李斯特晚期作品分析

1、A Pioneer of Impressionist MusicThe Analysis of the Later Works of Liszt印象主义音乐的先声李斯特晚期作品分析As a pianist, composer, conductor, music educator and social activist in Hungary,Franz Liszt was one of the people whose businesses were most brilliant during the Romanticism period.Well known in the history of

2、 Western music, Liszts music ideas and practices were famous for originality and prospective , especially his later piano works were different from the past in quality.Today, I report on the topic of Liszts late piano works after the 1860s, while the focal point is his creation after the 1880s, with

3、 emphasis on analysis and research of harmony and musical form ,and compare his creative techniques with 20th century impressionist piano works.匈牙利钢琴家、作曲家、指挥家、音乐教育家和社会活动家Franz Liszt是浪漫主义时期事业最辉煌的人之一。众所周知在西方音乐史上，Liszt的音乐创作思想与实践以原创性和前瞻性著称，特别是其晚期钢琴作品具有与以往不同的品质。今天，我报告的主题就以Liszt晚期即19世纪60年代以后的钢琴作品为研究对象，而重心

4、是其80年代以后的创作，重点在分析和研究和声与曲式，并将其创作技法与20世纪印象派的钢琴作品相比较。From the early quest of virtuoso playing and the middle exploration of program music, to seeking solace in religious music later, the focus of Liszts musical career changed greatly.Comparing with the previous works,his later works were very different

5、, the musical language became bitter, and used a series of unconventional techniques as a form of expression，which was not only relating to his courage to reform, respected and innovative musical ideas,but also connecting with Liszts ill-fated destiny. Consistent with the vast majority of romanticis

6、ts , Liszt insisted the theory called heteronomy of musical aesthetic. Although this concept hadnt been used as a special aesthetic terminology, most of the composers of this period considered that music performed something other than pure tone, the content of music was an expression of emotion. So

7、most people with romantic ideals advocated subjective feelings of expression, full of love of nature and fantasy of the future. So whether they were virtuoso playing skills, or techniques to subvert the traditional composition, in Liszts opinion, which was the need to express themselves. From this p

8、erspective, the difference between Liszts musical language during his early and later period was ultimately a change of his inner feelings in his outward manifestation.从早期对演奏炫技的追求，到中期对标题音乐的探索，再到晚期在宗教音乐中寻求安慰，Liszt音乐生涯的重心转变很大。与前期作品相比，他的晚期作品大相劲庭，音乐语言变得苦涩，并且采用一系列突破传统的技法作为内容表达的形式。这与他勇于革新。推崇创新的音乐理念有关，也与其命

9、运多舛有关。与绝大多数浪漫主义者相一致的是，Liszt坚持着音乐美学上的他律论（heteronomy）。虽然这一概念当时还未被作为一个专门的美学术语来使用，但是这一时期的作曲家们大多都认为音乐表现着纯音响以外的某种东西，音乐的内容是情感的表达。因此多数浪漫主义者均崇尚主观感情的抒发，充满对自然的热爱和对未来的幻想。因此无论是炫技性的演奏技巧，还是颠覆传统的作曲技法，在Liszt看来，这都是为表达内心的需要。从这个角度看，Liszt早期与晚期音乐语言的差异，归根结底是他内心感情变化的外在表现。In Liszts later years,he mainly lived in Rome of Ita

10、ly , Weimar of Germany, and Budapest of Hungary, spending most energy on music education and art management. However, the failure of saving Romes religious music , monotonous teaching life in Weimar, and the disappointment of declining in liberty and progressive ideas around the Hungarian national l

11、ed Liszt pessimistic attitude toward life in his later years, such a pessimistic thought became a deep reason why his later music color had a significant change. In this process, Liszt demonstrated loneliness and pessimistic feelings and thoughts through constantly innovative techniques of music. Wh

12、ile the ambitious musical genre and structure were spreading around the World, Liszt avoided the previously epic genre with grand drama concept, steering exploration to plain, simple piano ditty. By focusing on portraying life in family matters, to bare the inner world of the self.晚年的Liszt基本上在意大利的罗马

