Transcript Joseph Haydn 海頓(1732

Chapter 19
晚期浪漫派
晚期德奧浪漫派
I.
A.
1.
2.
3.
a.
b.
c.
1.
19世紀晚期音樂的多樣化
新與舊 Old versus new music
19世紀以前, 教堂外之音樂大多是當代或近
世的音樂 living memory.
1850 前, 基本的經典曲目已形成.
以研究歷史音樂之音樂學產生.
作曲家如 Bach, Handel, Mozart, Beethoven,
Schubert, Chopin 之全集出版.
從事這些學術研究的大多日爾曼人, 日爾曼
作曲家自然是其主要對象.
鮮為人知的文藝復興, 巴洛克作品也以主要
曲集 的方式出版 .
因此, 表演者與聽眾皆可同時接觸到新與舊
的音樂.
Brahms 對應 Wagner
1.
Brahms 尋求在傳統古典型式下創作.
2.
Wagner 與 Liszt 則認為 Beethoven傳
奇, 指向新的樂種與新的音樂處理方式.
3.
由以上分歧的觀念 兩極化了 Brahms
與 Wagner.
4.
作曲家爭論兩者相對的價值:
a.
絕對Absolute and 標題program music
b.
傳統與創新
c.
古典曲種形式與新的曲種
5. 兩造皆以 Beethoven為源頭.
6. 皆為所謂古典(經典)音樂, 因其作曲企
圖是與古來之經典曲目並駕齊驅
B.
C. 民族主義 versus 國際主義
1.
不分國界的經典曲目普遍與歐美演出.
2.
Many composers turned to nationalism,
not to break with traditions but to add
a distinctive new flavor.
3.
美俄等國, 作家遂有國際主義與民族主
義之別 .
D. 古典與流行
1.
器樂曲, 歌曲, 合唱曲中,古典與流行音
樂的區隔越來越明顯.
2.
早期作曲家, 如 Beethoven, 能寫嚴肅與
輕鬆的音樂.
3.
19世紀晚期, 兩者的作曲家開始有了區
隔.
4.
Johann Strauss the younger, the
“Waltz King,” 是流行舞曲音樂的大師.
5.
嚴肅的交響曲與流行歌曲的曲別遠較
Mozart的時代來的大.
Johannes Brahms
(1833-1897)
A.
1.
2.
3.
4.
Brahms 結合古典主義 (Classicism) 與
浪漫派的感性 (Romantic sensibility).
Brahms 作曲成熟期正值經典曲目當
道之時.
He composed in Classical traditions
but added new elements in order to 吸
引當代聽眾.
He studied the music from the
Renaissance and Baroque, and
incorporated elements from these
traditions into his works.
He wrote in virtually all of the musical
languages of his time
1.
2.
3.
4.
5.
a.
b.
c.
d.
生於Hamburg, 自幼學習多種樂器.
年輕時靠在酒店, 餐廳演奏維生, 因而熟悉並
喜愛上匈牙利吉普賽音樂.
Brahms 以鋼琴演奏為業並執掌舉多音樂組
織.
He 編輯大量 Baroque, Classic, and
Romantic 作家的作品.
Clara Schumann.
In 1853, 他結識Schumann 夫婦與小提琴家
Joseph Joachim, 日後都是Brahms最堅定的
支持者.
Brahms 在Schumann 過世後, 幫忙照料其家
庭 使Clara得以繼續其演奏事業.
Brahms 愛慕Clara, 一生未娶.
Clara 過世後不到一年, Brahms也相繼過世.
I.
A.
1.
2.
3.
4.
Brahms 的交響曲
以Beethoven交響曲為價值典範,
Brahms 遲至40歲才完成寫下第一首
交響曲, 且耗時20年之久.
Symphony No. 1 in C Minor, Op. 68
(1876) .
Symphony No. 2 in D Major, Op. 73
(1877)
Symphony No. 3 in F Major, Op. 90
(1883)
Symphony No. 4 in E Minor, Op. 98
(1885)
A.
1.
2.
3.
4.
5.
Symphony No. 1 雖受惠於Beethoven的
影響, 但也與過往傳統分道揚鑣的開始.
標準四樂章模式, 但第三樂章是個抒情
的間奏而非詼諧曲.
如 Beethoven的第五, 以C minor 開始
以得勝的 C major結束.
The overall key scheme often moves
through the circle of thirds.
