寿辰时，梅纽因在BBC广播中向他祝贺，艾萨克·斯特恩从纽约，奥依斯特拉赫从莫斯科，米尔什坦在瑞士蒙特勒（Montreux）通过电话在琴上向他奏“生日快乐”（Happy
Birthday）；科岗从莫斯科写信给他，提起在 1937年为他演奏门德尔松协奏曲的事，信内称他为尊贵的大师（Honored
Master），叙述了年少时科岗如何想沿着您的足迹（follow your
footsteps）但又不得不最终放弃这个不现实的愿望（had to abandon this desire in the
end），因为要达到那样的目标其实是不可能的（it was too
difficult）；在小提琴历史上，除伊萨依、克莱斯勒和海菲茨外，大概不曾有过第四者受到同行如此普遍的尊敬。但是现在的乐迷可能有很多不知道这位大师，现在出的两张唱片就太及时了，是不容错过的最珍贵的小提琴文献。
首先要跟乐迷们打一个招呼，如果你没接触过西盖蒂，那么这张CD必须多听几次，因为很可能你开始会不喜欢，不能接受他的演绎，和笔者当年一样，不理解西盖蒂有什么了不起！但我可以保证，多听几次后，就会如同嚼橄榄，回味无穷，可以说甘美无与伦比，也没有第二个类似的小提琴家。总的说来，只有奥依斯特拉赫有点像。西盖蒂比奥依斯特拉赫“干”，但听多了却更有韵味，酷似京剧中的老生余叔岩。 |
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| Singing on the Violin -- Recall The west Getty -- Zheng Yanyi | ||||||||||||||||||||||||
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Never-before-uploaded 1928 archival audio recording of luminary
Hungarian violin virtuoso Joseph Szigeti performing Brahms
Violin Concerto in D Major. The Art of Joseph Szigeti Among the great violinists of the 20th century, Chrysler was known as the "king of the violin", Heifetz as the dominant violinist, and Szigeti as the odd violinist.On his Birthday in 1943, Menuhin congratulated him on BBC radio. Isaac Stern from New York, Oistlage from Moscow, And Milshtan from Montreux, Switzerland, were on the phone playing "Happy Birthday" to him.Post to write to him from Moscow, filed in 1937 for his play the Mendelssohn concerto, letter calls him honorable Master (Honored Master), describes the youth division post how to think along your footprint (follow your footsteps, but had to give up the unrealistic desire (had to abandon this desire in the end, because to achieve that goal is impossible (it was too about);In the history of violin, with the exception of Issa, Chrysler and Heifetz, perhaps no fourth violin has been so universally respected by his peers.But many of today's music fans may not know the master, and the two albums now released are just in time, the most valuable violin documents not to be missed. First of all, say hello to the fans. If you haven't heard of Him, you should listen to this CD more often, because chances are you won't like it at first, you won't be able to listen to him, and you won't understand what he's all about, just like I did.But I can assure you that after a few more, it will chew like an olive and taste lusciously, and there will be no other violinist like it.On the whole, only Oistlach is anything like it.Seghetti is more "dry" than Oistlach, but more interesting when heard, like old Yu Shuyan in Beijing Opera. |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
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多年前，当我第一次听西盖蒂唱片时，心里觉得奇怪：发音是干的，揉音慢得不象话，跳弓都是毛的，拉什么听起来都吃力；这样一位提琴家有什么了不起？似乎徒有虚名！（本套CD的小品录自1926年至1929年间，是西盖蒂全盛时期，当时发音还酸郁浓厚没那么干，揉音也较快，到1933年录巴赫时发音就干了些，揉音慢了些，到1950年就更干更慢了）。接着在电影纪录片中看到他拉舒伯特的小《蜜蜂》，这么简单的一首小曲子，我也会拉，他出来时头发梳得光光的，演奏时却把头颈都快扭断了，拉完时满头大汗
，头发乱七八糟，实在不知道他好在哪里！可是逐渐听多了就愈来愈觉得他的演绎有一股任何人所没有的醇酸韵味，愈听愈喜欢；才开始理解为什么连梅纽因和奥依斯特拉赫这样以韵味著称的大师都对他推崇备至。可能西盖蒂最大的特点是，讲硬技巧，他的确是诸位大师中最差的；但在音乐演绎上却独树一帜，别具一格。弗莱什曾说过：可惜西盖蒂没跟他学，如果他的弓法和揉音能改进一些，那西盖蒂就会更了不起！这句话我个人认为并不夸张，也不是弗莱什自高自大；从记录片上看西盖蒂拉琴，由于他的手臂手指特长，方法很不自然，看起来鸡手鸭脚，完全是用传统方法硬拉的。克雷默的手也特别长大，可是运用得法；结果就技巧卓绝；但说明问题的却是发音西盖蒂比克雷默好，这就是音乐修养和天分问题。发音好坏，最后决定于演奏者的音乐听觉和概念，方法仅仅是工具。