13、、德国的魏玛和匈牙利的布达佩斯生活，主要精力花在音乐教育与艺术管理方面。然而挽救罗马宗教音乐的失败，魏玛单调的教学生活，对匈牙利民族自由与进步思想衰微的失望，导致了Liszt晚年悲观的生活态度，这种悲观的思想成为他晚期音乐色彩发生重大变化的深层原因。在这个过程中，Liszt通过不断创新的音乐技法表现了情感和思想的孤寂与悲观。当宏大的音乐体裁与结构形式正传向世界时，Liszt却避开了以往具有宏大戏剧构思的史诗性的体裁，转向对朴素、简洁的钢琴小曲的探索。通过注重刻画生活中的凡人琐事，以袒露自我的内心世界。Parallel progression which consist of the fifth

14、 interval and augmented third chord， non-overlapping three degrees chord structure，using pentatonic scale and whole-tone scale to create effects, these harmonic techniques appeared in large numbers in Liszts late works.Liszt faded the strong contrast to the structure of the song structure, emphasizi

15、ng the unity and random development of the music, often using single structure, parallel structure,freedom structure,etc. However, the innovative spirit of Liszt had not been recognized, some bad words such as maverick, trick often attacked him. Schumann first thought, there was a great disparity be

16、tween Liszts piano talent and creative talent, Balzac criticized more sharply: Liszt is a unique piano genius, he can rival Paganini, but he dont have creative talent , he only has fingers. Liszt once compared himself to a fireworks maker, when he put the most gorgeous fireworks to people, he found

17、that these people actually were blind, of course, finally, he added, those blind viewers might restore their visions one day through the help of God .五度音程、增三和弦等组成的平行进行，非三度叠置的和弦结构，运用五声音阶、全音音阶来营造效果，这些和声技法大量出现在Liszt的晚期作品中。在乐曲结构上淡化强烈的对比结构，强调乐曲的统一性与随意发展性，常运用单一结构、平行结构自由结构等。然而，Liszt的革新精神并没有得到认可，“标新立异”“故弄玄虚

18、”的帽子时常被扣在他头上。舒曼第一个认为，Liszt的钢琴演奏才能与创作才能相差悬殊，巴尔扎克更加尖锐：“Liszt是得天独厚的钢琴天才，他可以和帕格尼尼媲美，可是创作天分他是没有的，他只有手指。”Liszt曾把自己比为一个烟火匠，当自己把最绚烂的烟火放给被人看时，却发现这些人竟然都是瞎子，当然最后他补充了一句，那些瞎眼的观众也许有朝一日受上天之佑会恢复视力的。First of all,I want to talk about the genre tendencies.首先我想谈论一下体裁倾向。The main theme of Liszts later piano works was div

19、ided into two categories: the first category was the natural scenery theme, such as Nuages Gris which I had just played. The other was the subject about the death , such as Csardas Macabre, La lugubre Gondol no2, Mephisto WalzerNO.4 ,Bafatelle and sans tonalite which I had just played. Many Liszts l

20、ater piano works were labeled title, and undertook the mission of depicting theme and performing emotion to some extent.Liszt晚期钢琴作品题材主要分为两类：第一类是自然景物题材，例如刚才我所演奏的Nuages Gris。另一类是死亡题材，例如我刚演奏的Csardas Macabre、La lugubre Gondol no2、Mephisto WalzerNO.4和Bafatelle、sans tonalite。Liszt晚期的诸多钢琴作品都冠以标题，并在一定程度上承担了

21、主题描绘与情感表现的使命。Harmony和声Comparing with the previous,Liszts later piano works underwent a qualitative change . He attached importance to color changes of instruments and novel stimuli of harmony ,carrying on a bold attempt and innovation on layout and setup of harmony and tonality , virtuoso effects an

22、d structural factors were in the back seat. Non-functional harmonic progression, extensive use of dissonant intervals and chords and other techniques became important means of his writing. Color factors dominated the harmonic structure, function of the former tonality and chord structure was weaken

23、in principle, the role of dissonant intervals had changed, that was, the using of dissonant intervals was entirely determined by its color value. It was inevitably reminiscent of some compositional techniques of the Impressionist music during 20th century: Non-third stacked chord structure, independ

