中文字幕理论片,69视频免费在线观看,亚洲成人app,国产1级毛片,刘涛最大尺度戏视频,欧美亚洲美女视频,2021韩国美女仙女屋vip视频

I have mentioned these aspects of Mozart’s genius because they underlie the piano-music. Mozart’s piano-music suffers from two very serious handicaps. He probably restricted himself to the smallest difficulties which would in any way answer, and his pianoforte was none of the best.

我提到莫扎特的天賦中的這些方面，是因?yàn)樗鼈儧Q定了他的鋼琴音樂。莫扎特的鋼琴音樂有兩個(gè)很嚴(yán)重的缺陷，他好像只肯去解決最小的麻煩，而他的鋼琴也不是最好的。

Mozart seems to have written for his countesses and other aristocratic patronesses, who were not seeking after epoch-marking things. Yet they got them in their way. If you go through the Mozart sonatas for piano what do you find? Everywhere melody, and plenty of it.

他寫這些曲子，似乎只是為了伯爵夫人和其他資助他的貴夫人們，而她們可沒想著追求什么劃時(shí)代的不尋常的東西。然而以她們的方式，她們還是獲得了這些佳作。如果你把莫扎特的鋼琴奏鳴曲都聽聽，你會(huì)聽到什么？無所不在的旋律，數(shù)量眾多。

For instance, take the sonata in F-major, a very good one (No. 7 in the Peters edition). He begins with one melody. It completes itself upon the tonic in twelve measures, the end having been postponed by a clever little imitation in the bass. What then happens? Another melody, more fascinating than the first, a melody which would have been delightful in an opera or orchestral work. After this, what? Here he becomes dramatic, and some modulations and passage-work intervene.

例如那首很棒的《F大調(diào)奏鳴曲》（彼得斯版本上的第七首），他以一段旋律開始，十二個(gè)小節(jié)后回到主音上，以巧妙的低音模仿推遲了結(jié)尾。然后呢？是另一段旋律，比第一段更為迷人，用在歌劇或者管弦樂中也會(huì)很悅耳。這之后呢？他更為戲劇化，進(jìn)行了一些調(diào)整，加入了經(jīng)過段，但很快又回到C大調(diào)的第二主題，還是一段旋律。

But in a moment he is back again with his second subject in C: still a melody. In place of an elaboration in the middle of the movement, we have yet another melody—a middle piece. The slow movement is still a series of melodies, but slower and tenderer than those in the beginning. The finale, like all sonata finales, has very little to do with the case.

樂章中間不是精心的展開，而是又一段旋律。慢板樂章中還是一系列的旋律，只是比開頭更為緩慢和柔和。尾聲則和所有奏鳴曲的尾聲一樣，不在討論之列了。

This characteristic, melody, is at the foundation of his influence upon pianoforte-technic and would be still more at the foundation if his works were studied more, as they ought to be. To play Mozart, whether upon the piano or in the orchestra, pure melody-touch is the first necessity. Theodore Thomas told me, years ago, that in his opinion the time would soon come when players could not play properly nor singers sing Mozart’s works.

莫扎特的這一特點(diǎn)：旋律，乃是他對(duì)鋼琴技術(shù)影響的基礎(chǔ)，若他的作品能得到更多的研究（本該如此），這一點(diǎn)更是基礎(chǔ)中的基礎(chǔ)。要演奏莫扎特的作品，無論是鋼琴曲還是管弦樂，純粹的旋律式觸鍵是首要的。多年前西奧多·托馬斯跟我說，過不了多久人們就再也彈不好或者唱不好莫扎特的作品了。

Violinists almost invariably make a tremolo with their left hand when playing sustained tones. Mozart did not wish this; he belonged to the generation when singers had diaphragms and knew how to hold them steady, to sustain a tone and swell it out, and to diminish it to a fabulous duration. A pure, even tone was a singer’s first grace. On the piano the same thing holds. 