西盖蒂的成就和弱点和他的时代有关。他是胡鲍伊（Hubay）的学生，受的是传统训练方法和教养（胡 鲍伊是一位修养极高的老师），可是在他13岁的初次登台后他听到了克莱斯勒演奏同一首他在音乐会的维奥蒂第22协奏曲，使他听到了从所未闻的琴声和演绎风格。用西盖蒂自己的话说，克莱斯勒打开了他的眼（耳）界，使他进人了一个新的音乐世界（直到西盖蒂名扬世界后，他还在纽约到处搜罗克莱斯勒的旧唱片，视若珍宝），接着他又听到了伊萨依、蒂博、 艾尔曼。西盖蒂说这 4个人引进了一个提琴演奏风格的新纪元。可是在当时，西盖蒂传统技术的基础已定了型，传统演绎的古典风格也有了根底，由于理智上他清楚，并接受了新演奏风格，及新作家如巴托克、普罗科菲耶夫的新的潮流，西盖蒂就吸收兼蓄两家之长，形成了他自己的特殊风格，朴素的古典严肃却同时又具有内在的醇薄浪漫热情，结果就是这样一位独特的浪漫古典大师。 由于上述的原因，从技术上说，他用的是小布什和胡伯曼，以及梅纽因年青时强迫拉琴的传统方法，这种方法强迫弓子去拉动弦，发出来的音似乎是硬把声音从琴的肚子里拉出来的；泛音少，因此不亮；但却极浓而深厚，特别是G线；似乎是瓮底里传出来的；至于揉音，当时约阿希姆是不赞成的，胡包伊很可能就没教过西盖蒂揉音，更可能是他听了克莱斯勒后自己学的（因为西盖蒂对克莱斯勒是五体投地的佩服；同时这里又可以看到克莱斯勒的了不起，他年龄要比西盖蒂大17岁，所用的演奏方法却是新的、自创的，因为他弓子的发音和揉音都是从所未有，不可能是马萨尔教他的，而且在12岁后，他就没跟过老师，因此他的揉音就运用不得法，速度就慢（很可能是按弦太过用力所导致）。这些，就形成了他在演绎上的技术局限性，但西盖蒂却能在这个局限内，从音乐出发，以他独特的发音、音准的巧妙运用和杰出的节奏处理，通过深人地分析、体会各种不同音乐的风格， 在他的琴上使它们体现了出来；这里要特别指出他的几乎是无痕迹的换弓，这使他拉慢的旋律线如天马行空，长短、逗点、句段都可以随心所欲地表现出来，这点，除外，很少人能做到他的水平（不过由于他跳弓是往下敲出来的，开弓有时也有这种倾向，快分弓有时就不能完全做到毫无痕迹，不及以上几位）。例如巴赫g小调无伴奏的第一乐章的演绎， 他的旋律线处理犹如在叙述，句逗极其细腻，和声和低声部似画龙点睛，清清楚楚地点了出来；节奏上的Rubato和力度变化极其微妙地使句逗、段落更为分明；音准使和声调性鲜明；它是众多版本中最精彩的，是既古典严肃，又抒情富有生命力的维拉契尼和巴赫。还有，可能有很多乐迷不知道，小提琴在拉双音时，弓子在两根弦上的用力不应该是平均的，而应该也可以根据旋律线或低声部分别加以强调；只不过能做到的人不多，听的人只知道效果好坏，却不知道其所以然。 |
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Years ago,
when I first listened to A Sigattie record, I found it strange
that the sounds were dry, the notes were painfully slow, the
bows were hairy, and the sounds were labored.What was so great
about such a violinist?It seems to be in vain!(The sketches on
this CD were recorded from 1926 to 1929, the heyday of The
Sigatti, when the pronunciation was still sour and thick and not
so dry and the knead was faster. By 1933, when Bach was
recorded, the pronunciation was dry and the knead was slower,
and by 1950 it was even drier and slower.)Then in the film
documentary saw him play Schubert's little "bee", such a simple
little song, I will also play, he came out of the hair combed
bare, playing but the head and neck are almost broken, when the
end of the sweat, hair at a mess, really do not know where he is
good!However, as I listened more and more, I felt more and more
that his interpretation had an alkyd charm that no one had. The
more I listened, the more I liked it.He began to understand why
even menuhin and Oisterach, masters of charm, admired him so
much.Perhaps the greatest characteristic of Seghetti was that he
was really the worst of the masters in terms of hard skills;But
in the musical interpretation is unique, unique.It's a pity,
Fleish once said, that Segetty didn't learn from him. If his
bowing and rubbing could have improved, He would have been even
better!Personally, I don't think this is an exaggeration, nor is
It that Fleish is conceited;As seen in the documentary, the
Sigheteh is played in an unnatural way due to his long arms and
fingers. It looks like a chicken hand and duck foot, which is
completely pulled by the traditional method.Kramer's hand, too,
was particularly large, but it worked;The result is excellent
skill;But it's the pronunciation that matters. Well, that's the
