Chapter19晚期浪漫派课件.ppt

1、Chapter 19晚期浪漫派晚期浪漫派晚期德奧浪漫派晚期德奧浪漫派I.19世紀晚期音樂的多樣化世紀晚期音樂的多樣化 A.新與舊新與舊 Old versus new music 1.19世紀以前世紀以前,教堂外之音樂大多是當代或近教堂外之音樂大多是當代或近世的音樂世的音樂 living memory.2.1850 前前,基本的經典曲目已形成基本的經典曲目已形成.3.以研究歷史音樂之音樂學產生以研究歷史音樂之音樂學產生.a.作曲家如作曲家如 Bach,Handel,Mozart,Beethoven,Schubert,Chopin 之全集出版之全集出版.b.從事這些學術研究的大多日爾曼人從事這些學

2、術研究的大多日爾曼人,日爾曼日爾曼作曲家自然是其主要對象作曲家自然是其主要對象.c.鮮為人知的文藝復興鮮為人知的文藝復興,巴洛克作品也以主要巴洛克作品也以主要曲集曲集 的方式出版的方式出版.1.因此因此,表演者與聽眾皆可同時接觸到新與舊表演者與聽眾皆可同時接觸到新與舊的音樂的音樂.B.Brahms 對應對應 Wagner 1.Brahms 尋求在傳統古典型式下創作尋求在傳統古典型式下創作.2.Wagner 與與 Liszt 則認為則認為 Beethoven傳傳奇奇,指向新的樂種與新的音樂處理方式指向新的樂種與新的音樂處理方式.3.由以上分歧的觀念由以上分歧的觀念 兩極化了兩極化了 Brahms

3、 與與 Wagner.4.作曲家爭論兩者相對的價值作曲家爭論兩者相對的價值:a.絕對絕對Absolute and 標題標題program music b.傳統與創新傳統與創新c.古典曲種形式與新的曲種古典曲種形式與新的曲種 1.5.兩造皆以兩造皆以 Beethoven為源頭為源頭.2.6.皆為所謂古典皆為所謂古典(經典經典)音樂音樂,因其作因其作曲企圖是與古來之經典曲目並駕齊驅曲企圖是與古來之經典曲目並駕齊驅C.民族主義民族主義 versus 國際主義國際主義 1.不分國界的經典曲目普遍與歐美演出不分國界的經典曲目普遍與歐美演出.2.Many composers turned to natio

4、nalism,not to break with traditions but to add a distinctive new flavor.3.美俄等國美俄等國,作家遂有國際主義與民族主作家遂有國際主義與民族主義之別義之別.D.古典與流行古典與流行 1.器樂曲器樂曲,歌曲歌曲,合唱曲中合唱曲中,古典與流行音古典與流行音樂的區隔越來越明顯樂的區隔越來越明顯.2.早期作曲家早期作曲家,如如 Beethoven,能寫嚴肅與能寫嚴肅與輕鬆的音樂輕鬆的音樂.3.19世紀晚期世紀晚期,兩者的作曲家開始有了區兩者的作曲家開始有了區隔隔.4.Johann Strauss the younger,the“W

5、altz King,”是流行舞曲音樂的大師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嚴肅的交響曲與流行歌曲的曲別遠較 Mozart的時代來的大的時代來的大.Johannes Brahms(1833-1897)A.Brahms 結合古典主義結合古典主義(Classicism)與與浪漫派的感性浪漫派的感性(Romantic sensibility).1.Brahms 作曲成熟期正值經典曲目當作曲成熟期正值經典曲目當道之時道之時.2.He composed in Classical traditions but added new elements in order to 吸吸引當代