24、ent dissonant harmony, polyphony harmony,the use of additional sound, the parallel progression of various types chords, functional harmony layout, unexpected termination style, unique harmony expansion method, and so on.Liszt晚期的钢琴作品与前期相比发生了质的变化。他重视乐器的色彩变化与和声的新颖刺激，在和声与调性的设置与布局上进行了大胆的尝试与创新，炫技效果和结构因素退居

25、其次。非功能性的和声进行、不协和音程与和弦的大量运用等技法成为他写作的重要手段。色彩性因素统治着和声的结构，从前的调性与和弦结构的功能原则削弱，不协和音的作用发生了变化，即不协和音的采用完全由它的色彩价值而定。这不免让人联想到20世纪印象主义音乐的一些作曲技法：非三度叠置的和弦结构、独立的不协和和声、复调和声、附加音的运用、各类和弦的平行进行、给功能性的和声布局、意外的终止式、特有的和声展开方法等等。For using a very dissonant tri-tone of traditional harmony concept (augmented fourth interval and

26、diminished fifth interval), composers before the 20th century were very cautious, rarely placing them on an important position in their works, most of them were given resolution. However, these dissonant intervals had been liberated by the Impressionist composers pen. For example, in the beginning o

27、f the Bagatelle sans tonalite, a large number of tri-tones emerged, for the performance of Mephistos evil appearance image.对于传统和声观念中极不协和的三全音(即增四度音程与减五度音程)之运用，20世纪之前的作曲家门都十分谨慎，很少将其置于作品的重要位置，大多给予解决。然而这类不协和音程则在印象派作曲家的笔下得到解放。例如在Bagatelle sans tonalite的开头出现了大量的三全音，以用于表现Mephisto邪恶的出场形象。Wagner created a ne

28、w situation of chromatic harmony in Terry Constance and Isoldeoverture, which became the focus of the later Romantic harmony techniques, and was gradually towards the 20th centurys atonal territory. As a close friend of Wagner, Liszt used chromatic approach to respond in many works. For example, in

29、La lugubre Gondol no2 , Liszt intended to depict gloomy funeral scene and his inner fear of death through chromatic interval to strong the dissonance of sound .瓦格纳在特里坦斯与伊索尔德序曲中开创了半音和声的新境地，这即成为浪漫主义晚期和声技法的焦点，有逐渐引向了20世纪无调性的疆域。作为瓦格纳的密友，Liszt在众多作品中运用半音手法加以回应。例如在La lugubre Gondol no2中，Liszt有意通过半音音程增强音响的不协

30、和性，以描绘阴森的葬礼场面，以及自己对死亡的内心恐惧。Augmented triads became Liszts favorite chords in his later music works.As the core of building a song, the chords throughout Nuages Gris were in the form of Sequence. Debussy and Stravinsky much appreciated this song later.增三和弦的成为Liszt晚期音乐创作中偏爱的和弦，作为构建乐曲的主要核心要素，该和弦以模进的形式呈

31、现贯穿于Nuages Gris中。后来德彪西和斯特拉文斯基都对此曲大加赞赏。Fourth overlapped chord structure was the common harmony practice using by the 20th centurys Impressionist composers and other composers such as Bartok. This new harmony structure helped evoke mood, atmosphere and emotion, having a different kind of stimulation.

32、 Some Liszts later piano works pioneered the use of this type of chords. For example, the beginning of Nuages Gris began with DG- # C and appeared in the ninth section in the form of column.四度叠置的和弦结构是20世纪印象主义作曲家以及其后巴托克等作曲家常用的和声手法。这种新型的和声结构有助于唤起意境、气氛与情感，有一种别样的刺激。Liszt晚期的一些钢琴作品中开拓性的使用了这一类和弦。例如Nuages G

33、ris的开头以D-G-#C开始，并且在第九小结以柱状的形式出现。From the perspective of traditional harmony, parallel progression might be one of the most monotonous forms. However, it became a hot musical expression of the 20th century Impressionist composers , the reason was that parallel progression owned peculiar sense of open

34、 and flow, being able to demonstrate instant changes of color and tone, themes and contents of services and works.从传统和声角度来看，平行进行或许是最单调的形式之一。然而它成为20世纪印象主义作曲家炙手可热的音乐表达方式，原因在于平行进行所特有的空旷与流动感，能够表现色彩与色调的瞬间变化，服务与作品的主题与内容。Csardas Macabres section 49-87 used a continuous parallel fifth progression of section