question of musical accomplishment and talent.Pronunciation is
ultimately determined by the player's musical hearing and
concept, and the method is only a tool. Seghetti's achievements and weaknesses are related to his time.He was a student of Hubay, trained in traditional methods and upbringing (Hubay was a highly cultivated teacher), but after his 13-year-old debut he heard Chrysler play the same violetti no. 22 concerto that he had performed in the concert, giving him a sound and a style he had never heard before.In Sigatti's own words, Chrysler opened his eyes and ears to a new world of music (he would scour New York City for old Chrysler records and treasure them until Sigatti became famous), and then he heard Isay, Tibbo, Ehrman.Seghetti says the four men introduced a new era in violin playing style.But at the time, the getty type is decided on the basis of traditional technology, the traditional interpretation of the classic style has a root, due to the reason he knew that on and accept the new style of play, and new writers such as bartok, prokofiev's new trend, west getty absorption and accumulation of two long, formed his own special style, simplicity of classical serious but has intrinsic alcohol thin romantic passion again at the same time, the result is such a unique romantic classical master. For this reason, technically he used the traditional method of forcing the strings, as used by George W. Bush and Huberman, and by Menuhin as a young man, in which the bow is forced to pull the string, producing sounds that seem to be forced out of the belly of the instrument;Few overtones, therefore not bright;But very thick and deep, especially the G line;It seemed to come from the bottom of a urn;As for kneading, Joachim disapproved at the time, and Hupaoyi probably never taught Him to knead. It is more likely that he learned it himself after listening to Chrysler (because Sigatty was so impressed with Chrysler;Here and can see Chrysler's fantastic, at the same time he age 17 years older than the west getty, playing method is used in the new and original, because the pronunciation of his bow and knead the sound came from is unprecedented, it can't be taught him mazar, and after the age of 12, he didn't follow the teacher / -s, so he is using it cannot be rubbing the sound, the speed is slow (probably) caused by too heavy.These are the technical limitations of his interpretation, but In this limitation, Sigatti was able to start from the music, with his unique pronunciation, intonation and excellent rhythm processing, through deep analysis and experience of different musical styles, to make them reflected in his piano;It must be noted he is almost no trace of the bow change, which made him slow melody line as a powerful and unconstrained style, length, comma, sentence, paragraph can follow one's inclinationsly, that, besides / -s, few people can do his level, but because of his jump bow is knocked down, drew his sometimes have this tendency, fast bow sometimes just can't do it without a trace, as more than a few).For example, the interpretation of Bach's unaccompanied first movement in G minor, his melody line