6、聽眾引當代聽眾.3.He studied the music from the Renaissance and Baroque,and incorporated elements from these traditions into his works.4.He wrote in virtually all of the musical languages of his time1.生於生於Hamburg,自幼學習多種樂器自幼學習多種樂器.2.年輕時靠在酒店年輕時靠在酒店,餐廳演奏維生餐廳演奏維生,因而熟悉並因而熟悉並喜愛上匈牙利吉普賽音樂喜愛上匈牙利吉普賽音樂.3.Brahms 以鋼琴演奏為

7、業並執掌舉多音樂組以鋼琴演奏為業並執掌舉多音樂組織織.4.He 編輯大量編輯大量 Baroque,Classic,and Romantic 作家的作品作家的作品.5.Clara Schumann.a.In 1853,他結識他結識Schumann 夫婦與小提琴家夫婦與小提琴家 Joseph Joachim,日後都是日後都是Brahms最堅定的最堅定的支持者支持者.b.Brahms 在在Schumann 過世後過世後,幫忙照料其家幫忙照料其家庭庭 使使Clara得以繼續其演奏事業得以繼續其演奏事業.c.Brahms 愛慕愛慕Clara,一生未娶一生未娶.d.Clara 過世後不到一年過世後不到一年

8、,Brahms也相繼過世也相繼過世.I.Brahms 的交響曲的交響曲 A.以以Beethoven交響曲為價值典範交響曲為價值典範,Brahms 遲至遲至40歲才完成寫下第一首歲才完成寫下第一首交響曲交響曲,且耗時且耗時20年之久年之久.1.Symphony No.1 in C Minor,Op.68(1876).2.Symphony No.2 in D Major,Op.73(1877)3.Symphony No.3 in F Major,Op.90(1883)4.Symphony No.4 in E Minor,Op.98(1885)A.Symphony No.1 雖受惠於雖受惠於Beet

9、hoven的的影響影響,但也與過往傳統分道揚鑣的開始但也與過往傳統分道揚鑣的開始.1.標準四樂章模式標準四樂章模式,但第三樂章是個抒情但第三樂章是個抒情的間奏而非詼諧曲的間奏而非詼諧曲.2.如如 Beethoven的第五的第五,以以C minor 開始開始 以得勝的以得勝的 C major結束結束.3.The overall key scheme often moves through the circle of thirds.4.首尾兩樂章慢板導奏的素材皆用於之首尾兩樂章慢板導奏的素材皆用於之後的快板後的快板,類似類似 Schumann 的的 Symphony No.4.5.最後一樂章如聖詩

10、的主題類似最後一樂章如聖詩的主題類似Beethoven的的 Symphony No.9的氣氛的氣氛.A.Symphony No.3 1.起初的幾小節點出了起初的幾小節點出了Brahms音樂的風音樂的風格特質格特質.a.旋律的音域甚大旋律的音域甚大 b.大小調的互換關係大小調的互換關係 c.二拍子與三拍子的重疊二拍子與三拍子的重疊:拍子的模糊拍子的模糊 1.The second theme of the final movement contains a metric conflict between duple and triple meter A.Symphony No.4,finale 1

11、.終曲是巴洛克形式終曲是巴洛克形式 chaconne or passacaglia,乃是基於一反覆低音所寫乃是基於一反覆低音所寫的三拍子變奏曲的三拍子變奏曲.a.E minor 的調性令人聯想起的調性令人聯想起 Buxtehude 的的 Ciaccona in E Minor for organ.b.The idea of recurring thematic material may be derived from a work by Francois Couperin that Brahms edited for the Couperin complete works.c.He may h

12、ave adapted the bass from an ostinato in the final chorus of a Bach cantata.1.Another model may have been Bachs chaconne finale from Partita No.2 in D Minor for Solo Violin,which Brahms transcribed as a left-hand exercise for piano.2.The use of variations as a finale and the treatment of the theme a