首尾兩樂章慢板導奏的素材皆用於之
後的快板, 類似 Schumann 的
Symphony No. 4.
最後一樂章如聖詩的主題類似
Beethoven的 Symphony No. 9的氣氛.
A.
1.
a.
b.
c.
1.
Symphony No. 3
起初的幾小節點出了Brahms音樂的風
格特質.
旋律的音域甚大
大小調的互換關係
二拍子與三拍子的重疊: 拍子的模糊
The second theme of the final
movement contains a metric conflict
between duple and triple meter
A.
1.
a.
b.
c.
Symphony No. 4, finale
終曲是巴洛克形式 chaconne or
passacaglia, 乃是基於一反覆低音所寫
的三拍子變奏曲.
E minor 的調性令人聯想起 Buxtehude
的 Ciaccona in E Minor for organ.
The idea of recurring thematic
material may be derived from a work
by Francois Couperin that Brahms
edited for the Couperin complete
works.
He may have adapted the bass from an
ostinato in the final chorus of a Bach
cantata .
1.
2.
3.
Another model may have been Bach's
chaconne finale from Partita No. 2 in
D Minor for Solo Violin, which
Brahms transcribed as a left-hand
exercise for piano.
The use of variations as a finale and
the treatment of the theme also recall
Beethoven's Eroica Symphony.
The movement has thirty-one
variations on an eight-measure theme
and ends with a substantial coda.
I.
A.
1.
2.
3.
其他作品 by Brahms
協奏曲Concertos
Piano Concerto No. 1 in D Minor (1861)
是其第一部管絃樂曲.
Piano Concerto No. 2 in B-flat Major,
Op. 83 (1881), 4樂章類似其交響曲.
Violin Concerto in D Major, Op. 77
(1878) 與Beethoven同調小提琴協奏曲
齊名.
A.
1.
2.
3.
4.
5.
室內樂 Chamber music
Brahms 在室內樂上是 Beethoven真正
的繼承者.
He 24首室內樂, 至少6首是傑作.
As in his orchestral works, Brahms 結
合古典傳統與個人風格.
Seven chamber works feature piano
and strings, including three piano trios
and three piano quartets.
The first movement of the Quintet for
Piano and Strings in F Minor. Op. 34
(1864), 顯現其 “發展性的變奏”
developing variation的技巧
A.
1.
a.
b.
c.
d.
e.
f.
1.
a.
b.
Piano music
Brahms developed a highly individual
musical style.
飽滿的音響 Full sonority
Broken-chord figuration
Frequent doubling of the melody in octaves,
thirds, or sixths
Multiple chordlike appoggiaturas
Frequent use of 複節奏cross-rhythms
簡單的觀念發展出創新的織體
Brahms 年輕時寫下3首奏鳴曲 (1852-53).
依循Beethoven的傳統.
並結合 Chopin, Liszt半音化的和聲與
Schumann歌曲般的旋律風格.
1.
a.
b.
c.
1.
a.
b.
20來歲時, Brahms集中於變奏曲.
The variations appear as strings of short
character pieces based on the formal and
harmonic plan of the theme.
Variations and Fugue on a Theme of Handel,
Op. 24 (1861) 包括 Chopin, Mozart與其他多
種風格, 高潮是 Beethoven風的複格.
Variations on a Theme of Paganini, Op. 35
(1863) has etudelike qualities.
最後20年, Brahms 出版了六冊 intermezzos,
rhapsodies, 及其他小品的曲集.
被視為其墜偉大的作品.
大多是 ABA‘ forms 且有歌般的旋律.
A.
1.
a.
b.
1.
2.
3.
4.
歌曲 Songs
Schubert 是 Brahms寫作歌曲的模範.
聲樂主導.
The piano supports with figuration.
Brahms composed 260 Lieder, many of
which are strophic or modified strophic.
Some songs incorporate characteristics of
folk songs.
The texts often suggest emotional restraint
or an introspective, elegiac mood.
Many of Brahms's qualities can be seen in
the first strophe of Wie Melodien zieht es
mir
A.
1.
2.
聲譽
Brahms 雖常被視為保守, 但其實是個
開拓者.
第一個集古今作曲原則用於創作的作
曲家, 如此的過程是許多20世紀的作
曲家才漸漸有的觀念.
I.
A.
1.
a.
b.
1.
2.
Franz Liszt 李斯特
新日爾曼樂派The New German School
“New German School” 一詞於1859年被提
出.