processing seems to be narrating, the sentences are extremely delicate, the harmonies and whispers seem to make the finishing point, and come out clearly.The Rubato in rhythm and the change of strength make the sentences and paragraphs more distinct in a very subtle way;Intonation makes harmonic tonality distinct;It is the most wonderful of many versions, both classical and lyrical and full of vitality of Viracini and Bach.What's more, many music fans may not know that when a violin is playing a double note, the force of the bow on the two strings should not be equal, but should also be emphasized separately according to the melody line or the low voice.It's just that not many people can do it, and those who listen only know how it works, but don't know why. |
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| 约瑟夫·西盖蒂（Joseph Szigeti） | ||||||||||||||||||||||||
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西盖蒂在这方面的功力是罕见的惊人。他不但在拉双音时能随意强调其中的一个音，甚至在和弦中都能强调所需要的某一个音，这是弓子上的真功夫。我曾经说帕尔曼的几首赋格很不错，但西盖蒂比他更高一筹。赋格听起来很容易枯躁，因为复调和弦发音难、容易毛、带噪音，声部线条不易清楚，但在西盖蒂手里，赋格很容易听，旋律声部向逗、段落都清清楚楚，而且发音依然浓酸；这就使他在1931年和1933年所灌的g小调和a小调两首成为巴赫无伴奏公认的典范。听他a小调的行板，就完全像两把提琴在拉，一把在拉旋律
，另一把在伴奏，妙的是两个声部还各有节奏上的Rubato和音准的变化，使之互相衬托；再去听听帕尔曼，优劣立现。值得一提的是有人批评海菲茨拉巴赫用跳弓，其实西盖蒂早就用了，“a小调的快板”就是一个例子。用跳弓是为了有对比，有活跃的生命力，用得恰当无可厚非；只不过西盖蒂的跳弓是传统式用弓敲击出来的，这种跳弓优点在可用弓的任何部位演奏，缺点是杂音较多，力度变化较小（胡伯曼用这种跳弓演奏柴科夫斯基是了不起的技术），西盖蒂在这里用跳弓说明他不是学究派，但的确丰富了这章快板。
西盖蒂不仅在巴赫上是公认的经典，他的近代作品的演绎也同样地有权威性。最突出的是他的巴托克和普罗科菲耶夫。巴托克是他的好朋友，这两张没有这两位作家的曲子，相信第二集一定会有，巴托克不但在写作时征求他的意见，而且还为他弹钢琴伴奏灌唱片（他们的《克莱策奏鸣曲》版本是一个里程碑，仅从这里就可以看到，巴托克还是一位出色的钢琴独奏家和古典乐演绎者）。巴托克和普罗科菲耶夫的小提琴作品能得到普遍地承认，西盖蒂是元老功臣。除这两位外，西盖蒂还首演了许多近代作家的作品。这里有布洛赫，米约的4首小品都极其精彩，尤其是布洛赫和□□□（此处明显错漏），它与年青梅纽因的版本是我所听到过最动人的演绎。使我最惊讶的却是西盖蒂的克莱斯勒作品；而且居然有5首之多。他和克莱斯勒可以说是两个完全不同世界的演奏家，但除克莱斯勒本人外，西盖蒂的演绎是最精彩动人的，包括两首德沃夏克的《斯拉夫舞曲》《西西里舞曲和里戈东舞曲》《爱的忧伤》和《中国花鼓》。我反复地听（从前没听过），才发现是由于西盖蒂抓住了克莱斯勒节奏上和音准的处理变化的结果。由此可见，技术不过是工具（因为西盖蒂的发音、揉音、运弓和克莱斯勒完全不同），音乐的修养才是决定性的因素；而且西盖蒂并不是摹仿，而是有他自己的创造性。 摘自郑延益的音乐评论集《春风风人》 |
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Seghetti's
skills in this area are rare and amazing.He was able to
emphasize not only one note in a double note, but also a
particular note in a chord. This was the skill of the bow.I had
said perlman had a few good fugues, but Segetty was a cut above
him.The fugue was easy to hear, because polyphonic chords were
difficult to pronounce, fuzzy and noisy, and the lines were not
clear. But in Sigatty's hands the fugue was easy to hear, the
melody was clear, the paragraphs were clear, and the
pronunciation was still sour.This made his songs in G minor and
A Minor, both in 1931 and 1933, widely regarded as examples of
Bach unaccompanied.To listen to his Andante in A minor is
exactly like playing two violins, one in melody and the other in
accompaniment. The wonderful thing is that the two parts also
have Rubato and intonation changes in rhythm, so that they
complement each other.Listen to Perlman again. The pros and
cons.It's worth noting that Heifezlabach was criticized for
using a jump bow, as Was Segetti, for example, with "Allegro in
A Minor."The purpose of jumping bow is to have contrast, to have