13、lso recall Beethovens Eroica Symphony.3.The movement has thirty-one variations on an eight-measure theme and ends with a substantial coda.I.其他作品其他作品 by Brahms A.協奏曲協奏曲Concertos 1.Piano Concerto No.1 in D Minor(1861)是其第一部管絃樂曲是其第一部管絃樂曲.2.Piano Concerto No.2 in B-flat Major,Op.83(1881),4樂章類似其交響曲樂章類似其交響

14、曲.3.Violin Concerto in D Major,Op.77(1878)與與Beethoven同調小提琴協奏曲同調小提琴協奏曲齊名齊名.A.室內樂室內樂 Chamber music 1.Brahms 在室內樂上是在室內樂上是 Beethoven真正真正的繼承者的繼承者.2.He 24首室內樂首室內樂,至少至少6首是傑作首是傑作.3.As in his orchestral works,Brahms 結結合古典傳統與個人風格合古典傳統與個人風格.4.Seven chamber works feature piano and strings,including three piano

15、trios and three piano quartets.5.The first movement of the Quintet for Piano and Strings in F Minor.Op.34(1864),顯現其顯現其“發展性的變奏發展性的變奏”developing variation的技巧的技巧A.Piano music 1.Brahms developed a highly individual musical style.a.飽滿的音響飽滿的音響 Full sonority b.Broken-chord figuration c.Frequent doubling of

16、 the melody in octaves,thirds,or sixths d.Multiple chordlike appoggiaturas e.Frequent use of 複節奏複節奏cross-rhythms f.簡單的觀念發展出創新的織體簡單的觀念發展出創新的織體 1.Brahms 年輕時寫下年輕時寫下3首奏鳴曲首奏鳴曲(1852-53).a.依循依循Beethoven的傳統的傳統.b.並結合並結合 Chopin,Liszt半音化的和聲與半音化的和聲與Schumann歌曲般的旋律風格歌曲般的旋律風格.1.20來歲時來歲時,Brahms集中於變奏曲集中於變奏曲.a.The va

17、riations appear as strings of short character pieces based on the formal and harmonic plan of the theme.b.Variations and Fugue on a Theme of Handel,Op.24(1861)包括包括 Chopin,Mozart與其他多與其他多種風格種風格,高潮是高潮是 Beethoven風的複格風的複格.c.Variations on a Theme of Paganini,Op.35(1863)has etudelike qualities.1.最後最後20年年,B

18、rahms 出版了六冊出版了六冊 intermezzos,rhapsodies,及其他小品的曲集及其他小品的曲集.a.被視為其墜偉大的作品被視為其墜偉大的作品.b.大多是大多是 ABA forms 且有歌般的旋律且有歌般的旋律.A.歌曲歌曲 Songs 1.Schubert 是是 Brahms寫作歌曲的模範寫作歌曲的模範.a.聲樂主導聲樂主導.b.The piano supports with figuration.1.Brahms composed 260 Lieder,many of which are strophic or modified strophic.2.Some songs

19、incorporate characteristics of folk songs.3.The texts often suggest emotional restraint or an introspective,elegiac mood.4.Many of Brahmss qualities can be seen in the first strophe of Wie Melodien zieht es mir A.聲譽聲譽 1.Brahms 雖常被視為保守雖常被視為保守,但其實是個但其實是個開拓者開拓者.2.第一個集古今作曲原則用於創作的作第一個集古今作曲原則用於創作的作曲家曲家,如此

20、的過程是許多如此的過程是許多20世紀的作世紀的作曲家才漸漸有的觀念曲家才漸漸有的觀念.I.Franz Liszt 李斯特李斯特A.新日爾曼樂派新日爾曼樂派The New German School 1.“New German School”一詞於一詞於1859年被提年被提出出.a.視視 Wagner,Liszt,and Berlioz為其領導者為其領導者.b.雖後二者並非日爾曼人雖後二者並非日爾曼人,但但 Beethoven 為其為其模範模範.1.如此分類加強極化了如此分類加強極化了 Liszt and Wagner 的的支持者支持者Brahms的支持者的支持者,如樂評如樂評 Eduard H