小提琴手在拉持續(xù)音時(shí)，幾乎都是在用左手做顫音，莫扎特不希望如此。在他的時(shí)代，歌手們運(yùn)用橫膈膜唱法，他們知道怎樣穩(wěn)定橫膈膜來保持長(zhǎng)音，讓音色飽滿深長(zhǎng)。純粹而平穩(wěn)的音色是歌手們第一個(gè)看家本領(lǐng)。

While we cannot really sustain anything, we can so touch the key that the tone is prolonged to the powers of the instrument, and with just that degree of force which gives the impression of a gentle fullness without sounding like or suggesting an accent. 

他那個(gè)時(shí)代的鋼琴演奏也是如此，雖然我們無法真正使音持續(xù)，但我們可以用恰當(dāng)?shù)挠|鍵使它得到最大限度的延續(xù)，用恰當(dāng)?shù)牧Χ仁顾岷惋枬M沒有突兀的重音。

Therefore the Mozart technic turns upon melody-playing. And since the Mozart type of melody is mainly that of a refined and idealized folk-song, the advance in musical progress has brought these works within reach of students in earlier parts of their training. The most difficult places in the Mozart sonatas are scarcely, if at all, beyond the fifth grade; and most lie within the fourth.

因此，演奏莫扎特的技術(shù)就在于旋律的演奏。既然莫扎特式旋律主要是精巧而理想化的民謠，音樂方面的進(jìn)步使得學(xué)生們?cè)谟?xùn)練的早期都能接觸這些作品。莫扎特奏鳴曲中最難的部分鮮有超過五年級(jí)水平的，多數(shù)都在四年級(jí)學(xué)生的能力之內(nèi)。

The esthetic, also, is childlike, if only we grant this intuition of song. Hence the study of Mozart tends to give the melody-playing a sweetness, evenness, and musical quality which no other material will give in equal degree.

只要我們他的鋼琴作品當(dāng)做歌曲，那么其中的美感也是具有孩子氣的。因而對(duì)莫扎特的研究往往贊許這種旋律式的演奏，認(rèn)為這樣甜美、勻稱、有音樂性，其他的研究材料都不會(huì)給予它同等評(píng)價(jià)。

The passage-work in Mozart, also, demands that same soft, fluent, sure finger-work, and all the modern effects of bravura, depending upon arm-work, are absent.

莫扎特的經(jīng)過段同樣需要這樣溫柔、流暢和堅(jiān)定的指觸，而沒有現(xiàn)代鋼琴演奏中依靠手臂帶來的炫技效果。即使在他的協(xié)奏曲中，經(jīng)過段也是為手指而作的。

Even in his concertos the passage-work is for the fingers, and it is impossible to conceive that the piano can ever have dominated in this passage-work as the modern piano dominates in a concerto by Rubinstein, Tschaikowsky, Liszt, or Brahms. Everything has grown larger since Mozart’s day: pianos, players, halls, and ideas; larger, but not more beautiful.

鋼琴在經(jīng)過段中占主導(dǎo)地位（就像現(xiàn)代鋼琴在魯賓斯坦、柴可夫斯基、李斯特或勃拉姆斯的協(xié)奏曲中占主導(dǎo)地位那樣）是不可想象的。自莫扎特時(shí)代以來，一切都變大了：鋼琴、演奏者、音樂廳，還有想法；更大，但未必更美。

To play a Mozart concerto well requires a very sure technic; a very even and full finger-tone, which, however, must be wholly free from pounding or an accent-effect; and great readiness of musical feeling. Dr. William Mason used to do this kind of an act of piety, once every year, with Theodore Thomas; Reinecke used to do it in Leipzig, and other artists have done it.