視 Wagner, Liszt, and Berlioz為其領導者.
雖後二者並非日爾曼人, 但 Beethoven 為其
模範.
如此分類加強極化了 Liszt and Wagner 的
支持者Brahms的支持者, 如樂評 Eduard
Hanslick.
Bruckner, Wolf, and Richard Strauss 等作
曲家也靠近 Wagner and Liszt 陣營.
A.
1.
2.
3.
Liszt 停止演奏家的生涯於1848年.
成為Weimar宮廷音樂總監並專注於作
曲.
超脫了巧技展現的風格.
Some of his works reveal a shift
towards the classical repertory.
A.
1.
2.
3.
Symphonic poems 交響詩
Liszt composed twelve symphonic
poems between 1848 and 1858.
單樂章帶標題之管絃樂曲
programmatic work for orchestra.
形式卻常與古典傳統緊密相關
1.
a.
b.
c.
The program content came from a
variety of sources:
Prometheus is from a myth and a
poem by Herder.
Mazeppa is taken from a poem by
Victor Hugo.
Orfeo ed Euridice pays homage to
Gluck's opera and an Etruscan vase.
1.
a.
b.
c.
d.
Les Préludes (前奏曲, 1854)
是李斯特十三部交響詩中最著名的一部。
交 響 詩 的 標 題 ， 是 從 法 國 詩 人 AlfonseMarie de Lamartine拉馬丁的詩篇《詩的
冥想》中借用的。
其內容是：“在死亡的一刹那，那無名的
歌曲莊嚴的第一個音，我們的一生不就是
它的一系列前奏曲嗎？……”
樂曲與原詩存在著內容上的聯繫，有著類
似的情緒轉變過程, 但李斯特和拉馬丁的
作品在思想方面有著原則上的區別。李斯
特肯定了人生，在交響詩中所表現的是對
生活的熱愛，對美好未來的探求。經過風
暴、艱辛、鬥爭、悲傷後，進一步肯定了
人的力量的偉大，肯定了光明的前景。
Liszt 以主題變形的手法統合整首樂曲
I.
Anton
Bruckner
(布魯克納
1824-1896)
I.
A.
B.
C.
1.
2.
3.
Anton Bruckner (1824-1896) (see HWM
Figure 28.5)
Trained in counterpoint, Bruckner served
as organist of the cathedral at Linz and as
organist in Vienna from 1867 to his death.
他將 Wagner風格與精神特質帶入其交響曲
與合唱曲.
交響曲 Symphonies
Bruckner composed nine numbered
symphonies and two unnumbered ones.
Most underwent extensive revisions.
Influences of Beethoven
19世紀晚期其他流派
I.
A.
B.
1.
2.
3.
German Traditions and Nationalism
German and Austrian composers in the late
nineteenth century drew upon their
national heritage, as observed in HWM
Chapter 28.
In other regions, composers debated how to
deal with the Germanic traditions.
French composers argued about whether to
assimilate Bach, Beethoven, and Wagner or
to create a new idiom.
Nationalist schools in instrumental music
appeared in Russia, Bohemia, and
Scandinavia (see nationalism discussion in
HWM Chapter 27).
Composers in Britain and the Americas
avoided overt nationalism.
I.
A.
1.
2.
3.
4.
5.
a.
b.
法國
一般趨向
Paris 一向是音樂會與歌劇中心.
音樂會以德奧傳統交響曲與法國作曲家作
品.
音樂會與音樂風格常與政治關聯.
新音樂院成立, 但仍以國家音樂院
Conservatoire 為主
在印象派impressionism之前, 法國的兩大趨
勢.
A cosmopolitan tradition transmitted
through César Franck
A French tradition, embodied in the music
of Gabriel Fauré
César Franck
(法蘭克18221890)
1.
2.
a.
b.
c.
1.
2.
a.
生於 Belgium, Franck 於音樂院 the
Conservatoire 學習並成為該院管風琴教授
1871.
音樂特徵 characteristics
古典樂種, 形式, 複音對位織體
Thematic transformation and cyclic unity
Wagner似的和聲
Franck‘s Prelude, Chorale, and Fugue
(1884) for piano 混合巴洛克形式與Wagner
的主題和聲處理法則.
管風琴音樂
He often combined original melodies in
chorale style with richly developed fantasias
and full chordal finales, as in Three
Chorales (1890).