21、anslick.2.Bruckner,Wolf,and Richard Strauss 等作等作曲家也靠近曲家也靠近 Wagner and Liszt 陣營陣營.A.Liszt 停止演奏家的生涯於停止演奏家的生涯於1848年年.1.成為成為Weimar宮廷音樂總監並專注於宮廷音樂總監並專注於作曲作曲.2.超脫了巧技展現的風格超脫了巧技展現的風格.3.Some of his works reveal a shift towards the classical repertory.A.Symphonic poems 交響詩交響詩1.Liszt composed twelve symphonic p

22、oems between 1848 and 1858.2.單樂章帶標題之管絃樂曲單樂章帶標題之管絃樂曲programmatic work for orchestra.3.形式卻常與古典傳統緊密相關形式卻常與古典傳統緊密相關1.The program content came from a variety of sources:a.Prometheus is from a myth and a poem by Herder.b.Mazeppa is taken from a poem by Victor Hugo.c.Orfeo ed Euridice pays homage to Glucks

23、 opera and an Etruscan vase.1.Les Prludes(前奏曲前奏曲,1854)a.a.是李斯特十三部交響詩中最著名的一部。是李斯特十三部交響詩中最著名的一部。交響詩的標題，是從法國詩人交響詩的標題，是從法國詩人AlfonseAlfonse-Marie deMarie de Lamartine Lamartine拉拉馬丁的詩篇詩的冥馬丁的詩篇詩的冥想中借用的。想中借用的。b.b.其內容是：其內容是：“在死亡的一刹那，那無名的歌在死亡的一刹那，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？的一系列前奏曲嗎？”c.c

24、.樂曲與原詩存在著內容上的聯繫，有著類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似的情緒轉變過程,但李斯特和拉馬丁的作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、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。力量的偉大，肯定了光明的前景。d.Liszt 以主題變形的手法統合整首樂曲以主題變形的手法統合整首樂曲I.Anton Bruckn

25、er(布魯克納布魯克納1824-1896)I.Anton Bruckner(1824-1896)(see HWM Figure 28.5)A.Trained in counterpoint,Bruckner served as organist of the cathedral at Linz and as organist in Vienna from 1867 to his death.B.他將他將 Wagner風格與精神特質帶入其交響曲風格與精神特質帶入其交響曲與合唱曲與合唱曲.C.交響曲交響曲 Symphonies 1.Bruckner composed nine numbered s

26、ymphonies and two unnumbered ones.2.Most underwent extensive revisions.3.Influences of Beethoven 19世紀晚期其他流派世紀晚期其他流派I.German Traditions and Nationalism A.German and Austrian composers in the late nineteenth century drew upon their national heritage,as observed in HWM Chapter 28.B.In other regions,com

27、posers debated how to deal with the Germanic traditions.1.French composers argued about whether to assimilate Bach,Beethoven,and Wagner or to create a new idiom.2.Nationalist schools in instrumental music appeared in Russia,Bohemia,and Scandinavia(see nationalism discussion in HWM Chapter 27).3.Comp

28、osers in Britain and the Americas avoided overt nationalism.I.法國法國A.一般趨向一般趨向 1.Paris 一向是音樂會與歌劇中心一向是音樂會與歌劇中心.2.音樂會以德奧傳統交響曲與法國作曲家作音樂會以德奧傳統交響曲與法國作曲家作品品.3.音樂會與音樂風格常與政治關聯音樂會與音樂風格常與政治關聯.4.新音樂院成立新音樂院成立,但仍以國家音樂院但仍以國家音樂院Conservatoire 為主為主 5.在印象派在印象派impressionism之前之前,法國的兩大趨法國的兩大趨勢勢.a.A cosmopolitan tradition