35、 27 , and adopted exactly same notes on the right and left at the same time. The writing style could be described as bold, stunning, and such continuously pure fifth progression in the later section 305-343 would be repeated in the same form, section 561-576 emphasized again in the form of change. T

36、his approach using had no precedent at that time. After finishing this workCsardas Macabre, Liszt had scrawled on the draft , Could a person write such a work, or listen to it? From this we could see that Liszt was so bold to split with the tradition.Csardas Macabre的49-87小结运用了27小结的连续平行五度进行，同时左右都采用了完

37、全一样的音符。该写作手法可以用“大胆、惊人”来形容，并且这样的连续纯五度进行在之后的305-343小节以同样的形式加以重复，561-576小结以变化的形式再次加以强调，这样的手法运用在当时是绝无先例的。Liszt在完成Csardas Macabre这部作品后，曾在草稿上随便潦草的写到“一个人能写作或者聆听这样一部作品吗？”由此我们可以看到Liszt是如此大胆地与传统分裂开来。Parallel progression of minor sixth chord emerged in the end part of the La lugubre Gondol no2 . As we know,the

38、 minor sixth chords color was bleak and easy to show sad emotions,which depicted a blue mood at the funeral successfully. La lugubre Gondol no2在即将结束的部分出现了小六和弦的平行进行。总所周知，小六和弦色彩暗淡易于表现悲伤、凄凉的清绪。这很好的描绘了葬礼中忧伤的心情。In addition, we could find that in Liszts later piano creations, he didnt often use the main h

39、armony as the songs cadence form, but used the following forms: 1. Let the song end on a dissonant interval or chord, and didnt solve it, intending to extend this instable and unsolved state, leaving the audiences unfinished feeling.It was mainly reflected in Nuages Gris and Bagatelle sans tonalite.

40、 2. At the end of the song, it was obscured and away from tonality, emphasizing the freedom and erraticism of the song color , such as La lugubre Gondol no2, Bagatelle sans tonalite. 3. The end portion of the song often went to collapsebecame silent single part (such as La lugubre Gondol no2), or oc

41、tave intervals shouting (such as Csardas Macabre, Mephisto WalzerNO.4).另外，我们可以发现Liszt晚期钢琴创作中常常不用主和声作为乐曲的终止式，而是使用以下几种形式：1.将乐曲结束在不协和的音程或和弦上，并不给予解决，有意延长这种不稳定及不解决的状态，给听众留下请之未尽的感觉，主要体现在Nuages Gris和Bagatelle sans tonalite中。2.在乐曲结束部分模糊哦并远离调性，强调乐曲色彩的随意自由与飘忽不定，这在La lugubre Gondol no2、Bagatelle sans tonalite。

42、3.乐曲结束部分常常走向瓦解发展成为单声部的沉默（例如La lugubre Gondol no2），或是八度音程的叫喊（例如Csardas Macabre，Mephisto WalzerNO.4）At the same time, we can find some other compositional techniques associating with the Impressionist style.同时，我们还能发现一些其他的作曲技法与印象主义风格有联系。After the 1880s, Liszts piano creations often used chromatic lines

43、 music trends, which was reflected with varying degrees in the 5 songs I had just played. In La lugubre Gondol no2 and Csardas Macabre, the use of chromatic scale melody made musical fluency weakened and the appeal enhanced,the sound gave people a haggard feeling.在Liszt19世纪80年代之后的钢琴创作中，常常使用半音线条的音乐走向

44、，这在我刚才演奏的5首乐曲中都有不同程度的体现。在La lugubre Gondol no2和Csardas Macabre，中半音音阶的旋律的运用使得音乐的流畅性减弱，所诉性增强，音响效果给人以枯槁的感觉。Continuous tone was one of the common practices used by Impressionist composer Debussy, which was used to create, characterize the background. The sustained tremolo and trill of background appeare

45、d in large numbers in Liszts later works, such as in Nuages Gris and Csardas Macabre, and there was also self-propelled continuous tones,such as in Bagatelle sans tonalite, using cumulate continuous tones as the background, which played a crucial role in constituting the title impression of works.持续

