Chapter16浪漫时期-歌曲与钢琴音乐.ppt

Chapter 16 浪漫時期- 歌曲與鋼琴音樂,時代-,中世紀以降直到十八世紀為止, 流傳下來的音樂大多是為了教會或宮廷, 而家庭娛樂音樂, 如madrigal (牧歌), 弦樂四重奏, 或公眾演出的曲種, 如威尼斯歌劇, Handel的神劇, Haydn的後期交響曲, 在較晚近的世代愈來愈顯出其重要性. 19世紀時家庭或公眾演出的音樂成為主流, 以下幾章, 我們先討論歌曲與鋼琴曲: 家庭音樂與獨奏會的主要出口與浪漫風格的前導, 之後兩章再討論公眾音樂會與劇院音樂. ,新秩序, 1815-1848,1789-1815年間的動亂帶來鉅大的改變. 自由, 平等, 博愛 與國家認同的觀念散佈於歐洲. 維也納和會(1814-15)重新劃分歐洲國家疆域. 國家主義的情感更顯洋溢. 作曲家在歌曲或器樂曲中結合民族風格趨勢.,新秩序, 1815-1848,B. The Americas Independence was won in Latin America. The United States. Expanded west between 1803 and 1848 Began to establish its own cultural identity French and British provinces in Canada united.,新秩序, 1815-1848,C. 經濟秩序的改變對音樂有極大的影響. 貴族的沒落 貴族沒落導致贊助減. 商人與企業家成為經濟的領導者. 音樂家轉而靠公開演出, 教學, 委任作曲, 出版來賺錢. 超技演奏者, 如小提琴家 Nicola Paganini, 鋼琴家 Fryderyk Chopin, 是最著名的音樂家. 音樂成為中產家庭生活重要的一部分. 音樂成為規範社會的方法. 國家資助的歌劇傳遞政治訊息. 音樂也讓女人安分守在家中.,新秩序, 1815-1848,鋼琴的改進,造就新的效果與更大的範圍限度. 低廉的鋼琴成為許多家庭的樂器. 許多女性演奏鋼琴. 鋼琴作曲家, 如 Chopin, Liszt, 為富家女上鋼琴課. 幾位女性鋼琴家, 如 Clara Wieck在十九世紀初出現. 女性大多為了社交場合彈鋼琴 此時最受喜愛的娛樂就是兩人在一架鋼琴上彈二重奏. .,新秩序, 1815-1848,業餘音樂演奏者的劇增, 帶來音樂出版事業的蓬勃發展. 十九世紀遺留下來的音樂遠較任何之前的世紀來得多. The The public had an unprecedented influence over what music was created. Arrangements were the only way that many people could hear major concert works.,新秩序, 1815-1848,音樂風格迎合業餘品味. 如歌的旋律, 動人的伴奏較少對位 一首曲子的節奏與困難度大致一致. 音樂之外的聯想與有趣的標題十分普遍. 傳統的與富戲劇變化的和聲進行相互搭配. 四小節的樂句成為主流. 音樂家探索著合於現代鋼琴樂器特性的音樂語法. 新奇的設計往往可使樂曲更成功,II. Romanticism浪漫主義,“romantic“一詞, 有許多意義. 字義源自於中世紀的romance傳奇故事. “ romance”是個關於英雄事績或人物的故事或史詩. 辭意往往暗示遙遠, 傳奇, 幻想的事物. 幻想, 遠離真實的事物.,II. Romanticism浪漫主義,在19世紀, 此一詞應用在文學, 音樂, 視覺藝術上. The term contrasted with “classic“ poetry, which was objectively beautiful. “Romantic“ poetry, not bound by rules and limits, expressed insatiable longing and the richness of nature. The focus was on the individuality of expression. Haydn and Mozart were viewed as Classic, and Beethoven was seen as both Classic and Romantic.,II. Romanticism浪漫主義,B. 十九世紀末學者視1820年大致為古典與浪漫的分野. The divisions between the two periods have been viewed in a variety of ways. In this text, 1815 will be the starting point for the Romantic period.,II. Romanticism浪漫主義,C. Romanticism浪漫主義可視為對許多潮流的一種反應. 在科技掌控下的社會, Romanticism 提供了許多理想的避難所: The past過去 Myths神話 Dreams 夢想 The supernatural 超自然 The irrational 非理性,II. Romanticism浪漫主義,國族的觀念升起, Romanticism是平常人為國家的化身. 人們多住在城市中, 大自然愈顯得珍貴. 工業化帶來大型的人口密集的社會, 浪漫派尊崇孤寂與個性. 當一般生活變得愈來愈規律 (工作, 家庭, 購物.) Romantics 追求新奇, 異國的. 在資本主義社會下, 藝術家開始為了藝術而藝術, 而不僅是為了金錢.,II. Romanticism浪漫主義,D. 音樂被視為理想的藝術 作曲家沿用傳統模式, 但任其想像力拓展新的音響效果. 器樂被視為理想的藝術, 因為沒有文字或形象的束縛.,II. Romanticism浪漫主義,E. 器樂種類的區別. 絕對音樂refers to music with no programmatic or descriptive aspects. 標題音樂recounts a story, which is often given in an accompanying text. 