29、transmitted through Csar Franck b.A French tradition,embodied in the music of Gabriel Faur 1.Csar Franck2.(法蘭克法蘭克1822-1890)1.生於生於 Belgium,Franck 於音樂院於音樂院 the Conservatoire 學習並成為該院管風琴教授學習並成為該院管風琴教授 1871.2.音樂特徵音樂特徵 characteristics a.古典樂種古典樂種,形式形式,複音對位織體複音對位織體 b.Thematic transformation and cyclic unity

30、 c.Wagner似的和聲似的和聲 1.Francks Prelude,Chorale,and Fugue(1884)for piano 混合巴洛克形式與混合巴洛克形式與Wagner的主題和聲處理法則的主題和聲處理法則.2.管風琴音樂管風琴音樂 a.He often combined original melodies in chorale style with richly developed fantasias and full chordal finales,as in Three Chorales(1890).1.Franck 被視為現代法國室內樂的創始被視為現代法國室內樂的創始者者.

31、2.All three of his major chamber works are cyclic and incorporate thematic transformation.a.Piano Quintet in F Minor(1879)b.String Quartet in D Major(1889)c.Violin Sonata in A Major(1886)A.Gabriel Faur(佛瑞佛瑞,1845-1924)(see HWM Figure 29.2)1.法國傳統法國傳統The French tradition 利用利用 Couperin 到到 Gounod作品作品.a.音

32、樂處理較以音響因素而非情感表現音樂處理較以音響因素而非情感表現考量考量.b.秩序與節制為其基礎秩序與節制為其基礎.c.Music 較抒情或類似舞曲而非史詩或較抒情或類似舞曲而非史詩或戲劇性的戲劇性的.1.His large works include the Requiem(1887)and two operas.2.He primarily composed smaller works,including songs,short piano works,and chamber music.3.Faur developed a new style in which melodic lines

33、are fragmented and harmony is less directional.4.Avant que tu ne ten ailles(Before you depart)from the song cycle La bonne chanson(The Good Song,1892)(see HWM Example 29.1)a.Fragmentary melodic phrases b.Harmonic treatment dilutes the need for resolution and creates a sense of reposeI.俄國俄國A.Tchaikov

34、sky柴可夫斯基柴可夫斯基1.Tchaikovsky 成功的結合古典形式與民族主義成功的結合古典形式與民族主義 2.他的許多作品已成為經典曲目他的許多作品已成為經典曲目,including:a.芭蕾芭蕾Ballets b.Piano concertos and a violin concerto(1878)c.Symphonies,most notably his last three(Nos.4-6)1.Symphony No.4 in F Minor(1877-78)a.Tchaikovsky表示表示 開始的樂音代表命運開始的樂音代表命運.b.The horn call reappears

35、 and unifies this cyclic symphony.c.The keys in the first movement move within a circle of minor thirds.d.The outer movements are dramatic;the second is wistful,and the third is an airy scherzo.Marie Taglioni 1.Symphony No.6 in B Minor,悲愴悲愴 the Pathtique(1893)a.The scherzo is replaced by a 5/4 waltz

36、.b.The dance movement is second,followed by a vivacious rondo.c.The symphony ends with a despairing slow movement民族主義民族主義-The Mighty Handful 五人樂派五人樂派Mili Balakiref(1837-1910).Cesar Cui(1835-1918)Alexander Borodin(1833-1887),Modest Mussorgsky,Rimsky KorsakofA.Musorgsky 穆索斯基穆索斯基1.主要非歌劇作品主要非歌劇作品 a.Nigh

37、t on Bald Mountain(荒山之夜荒山之夜1867),管絃管絃樂曲樂曲 b.Pictures at an Exhibition for piano Song cycles:The Nursery(1872),Sunless(1874),and Songs and Dances of Death(1875)1.Pictures at an Exhibition展覽會之畫展覽會之畫 a.This set of ten pieces was inspired by an exhibition of sketches,paintings,and designs by Viktor Hart