1.
2.
a.
b.
c.
Franck 被視為現代法國室內樂的創始
者.
All three of his major chamber works
are cyclic and incorporate thematic
transformation.
Piano Quintet in F Minor (1879)
String Quartet in D Major (1889)
Violin Sonata in A Major (1886)
A.
1.
a.
b.
c.
Gabriel Fauré (佛瑞, 1845-1924) (see
HWM Figure 29.2)
法國傳統The French tradition 利用
Couperin 到 Gounod作品.
音樂處理較以音響因素而非情感表現
考量.
秩序與節制為其基礎.
Music 較抒情或類似舞曲而非史詩或
戲劇性的.
1.
2.
3.
4.
a.
b.
His large works include the Requiem (1887)
and two operas.
He primarily composed smaller works,
including songs, short piano works, and
chamber music.
Fauré developed a new style in which melodic
lines are fragmented and harmony is less
directional.
Avant que tu ne t'en ailles (Before you depart)
from the song cycle La bonne chanson (The
Good Song, 1892) (see HWM Example 29.1)
Fragmentary melodic phrases
Harmonic treatment dilutes the need for
resolution and creates a sense of repose
I.
A.
1.
2.
a.
b.
c.
1.
a.
b.
c.
d.
俄國
Tchaikovsky柴可夫斯基
Tchaikovsky 成功的結合古典形式與民族主義
他的許多作品已成為經典曲目, including:
芭蕾Ballets
Piano concertos and a violin concerto (1878)
Symphonies, most notably his last three (Nos.
4-6)
Symphony No. 4 in F Minor (1877-78)
Tchaikovsky表示 開始的樂音代表命運.
The horn call reappears and unifies this cyclic
symphony.
The keys in the first movement move within a
circle of minor thirds.
The outer movements are dramatic; the second
Marie Taglioni
1.
a.
b.
c.
Symphony No. 6 in B Minor, 悲愴 the
Pathétique (1893)
The scherzo is replaced by a 5/4 waltz.
The dance movement is second, followed
by a vivacious rondo.
The symphony ends with a despairing
slow movement
民族主義-The Mighty Handful 五人樂派
Mili Balakiref (1837 - 1910).
Cesar Cui (1835 - 1918)
Alexander Borodin (1833 - 1887),
Modest Mussorgsky,
Rimsky Korsakof
A.
1.
a.
b.
1.
a.
b.
c.
Musorgsky 穆索斯基
主要非歌劇作品
Night on Bald Mountain (荒山之夜1867), 管絃
樂曲
Pictures at an Exhibition for piano Song cycles:
The Nursery (1872), Sunless (1874), and Songs
and Dances of Death (1875)
Pictures at an Exhibition展覽會之畫
This set of ten pieces was inspired by an
exhibition of sketches, paintings, and designs
by Viktor Hartmann.
Several of the images are rendered in
character pieces that are joined by a theme
that represents the viewer walking.
The image of a commemorative gate to be built
at Kiev was set as a grand processional hymn
I.
A.
1.
2.
a.
b.
Bohemia 波西米亞
Smetana 史麥塔納
The String Quartet No. 1, From My Life
(1876) uses a nationalist style.
Má vlast (我的祖國, ca. 1872-79) 6首交
響詩組成.
The Moldau, the best-known work of the
set, depicts the river that moves through
the Czech countryside to Prague.
Tábor, the most stirring of the set,
employs a traditional chorale as a
symbol of Czech resistance to oppression.
A.
1.
a.
b.
c.
d.
1.
a.
b.
1.
a.
b.
c.
Dvorák
Dvorák's nonoperatic works include:
9首交響曲
4首協奏曲, 包括 Cello Concerto in B Minor
Numerous dances for orchestra
其他如室內樂, 鋼琴曲, 歌曲與合唱曲
Dvorák 兼具國際與民族風格.
Symphony No. 6 , D Major (1880) 乃國際風格.
民族風格包括 Slavonic Dances and the Dumky
Piano Trio.
Dvorák於紐約擔任國家音樂院藝術總監.
目的在幫助美國創造出民族樂風.
視美國原住民與黑人音樂為美國風的來源之一
以此寫下第 9交響曲(From the New World), 與
A.
1.
2.
a.
b.
1.
a.
b.
c.
1.
2.
Edvard Grieg (1843-1907)
Grieg created a distinctive nationalist style in
Norway with a series of songs, short piano
pieces, and orchestral suites.