active vitality, and to be properly used.Just west of the getty
jump is a traditional bow knock out with a bow, the jump
advantage in any part of the available bow bow to play, the
disadvantage is that noise is more, efforts to change smaller
(huberman, using this jump bow playing Tchaikovsky is great
technology), west getty here with jump bow shows that he is not
a pedant, but indeed enriched the allegro chapter. Not only is Sigatti a recognized classic in Bach, but his interpretation of modern works is equally authoritative.The most prominent are his Bartok and Prokofiev.Bartok is his good friend, the two have no melody, the two writers believe that there will be the second set, bartok not only asking his opinion in writing, but also for him to play the piano accompaniment disc (their sonata "clay version is a milestone, only you can see from here, bartok is an excellent piano soloist and classical competence).The violin works of Bartok and Prokofiev are generally recognized, and Sighetti is the patriarch of the work.In addition to these two, Seghetti premiered the works of many modern writers.Here is Bloch. Milo's four sketches are excellent, especially Bloch and □□ (obviously wrong here). It and the young Menuhin's version are the most moving I have ever heard.What surprised me most was the Chrysler works of The Sigattie;And there were five songs.He and Chrysler can be said to be two completely different worlds of the players, but besides Chrysler himself, sighetti's performances are the most fascinating and moving, including two dvorak's "Slavic dance", "Sicilian and rigdon", "sadness of love" and "China flower drum".I listened to it over and over (and never heard it before) and realized that It was Sigatti who had caught up with Chrysler's changes in rhythm and pitch.Technology, then, is nothing but a tool (because Sigatee's pronunciation, kneading, bowing, and Chryslers are so different), and cultivation of music is the decisive factor;And Sigatti was not an imitation, but a creation of his own. |
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| 约瑟夫·西盖蒂（Joseph Szigeti）和加拉米安及拉宾在一起。 | ||||||||||||||||||||||||
| Joseph Szigeti was with Garamian and Rabin. | ||||||||||||||||||||||||
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爱丁堡艺术节 图片来源：Gerti Deutsch/Picture Post/Getty Images 1947年9月20日，小提琴家约瑟夫·西盖蒂，中提琴家威廉·普里姆罗斯，钢琴家阿图尔·施纳贝尔和大提琴家皮埃尔·福尼尔（从左至右）在第一届爱丁堡音乐节上。 |
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Festival d'ÉdimbourgCrédits : Gerti Deutsch/ Picture Post/ Getty Images Le violoniste Joseph Szigeti, l'altiste William Primrose, le pianiste Artur Schnabel et le violoncelliste Pierre Fournier (de gauche à droite), le 20 septembre 1947, lors du premier festival d'Édimbourg. |
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| 西盖蒂与神一样的莫扎特 | ||||||||||||||||||||||||
| Sigeti and Mozart | ||||||||||||||||||||||||