38、mann.b.Several of the images are rendered in character pieces that are joined by a theme that represents the viewer walking.c.The image of a commemorative gate to be built at Kiev was set as a grand processional hymn with Western and Russian elements I.Bohemia 波西米亞波西米亞A.Smetana 史麥塔納史麥塔納1.The String

39、Quartet No.1,From My Life(1876)uses a nationalist style.2.M vlast(我的祖國我的祖國,ca.1872-79)6首交首交響詩組成響詩組成.a.The Moldau,the best-known work of the set,depicts the river that moves through the Czech countryside to Prague.b.Tbor,the most stirring of the set,employs a traditional chorale as a symbol of Czech

40、resistance to oppression.A.Dvork 1.Dvorks nonoperatic works include:a.9首交響曲首交響曲 b.4首協奏曲首協奏曲,包括包括 Cello Concerto in B Minor c.Numerous dances for orchestra d.其他如室內樂其他如室內樂,鋼琴曲鋼琴曲,歌曲與合唱曲歌曲與合唱曲 1.Dvork 兼具國際與民族風格兼具國際與民族風格.a.Symphony No.6,D Major(1880)乃國際風格乃國際風格.b.民族風格包括民族風格包括 Slavonic Dances and the Dumk

41、y Piano Trio.1.Dvork於紐約擔任國家音樂院藝術總監於紐約擔任國家音樂院藝術總監.a.目的在幫助美國創造出民族樂風目的在幫助美國創造出民族樂風.b.視美國原住民與黑人音樂為美國風的來源之一視美國原住民與黑人音樂為美國風的來源之一 c.以此寫下第以此寫下第 9交響曲交響曲(From the New World),與與他最知名作品他最知名作品 String Quartet 12號號(American)A.Edvard Grieg(1843-1907)1.Grieg created a distinctive nationalist style in Norway with a se

42、ries of songs,short piano pieces,and orchestral suites.2.Norwegian elements a.Modal melodies and harmonies b.Dance rhythms 1.The nationalist style can best be seen in:a.Songs on Norwegian texts b.Peer Gynt Suite(1875)c.Slatter,a collection of Norwegian peasant dances arranged for piano 1.His piano s

43、tyle has some similarities to Chopins,but folk elements predominate.2.Some of Griegs works were international in character,including the popular Piano Concerto in A Minor(1868,revised 1907).A.Edward Elgar(1857-1934)1.Elgar was the first English composer to gain international recognition in over two

44、hundred years.2.He did not adopt a distinctive national style,and he drew upon the styles of both Brahms and Wagner.3.The Dream of Gerontius(1900),an oratorio,is influenced by Wagners Parsifal.4.His orchestral works include the Enigma Variations(1899)and two symphonies.A.Edward Elgar(1857-1934)1.Elg

45、ar was the first English composer to gain international recognition in over two hundred years.2.He did not adopt a distinctive national style,and he drew upon the styles of both Brahms and Wagner.3.The Dream of Gerontius(1900),an oratorio,is influenced by Wagners Parsifal.4.His orchestral works incl

46、ude 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 overlappi

47、ng.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.The classical tradition 1.A large number of Germans immigrated to the United States in the middle of the

48、nineteenth century.a.German musicians had a strong commitment to their national traditions.b.German immigrants filled American orchestras and taught music at all levels.c.German tastes and style dominated American music in the classical tradition until World War I.A.Bands in America 1.The earliest A

49、merican bands were in the military,but local bands emerged in the nineteenth century.2.The invention of valves for brass instruments allowed them to play melodies in any register,and brass instruments became the backbone of the band.3.Bands played a large role during the Civil War,and they continued

50、 to proliferate afterwards.4.Professional bands enjoyed a heyday between the Civil War and World War I.1.John Philip Sousa(1854-92)a.Sousa was inspired by the success of Gilmore.b.He conducted the United States Marine Band.c.He also organized his own internationally recognized band in 1892(see HWM F