個性小品(character piece) suggests a mood, personality, or scene that is usually suggested in the title.,II. Romanticism浪漫主義,F. 與文學關聯 許多作曲家也是作家或與作家為友. 作曲家嘗試揭開歌曲或歌劇文字的內在意涵. 器樂曲常常與文學作品關聯. 文學的關聯常引領著音樂的創新, 也使得樂曲更吸引人. At times, literary associations and descriptive titles were added after a work was created.,III. 歌曲,F. General trends 聲樂與鋼琴的組合, 是歌曲的主要樣式. 形式可以從簡單的分節歌strophic forms到通譜寫作through-composed迷你戲劇. 在世紀末時, 更開始有流行歌曲與藝術歌曲之別. 德文歌曲Lied, 是19世紀最受矚目的歌曲形式, 其特色為:,III. 歌曲,詩與音樂的融合 個人情感的表達 使用描述性的音像(musical imagery) 民謠的元素,III. 歌曲,B. The Lied The 浪漫 Lied was built upon a strong eighteenth-century tradition. The popularity of German Lieder grew after 1800. Poets at the time drew upon elements from classical and folk traditions. Nature was a common theme.,III. 歌曲,5. The lyric was the chief poetic genre. Lyric poetry was meant to be sung. It was characterized by short strophes, regular meter, and rhyme. The poem was strophic and expressed a feeling about one subject. The models were the lyric poets of antiquity, such as Sappho and Horace.,III. 歌曲,C. The ballad was a new type of Lied from the late eighteenth century. Ballads often alternated narrative and dialogue. The subject was usually a romantic adventure or supernatural incident. The expanded length encouraged composers to vary the musical material. The role of the piano changed from mere accompaniment to equal partner in illustrating the meaning of the poem,III. 歌曲,D. 聯篇歌曲Song cycles Songs were often grouped into collections with a unifying characteristic, such as a single poet or a common theme. In these cycles, the songs were to be performed in order, enabling the composer to tell a story. Beethovens An die ferne Geliebte introduced the concept of the song cycle.,Franz Schubert (舒伯特,1797-1828),生涯,Schubert 第一位浪漫Lied歌曲大師. Schubert 生於斯,長於斯, 死於斯, 道地維也納人. 以驚人的數度寫作, 單在1815年就寫了超過140 首歌曲. 共寫超過六百首Lieder歌曲. 他許多的歌曲都在以Schubert為中心的家庭音樂聚會Schubertiad發表. 從未有真正的贊助者, 也未能出版他的作品. Schubert 疑似因梅毒過世, 享年31.,歌詞,Schubert set poetry by many writers, 包括 59首 Goethe作品. Schubert企圖讓音樂與文字同等地位. 其最好的作品: 兩齣聯篇歌曲以 Wilhelm Muller的詩作為歌詞. Die schne Mullerin (美麗的磨坊少女, 1823) Winterreise (冬之旅, 1827),歌曲形式,Strophic 分節體 aaa Schubert typically uses this form for poems that have a single image or express a single mood. Each stanza is sung to the same music. Examples: Heidenrslein (野玫瑰, 1815) Das Wandern (Wandering) from Die schne Mullerin,歌曲形式,2. Modified strophic 變體的分節體 a, a, b, a” 某些段反覆相同音樂, 某些段則否. Example: Der Lindenbaum (菩提樹) from Winterreise 三段體 (aba or aba): Der Atlas (Atlas) from Schwanengesang (天鵝之歌, 1828) Bar form (aab): Standchen (小夜曲), also from Schwanengesang,歌曲形式,5. Through-composed 通譜體 a, b, c . 每一段都有新音樂. 用於較長的敘事性歌曲, 如ballad Erlknig (魔王, 1815). This form may 加入歌劇中宣敘調或咏敘調arioso的風格.,Melody 旋律,Schubert 創造美好的旋律以捕捉詩意. 