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西盖蒂录制的唱片很少，所以他的音频和视频尤其珍贵，特别是他演绎的莫扎特。莫扎特来到这个世界短短的35年，他完成了神交给他的工作之后呢，他就走了，所以我个人认为，能够把莫扎特的作品演绎的好，演绎得非常传神，很好的传达神的语言的演奏家是寥寥无几的，那神的语言呢？对于我们人类这个层次的生物呢？他是不太可能了解的非常透彻的。他不可能一下子就听的很明白的，它可能带一点点迷待一点点惘，用你一生的思考、迷惑，探索、追寻去理解它的意思。 所以说，我很喜欢一位老先生叫辛丰年，我喜欢他写的《乐迷闲话》和《音乐笔记》。其中讲到他听了一辈子的古典音乐最后终于把莫扎特听进去了，那我听了这段话之后呢，我也深有感触，因为我也一样，以前我也不 太喜欢听莫扎特的，听到现在终于能听一点点进去，很有可能就是我刚刚讲的原因，你听的时间太短、你听的太少，听的演奏家、版本太少，你可能没有真正听到过能够把莫扎特演绎得出神入化、或者很好的传达神的那个演奏家，直到听了这个西盖蒂，就真的非常喜欢他了，这就是我刚才所描述的感觉，他有他的特点，他演奏的莫扎特带一点点迷惘，带一点怅然的感觉，就好些一个人，他隔着一层玻璃窗看这个世界。带一点怅然若失的感觉，看外面的世界：斜阳草树，寻常巷陌，小桥流水，牧童短笛。他看这个世界，他不是说我置身在里面，那就太过清澈透亮了，他是隔着一层玻璃看的（用我的话是不是他把自己置身世外，从旁观者的角度去看这个世界——莫扎特之旅） 所以这一点是非常非常难得的，就像我刚才讲的，就是人不可能一下子完全领会理解对神的语言，那么透彻的，他可能带着一点点惘，要经过他的一生不断的去追寻 ，方能慢慢的领略到其中的真谛。 （上面是古典音乐发烧友猴脑丝讲故事视频的资料——莫扎特之旅整理） |
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Mozart came to this world in a short period of 35 years, and he may have
finished the work assigned to him by God before he left. Therefore, I
personally believe that there are very few performers who can perform
Mozart's works well, perform them in a very vivid way, and convey God's
language well. What about creatures at our level? He is unlikely to know
very well. He can not listen to it very clearly at once, it may bring a
little confusion to a little confusion, with your life's thinking,
confusion, exploration, pursuit to understand its meaning. So, I like the music fan notes written by an old gentleman named Xin Fengnian. It was said that he had listened to classical music all his life and finally finally listened to Mozart, and after I listened to this paragraph, I was also deeply touched, because I did not like listening to Mozart before, and now I finally listened to a little bit, which is probably the reason why I just said that you listened to too short a time, you listened to too little, you listened to too few performers and too few versions. You may not have really heard the performer who can perform Mozart beautifully, or convey God's language well, until you heard this Sigetti, you really like it, this is the feeling I just described, he has his own characteristics, he plays Mozart with a little bewilderment, with a little sense of sadness, a better person. He looked at the world through a pane of glass. With a little sense of loss, look at the outside world: the sloping sun grass trees, ordinary alleys, Bridges and rivers, shepherd boys and piccolo. He sees the world, he does not mean that I am in it, that is too clear and bright, he sees it through a layer of glass (in my words is he put himself out of the world, from the perspective of the observer to see the world) As I said just now, it is impossible for a man to fully understand the language of God at once. If he is so thorough, he may have to pursue it all his life with a little confusion. -- Monkey brain silk tells stories |
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| 【西盖蒂x巴托克】贝多芬第九小提琴奏鸣曲“克鲁采” | ||||||||||||||||||||||||
| Joseph Szigeti, Bela Bartok: Beethoven Kreutzer Sonata | ||||||||||||||||||||||||
| 约瑟夫· 西盖蒂演奏舒伯特的《蜜蜂》 | ||||||||||||||||||||||||
| the Bee by François Schubert(1808-1878) | ||||||||||||||||||||||||
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| 伟大的小提琴家约瑟夫·西盖蒂（Joseph Szigeti) | ||||||||||||||||||||||||
| The 19 Greatest Sketches of all time by Ivry Gitlis | ||||||||||||||||||||||||
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