Norwegian elements
Modal melodies and harmonies
Dance rhythms
The nationalist style can best be seen in:
Songs on Norwegian texts
Peer Gynt Suite (1875)
Slatter, a collection of Norwegian peasant
dances arranged for piano
His piano style has some similarities to
Chopin's, but folk elements predominate.
Some of Grieg's works were international in
A.
1.
2.
3.
4.
Edward Elgar (1857-1934)
Elgar was the first English composer to
gain international recognition in over
two hundred years.
He did not adopt a distinctive national
style, and he drew upon the styles of both
Brahms and Wagner.
The Dream of Gerontius (1900), an
oratorio, is influenced by Wagner's
Parsifal.
His orchestral works include the Enigma
Variations (1899) and two symphonies.
A.
1.
2.
3.
4.
Edward Elgar (1857-1934)
Elgar was the first English composer to
gain international recognition in over
two hundred years.
He did not adopt a distinctive national
style, and he drew upon the styles of both
Brahms and Wagner.
The Dream of Gerontius (1900), an
oratorio, is influenced by Wagner's
Parsifal.
His orchestral works include the Enigma
Variations (1899) and two symphonies.
The United States
A.
Diverse musical styles
1.
Ethnic diversity complicated the creation of a
national identity.
2.
Immigrants from various regions brought their
own musical traditions.
3.
Three principal types of music emerged,
although with some overlapping.
a.
Classical, which centered on the composer and
required complex notation
b.
Popular, which was notated and sold but
centered on the performer
c.
Folk, which was passed on through oral
tradition
A.
1.
a.
b.
c.
The classical tradition
A large number of Germans immigrated
to the United States in the middle of the
nineteenth century.
German musicians had a strong
commitment to their national traditions.
German immigrants filled American
orchestras and taught music at all levels.
German tastes and style dominated
American music in the classical tradition
until World War I.
A.
1.
2.
3.
4.
Bands in America
The earliest American bands were in the
military, but local bands emerged in the
nineteenth century.
The invention of valves for brass
instruments allowed them to play
melodies in any register, and brass
instruments became the backbone of the
band.
Bands played a large role during the
Civil War, and they continued to
proliferate afterwards.
Professional bands enjoyed a heyday
between the Civil War and World War I.
1.
a.
b.
c.
A.
1.
2.
John Philip Sousa (1854-92)
Sousa was inspired by the success of Gilmore.
He conducted the United States Marine Band.
He also organized his own internationally
recognized band in 1892 (see HWM Figure
29.5).
Band music
Concerts mixed arrangements of classic works
with lighter works, such as dances and popular
melodies.
The march was the staple of the band repe
1.
a.
b.
c.
d.
e.
f.
g.
The Stars and Stripes Forever (永遠的星條旗
1897)
The work begins with a four-measure unison
introduction in E-flat.
The march has two repeated sixteen-bar
strains of a contrasting nature.
The lyrical trio, also thirty-two bars, is set in
A-flat, a fourth higher.
Intended for concert performances rather than
parades, the work builds to a climactic finish.
The chromatic break strain creates a dramatic
contrast.
Countermelodies are added to the repetition of
the trio.
Sousa often performed the work with varied
settings.
A.
1.
2.
3.
4.
5.
a.
b.
c.
流行歌曲Popular song
19世紀末, 藝術歌曲與流行歌曲的區別變大.
Composers of popular songs sought to
entertain audiences, accommodate amateur
performers, and sell as many copies as possible.
Subjects for songs ranged from love to satire.
Songs were also used to convey ideas about
politics, religion, and society.
The standard form of the popular song was the
詩verse and 副歌refrain.
The piano 前奏four- or eight-measure.
The verse is eight, sixteen, or thirty-two
measures in length.
The refrain is similar in size to the verse.
1.
2.
3.
4.
a.
b.
c.
The refrain was often sung in harmony, so that
the term chorus was applied to the refrain.
Both verse and refrain can have internal
repetitions.
The key to success was a catchy phrase,
sometimes called a hook.
After the Ball 舞會之後(1892) by Charles K.
Harris
The song has a 動聽的副歌 above a waltz
dance rhythm (see HWM Example 29.3).
After the Ball sold over a million copies,
making the composer rich.
Tin Pan Alley 錫盤街, 演變成為紐約流行音樂
出版專區.