許多旋律簡潔帶有民歌風. 有些旋律帶有甜美感傷的氣氛. 有些旋律帶有宣敘性戲劇效果.,Accompaniment 伴奏,伴奏方式從簡單到複雜的戲劇效果都有. 伴奏往往反應出詩中的景象,Harmony 和聲,Schubert 運用和聲強化歌詞. Das Wandern has only five different chords. Standchen alternates minor and major keys and triads. Complex modulations can be found in some songs, such as Der Atlas. Modulations by third rather than by fifth are frequent in Schuberts songs and instrumental works. Schubert uses unusual harmonic relationships as an expressive device. Schubert的和聲運用對後世影響極大.,Gretchen am Spinnrade 1814,歌詞採自 Goethe的 Faust. 歌詞中, Gretchen 邊紡織邊想著Faust. 鋼琴高音旋律線條象徵著紡車旋轉的滾輪. 左手低音模仿著滾輪踏板的動作.,Gretchen am Spinnrade 1814,The sixteenth-notes also represent Gretchens agitation Schubert repeats the opening poetic lines to create a refrain and give the song a rondo-like form. 無終止感的和聲與Gretchen的心情輝映. 當Gretchen想起他愛人的吻的時候, 鋼琴停止. 當他恢復平靜時, 紡車又繼續轉動.,菩提樹 Der Lindenbaum,取自冬之旅Winterreise, 24首曲子的聯篇曲集, 關於失戀者的懊悔. Der Lindenbaum, 失戀者經過菩提樹而季起往日戀情. 前奏象徵著夏天的微風, 之後卻成為冬日寒風. 旋律簡潔帶有民歌風. 變體的分節體 modified strophic form: a a b a“. 大小調對比著快樂回憶與冬天的寒風,Robert and Clara Schumann 舒曼夫婦,Robert Schumann (1810-1856),生涯 Schubert後第一位Lieder作曲家 立志成為鋼琴家卻手指受傷. 轉而成為作曲家與樂評家, 1834到1844年間, 為新音樂雜誌編輯. 在樂評中, 他反對空洞的技巧, 鼓吹學習較古老的音樂. 因婚姻所帶來的情感與經濟激發起Schumann的歌曲創作. 1840年, Schumann 寫了超過 120首歌曲, 娶了 Clara Wieck, 一位傑出的鋼琴家與作曲家. 1854 年, Schumann 因受幻覺之苦企圖自殺. 被送進療養院, 於 1856年卒於院中.,Schumann歌曲特徵,Schumann 認為音樂應捕捉詩的本質. 他相信鋼琴與聲樂是平等的地位, 有較長的鋼琴前奏preludes, 插入段interludes, 或尾奏postludes. Schumann常用單一個音型來乘載歌詞的中心情感, 思想.,Schumann歌曲特徵,他於1840年的兩齣聯篇歌曲都焦注在情歌. Dicterliebe (詩人之戀) Frauenliebe und -leben (一個女人的愛與生活),Im wunderschnen Monat Mai (在美麗的五月),Dichterliebe 包含16 首以Heinrich Heine詩作譜寫的歌曲, one of Germanys foremost poets. 詞曲的安排比喻著男女交往戀愛關係的進程. 第一首Im wunderschnen Monat Mai, 分節體. 開始朦朧的和聲比喻著試探性的情感. 渴求與慾望以掛留音與倚音appoggiaturas的方式表達. 缺乏和聲上的解決暗示著愛戀沒有回報 鋼琴在詮釋曲意上有著與聲樂等同的地位,Clara Schumann (1819-1896),Robert死後, Clara停止作曲, 全心演奏推廣亡夫的音樂. Clara Schumann 寫下許多冊歌曲集. Clara 以類似其夫的方式寫作歌曲. 帶有長的鋼琴前奏與尾奏. Similar figuration is used throughout a song. The voice and piano are treated as equals, Geheimes Flstern (Secret Whispers, 1853) This work is from her last song cycle. The poem projects an image of the forest whispering to the poet. 連續不斷的琶音象徵沙沙作響的枝葉,鋼琴音樂Music for Piano,Piano 音樂與歌曲在19世紀, 同為最受歡迎的媒材. 鋼琴音樂有三層目的. 教學Teaching Muzio Clementi 的Gradus ad Parnassum (Parnassus山之階, 1817-26) 包含難易漸進的百首練習曲. Carl Czerny 寫下許多教本與練習曲 (tude). 2. 業餘者的娛樂 舞曲; b. 以歌為範本的曲子; c. 個性小品; d, sonatas 3. 公眾演出: 炫技作品,Schubert 的鋼琴音樂,His dance works include marches and waltzes. Short lyrical pieces Six Moments musicaux (Musical Moments, 1823-28) Eight Impromptus (1827) The numerous piano duets include the beautiful Fantasy in F Minor (1828).,The Wanderer Fantasy (1822) 流浪者的幻想曲,曲子的超技與不尋常曲式吸引後代作家. 