46、音是印象派作曲家德彪西常用的手法之一，以用来塑造、刻画背景。背景的持续式震音和颤音在Liszt的晚期作品中大量出现，例如在Nuages Gris和Csardas Macabre中，同时也有机动式持续音，例如在Bagatelle sans tonalite中，以堆积的持续音作为背景，这对构成作品的标题印象起到了至关重要的作用。Finally, I want to talk about the structure of Liszts later works. In Liszts later musical creations, he always insisted a creative idea

47、that form is the way to express the concept to build the songs structure. Overall, the contrastive principle of the Liszts works structure during this period was relegated to second position, the musical materials of the songs inside tended to unity, most themes about music were launched; Meanwhile,

48、 long lines style melodies tended to collapse and were taken place by short themes to shaping the musical image of the whole subject. Thus the song structures mainly exhibited parallel structures, symmetrical structures, freedom structures and several more unified structures.最后我想谈论一下Liszt晚期作品的结构。在Li

49、szt晚期的音乐创作中，他始终坚持认为“形式是观念表达的方式”这一创作理念来构建乐曲的结构。总体来看，这一时期的Liszt作品在结构上对比性原则退居其次要地位，乐曲内部的音乐材料趋向统一，大多围绕乐曲的主题展开；同时，长线条式的旋律趋向瓦解，被短促的主题动机加以替代，用以塑造整个主题的音乐形象。由此在乐曲结构上，主要呈现出平行结构、对称结构、自由结构等几种较为统一的结构形态。Nuages Griss performance of the song structure was very simple and uniform, In a nutshell, it consisted of two

50、main motivation materials: The one was a non-overlapping third chord structure (such as “a” in the picture), and the other was the contact chromatic descending progression of augmented triad (such as “b” in the picture). Two motivation materials belonged to the list of dissonant chords, so their cha

51、racters were very similar. The use of dissonant chords continuous chromatic descending depicted an illusory impression of black clouds. Because of old age,Liszt suffered from cataract which made his vision gradually decreased, so with the help of black clouds,he described that Night was approaching

52、toward him. And this double-themed work often appeared in impressionistic musical style, such as Mrs. Ravels Lady in the Water.Nuages Gris在乐曲结构上表现的异常简单且统一，简单地说，主要有两个动机材料组成：一个是非三度叠置的和弦结构（即图示中的a），另一个是增三和弦的联系半音下行进行（即图示中的b）。两个动机材料属于不协和和弦之列，因此在性格上极为相似。不协和和弦的连续半音下行运用描绘了乌云虚无缥缈的印象。由于晚年所患白内障使他的视力逐渐下降，于是Liszt

53、借助乌云来描写“黑夜”正向他哆哆逼近。而这种双主题的作品在印象主义的音乐风格中也经常出现，例如拉威尔夫人水妖。Mephisto WalzerNO.4 and Bagatelle sans tonalite were also the double-themed structures. Topic A and B constantly and alternately recurred in Mephisto WalzerNO.4. The transitions between A and B used substantial ways of chromatic progression , wh

54、ile the transitions between b1 and b2 in section B were all completed by chromatic progression. Atonal Bagatelle sans tonalite used a lot of chromatic scales as the melody, and interspersed tri-tones as auxiliaries at the same time.Mephisto WalzerNO.4和Bagatelle sans tonalite同样也是双主题的结构。在Mephisto Walz

55、erNO.4中主题A与B不断的重复出现、相互交替。A与B的过渡中大量使用了“半音进行”的方式，而B段中b1至b2的过渡全是由半音进行完成的。无调性的Bagatelle sans tonalite使用了大量的半音音阶作为旋律，同时穿插三全音作为辅助。La lugubre Gondol no2 exhibited symmetrical structure in the overall layout ,and it also used the chromatic progression as the typical music materials, A/B/C and coda performed

56、 chromatic progression materials implicitly , among which section A and B were naturally linked up by chromatic progression .The composer used chromatic progression as a common material of each part, emphasizing the penetrating effect of the musical development , which embodied the effect of unity and mutual echo. Debussys Tower and sail also belonged to the symmetrical structur