要演奏好莫扎特的協(xié)奏曲，需要非常扎實(shí)的技巧，手指的音色要十分均勻飽滿的，絕不可以敲擊或是發(fā)出突兀的聲音，要有極強(qiáng)的樂感。威廉·梅森（William Mason）博士過去每年都會(huì)和西奧多·托馬斯（Theodore Thomas）一起以這樣虔誠(chéng)的方式演奏莫扎特的協(xié)奏曲，賴內(nèi)克（Reinecke）曾在萊比錫演奏過，其他藝術(shù)家也這么演奏過。

I am not one of those who believe that it would be possible to develop a piano-technic from Mozart alone. A pure, even finger-technic, yes! But for modern work we must have much more, and for these we must look elsewhere. Nor would I think it good economy to devote years to Mozart. To play a half-dozen sonatas, a concerto or two well—this will be enough. It prepares for Bach and everything since; it refines melody and makes the passage-work more song-like and satisfactory.

我不相信只從莫扎特一人身上就能發(fā)展出一種鋼琴技術(shù)，但純粹、均勻的手指技術(shù)還是可以的。不過，要演奏現(xiàn)代鋼琴作品，我們必須從別處去尋找很多其他的東西。我也不認(rèn)為在莫扎特身上花很多年的功夫是實(shí)用的做法，彈六七首奏鳴曲，一兩首協(xié)奏曲，也就足夠了。這樣為彈奏巴赫和別的作品奠定了基礎(chǔ)，也精煉了旋律，使經(jīng)過段彈起來更如歌，聽起來更滿意。

With regard to his own playing, Mozart lived before anybody had invented technic. He simply played as a musician, an artist. He had more ideas than all his contemporaries together; he had unlimited faculty of treating a musical idea in any way he thought suitable; he was full of music—always thinking up new things; he did not have to think them up, they flowed in upon him as he walked, as he talked, when he tried to sleep.

關(guān)于莫扎特自己的演奏，在他生活的時(shí)代還沒有人發(fā)明演奏技術(shù)，他只是像音樂家、藝術(shù)家那樣去彈琴。他對(duì)于音樂的想法比同時(shí)代的人加起來的還要多，在如何以適當(dāng)?shù)姆绞教幚順匪挤矫?，他的能力不可限量?/span>他是音樂的化身，總能有新的想法——他不必刻意苦思，在他走路時(shí)、說話時(shí)、沉沉入睡時(shí)這些想法都會(huì)向他涌來。

His fingers belonged to his brain. They were undoubtedly flexible, responsive, and expressive. Whatever the thought, those talking-fingers (which I can imagine from having watched Godowsky’s upon many and many an occasion) transformed it into sound. The result was an impression not of playing, but of music. 

他的手指聽從于大腦的調(diào)遣，毫無疑問地靈活、敏感、極富表現(xiàn)力。那些會(huì)說話的手指——多次欣賞戈多夫斯基（Godowsky）的演奏，我能想象得來這樣的手指——能把任何思想轉(zhuǎn)化成聲音表達(dá)出來。這樣的演奏給人的印象不是“演奏”，而是“音樂”。

Measured as to his speed or other qualities, he was certainly a virtuoso of his time. But, from his own stand-point, I doubt whether he did much with exercises. He was a divinely-endowed genius, whom it will be a disgrace and an irreparable loss for the musical world to forget.

就他演奏時(shí)的速度和其他品質(zhì)而言，莫扎特是那個(gè)時(shí)代當(dāng)之無愧的大師。不過，從他的角度來說，我懷疑他并沒有做過很多練習(xí)。這樣天賦異稟的奇才，假如被遺忘，那才是音樂界的恥辱和無法彌補(bǔ)的損失。

Here also we have the key to a Mozart technic: it is such a control of the instrument as makes the music sound free, musical, spontaneous, and entirely without the effect of having been worked out by hard practice. Therefore to play Mozart well, it is first of all necessary to become musical.

我們?cè)谶@兒也找到了莫扎特技術(shù)的關(guān)鍵：控制好樂器，讓音樂聽起來自由、自然、有樂感，完全不要有刻意訓(xùn)練的效果。因此，若要彈好莫扎特，最主要的是必須要有音樂性。