四樂章以無間斷方式(四合一)呈現. 中間的樂章是以他同名的歌曲Der Wanderer為主題的變奏曲. 其他的樂章也引用歌中的動機,Schubert完成11首鋼琴奏鳴曲,這些作品顯現他歌曲為主的風格與多樂章形式間的衝突. 他的主題傾向為長大的旋律本身並不適合分解發展. 他的奏鳴曲式在呈示部使用3個調性. The slow movements tend to be songlike and resemble impromptus.,鋼琴奏鳴曲,Schuberts last three sonatas: C minor, A major, and B-flat major. 明顯的受到Beethoven作品的影響, 如C-minor sonata暴風雨般的開始就是例證. 但這些作品都瀰漫著濃濃的抒情特質. The first movement of the B-flat sonata features a long singing melody.,Felix Mendelssohn (1809-47) 孟德爾頌,Felix Mendelssohn (1809-47),生涯 日爾曼啟蒙時期頂尖哲學家Moses Mendelssohn 之孫. 他的父親從猶太教改信基督教. Mendelssohn 是個非凡的天才, 年少時的創作能力可與Mozart媲美. 他創立Leipzig 音樂院, 1843. Mendelssohn 卒於腦溢血, 享年38歲.,He blended characteristics of Bach, Handel, Mozart, and Beethoven with those of his contemporaries. Contrapuntal activity and formal clarity Romantic expression Beautiful melodies Interesting and often unpredictable melodies Fluent technique was emphasized over bravura display.,His larger piano works include three sonatas, variations, and fantasias. The Seven Character Pieces (1827) introduced the term and helped define the genre. Lieder ohne Wrte (Songs without Words) Mendelssohn published forty-eight works in eight books. Mendelssohn believed that music could express feelings that words cannot,Lieder ohne Wrte, Op. 19 No. 1,Like a Lied, the music can be divided into three parts: the left-hand bass, the right-hand arpeggiations, and a singers melody. It is a challenge to play all three parts smoothly. The work projects an engaging melody and an interesting accompaniment.,Robert Schumann,Prior to 1840, all of Schumanns published music was for piano. Most of his works were short character pieces. The character pieces are often grouped in sets with colorful names. Papillons (Butterflies) Carnaval Fantasiestke (Fantasy Pieces) Kinderscenen (Scenes from Chilhood) Kreisleriana Album f die Jugend (Album for the Young) contains pieces for children.,Although the titles of the pieces suggest poetic descriptions, Schumann said he composed the works before giving them titles. His own contradictory personality is reflected in the many moods. He personified the various sides of his own personality. Florestan is the impulsive revolutionary. Eusebius is the contemplative dreamer. Meister Raro is the wise and mature master. These characters were members of the Davidsbund, an imaginary league that campaigned against the Philistines of music.,Fantasiestucke (1837),This set was dedicated to the British pianist Anna Robena Laidlaw. The title, taken from a work by E. T. A. Hoffmann, suggests that the works are original, unusual, evocative, and emotional. There are eight pieces in the set, including Aufschwung and Warum?.,Fryderyk Chopin (1810-49),Fryderyk Chopin (1810-49),Biography Chopin was born near Warsaw in Poland. An established performer, he moved to Paris in 1831. Chopin met the leading musicians in Paris, including Liszt. He had a tempestuous nine-year affair with novelist George Sand (the pseudonym of Aurore Dudevant). He died from tuberculosis in 1849.,Chopin composed almost exclusively for the piano, including: Around two hundred solo piano pieces Six works for piano and orchestra Around twenty songs Four chamber works His idiomatic writing opened new possibilities for the piano that appealed to both amateurs and connoisseurs.,tudes 練習曲,Chopin 創作27首 tudes. Opus 10 (1829-33) 12首. Opus 25 (1832-37) 12首. 其餘三首無作品編號. 每首tude addresses a specific skill. Chopins tudes were the first with significant artistic content and can be called concert tudes.,Preludes,Chopin composed twenty-four preludes as Op. 28 (1836-39). Like Bachs Well-Tempered Clavier, they are in all the major and minor keys. These brief mood pieces illustrate an astounding inventiveness of figuration (see HWM Example 24.7). The rich chromatic harmonies and the varied textures influenced many later composers.,Dances,Chopin composed waltzes, mazurkas, and polonaises for his students. The dances are idiomatic for the piano and are often only moderately difficult. The waltzes evoke the ballrooms of Vienna.,Polonaises,The polonaise is a Polish dance in 3/4 meter. It often has an eighth note and two sixteenth notes on the first beat. Some are vigorous and suggest a militaristic national identity.,Mazurkas,The mazurka was a Polish folk dance that had become popular in Paris ballrooms. In triple meter, the mazurka features two eighth notes (or a dotted eighth-sixteenth) on the downbeat followed by two quarter notes. This rhythmic pattern emphasizes the second beat of the measure.,Nocturnes 夜曲,Nocturnes are short pieces with beautiful, embellished melodies and sonorous accompaniments. Chopins conception of the nocturne is indebted to the nocturnes of the Irish pianist-composer John Field (1782-1837). The genre, a type of song without words, is similar to the nocturne for voices and is indebted to the embellished singing style of Italian opera. Chopin composed eighteen nocturnes.,Nocturne in D-flat Major,This work features an angular melody with embellishments. The accompaniment spans two octaves. The form is songlike and can be seen as modified strophic with three verses: AB trans AB trans A“B“ trans Coda. The unpredictable A theme unfolds through constant variation. The B theme is in a contrasting key, but is more regular than A. Each transition is different. The coda features parallel diminished seventh chords, but remains firmly in D-flat.,Nocturnes 夜曲,Nocturnes 是短小帶有美麗富裝飾旋律, 伴奏音響豐富的作品,. Chopin對於nocturne的觀念來自於愛爾蘭鋼琴作家John Field (1782-1837). 此樂種, 可算是種無言歌, 以類似當時義大利歌劇聲樂的方式裝飾旋律 . Chopin 寫了18首nocturnes.,NAWM l08 Field：A大調夜曲第8首 NAWM l09 Chopin：降E大調夜曲，Op.9,N0.2 Field的夜曲同Chopin的夜曲有一些相似之處，特別是上行大六度、熱情的漣音、和船歌式伴奏下的旋律的半音裝飾。這一線條得自歌劇歌唱家常用的裝飾和華彩，後來被鋼琴家借用於根據家喻戶曉的詠嘆調而作的即興變奏曲中。Field雖有Chopin的一些獨特手法的萌芽，但無法同Chopin的抒情線條支托其上的豐富的和聲想像力相比，如Eb調夜曲中的那樣,Ballades 敘事曲, scherzos詼諧曲,ballades 與 scherzos 較Chopin其他單樂章作品長大且要求較高. Ballades 敘事曲 Chopin 是第一位以Ballades命名器樂曲的作家. The ballades 捕捉波蘭敘事詩的精神, 灌注新奇的和聲與形式的轉換. Scherzos詼諧曲 scherzos 並不是開玩笑, 較嚴肅且熱烈. scherzos 由於節奏與主題的多變, 處理上更顯困難.,Chopin 的成就,作品融入了波蘭民族風格 僅專注於鋼琴音樂 結合超技與優雅的抒情性 旋律, 和聲與鋼琴與法的原創性 對於專家與業餘愛好者同具吸引力 創造出專屬鋼琴的音響效果,Franz Liszt (1811-86) 李斯特,Franz Liszt (1811-86),Liszt 是個令人震懾的巧計大師virtuoso 與也是重要作曲家. 早期生涯 Liszt 奧匈帝國的天才兒童. 12歲時隨家庭遷居巴黎 in 1823. He exploited technological advancements on the piano and developed a new virtuoso style. 在巴黎社交沙龍salons中, 他結識當代首要作家, 畫家與音樂家. 與Marie dAgoult伯爵夫人同居於瑞士與義大利.,對兩國的印象, 激發他出版了曲多曲集. Album dun voyageur (旅行者曲集, 1837-38) Annes de plerinage (巡禮歲月) 3冊 這些作品中, 有些是Liszt對詩或畫的反應. Liszt gave over one thousand concerts between 1839 and 1847. 他巡迴歐洲, 土耳其, 俄國. 他是第一位在大型音樂廳演奏獨奏的鋼琴家, 他把這樣的音樂會命名為之recital. 他也是第一位演奏不同時期曲目(從Bach到當代)並也是第一位背譜演奏者. Liszt 備受歡迎如同現在之搖滾巨星. Liszt 為了專心作曲於1848年起停止巡迴,對兩國的印象, 激發他出版了曲多曲集. Album dun voyageur (旅行者曲集, 1837-38) Annes de plerinage (巡禮歲月) 3冊 這些作品中, 有些是Liszt對詩或畫的反應. Liszt gave over one thousand concerts between 1839 and 1847. 他巡迴歐洲, 土耳其, 俄國. 他是第一位在大型音樂廳演奏獨奏的鋼琴家, 他把這樣的音樂會命名為之recital. 他也是第一位演奏不同時期曲目(從Bach到當代)並也是第一位背譜演奏者. Liszt 備受歡迎如同現在之搖滾巨星. Liszt 為了專心作曲於1848年起停止巡迴, Liszt au piano , par Josef Danhauser (1840, Berlin, National Galerie), avec de gauche droite : Dumas pre, Victor Hugo, George Sand, Niccolo Paganini, Gioacchino Rossini, Franz Liszt, Marie dAgoult et, droite, un buste de Beethoven.,Liszt 所受到的影響,他的作品中旋律, 節奏基於匈牙利的傳統, 如Hungarian rhapsodies可看出他的匈牙利血緣. 在到達巴黎後,他吸收了若干Chopin的音樂因素. Nicola Paganini也許是他最大的影響者. A hypnotic performer, Paganini raised violin virtuosity to new heights. Liszt vowed to accomplish the same feat for the piano.,Ballades 敘事曲, scherzos詼諧曲,ballades 與 scherzos 較Chopin其他單樂章作品長大且要求較高. Ballades 敘事曲 Chopin 是第一位以Ballades命名器樂曲的作家. The ballades 捕捉波蘭敘事詩的精神, 灌注新奇的和聲與形式的轉換. Scherzos詼諧曲 scherzos 並不是開玩笑, 較嚴肅且熱烈. scherzos 由於節奏與主題的多變, 處理上更顯困難.,Chopin 的成就,作品融入了波蘭民族風格 僅專注於鋼琴音樂 結合超技與優雅的抒情性 旋律, 和聲與鋼琴與法的原創性 對於專家與業餘愛好者同具吸引力 創造出專屬鋼琴的音響效果,Franz Liszt (1811-86) 李斯特,Franz Liszt (1811-86),Liszt 是個令人震懾的巧計大師 (virtuoso) 也是重要作曲家. 早期生涯 Liszt 奧匈帝國的天才兒童. 12歲時隨家庭遷居巴黎 in 1823. 他探索鋼琴技巧上的更進, 發展出一套新的炫技風格. 在巴黎社交沙龍salons中, 他結識當代首要作家, 畫家與音樂家. 與Marie dAgoult伯爵夫人同居於瑞士與義大利.,對兩國的印象, 激發他出版了曲多曲集. Album dun voyageur (旅行者曲集, 1837-38) Annes de plerinag