既然實在很無聊...
又剛喝完酒不太適合寫作業...
就來抄抄 CD 小冊子上的曲目解說吧...
曲目是前兩天 po 的 Pierrot lunaire 跟 Kammersymphonie ...
不過由於我只是想賺稿費... 又沒啥翻譯的能力...
po 的都是沒經過翻譯的英文...
所以有興趣的人只好多翻翻字典啦...
還請大家見諒...
底下就是原文啦...
唉...
我又在做違反智慧財產權的事情了...
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曲目解說部份:
In the years before the first world War, Arnold Schoenberg was one of a few
musicians who touched off one but several musical revolutions. Schoenberg's
"atonality" (a term which the composer hated) is the best-known and most
notorious: no longer does a single tone wich its associated tiad define a "key"
in a piece, a central harmony around which all others revolve; in fact (e.g.
Debussy, Bart▍ ans Scriabin) were developing non-tonal idioms, but
Schoenberg's broke most completely with tradition.
The tonal revolution evoluted alongside new forms and genres. In 1899
Schoenberg had composed a tone-poem, Verkl绂te Nacht (Transfigured Night),
for string sextet. Previously the tone-poem has been the exclusive province of
the Romantic orchestra; and Schoenberg's piece was also unusual in merging
aspects of several movements into one large movement. Fifty years earlier
Liszt's Piano Sonata had pioneered this idea, but Schoenberg extended and
advanced the concepts of thematic and motivic unity (including the Wagnerian
leitmotiv idea) and of several movements combining into a large sonata-form
structure.
Other intrgrated works of this kind followed: an orchestra tone-poem,
Pelleas und Melisande; a string quartet; and finally the Chamber Symphony, Op.9,
whose very title suggests something new - symphonic grandeur created by only
a few instruments in an intimate setting. Its string quintet and 10 wind
instruments alternate the textures of chamber music with orchestral ones in
which several instruments play the same line.
In harmonic style, the Chamber Symphony goes far beyond the Wagnerian idiom
of Verkl绂te Nacht. Schoenberg often uses chords built up on perfect fourths
instead of the usual thirds - the few slow measures that begin the piece end
with a fourth-chord resolving to a major triad, followed by a passage
ascending fourths in the horn to begin the main allegro section. Other
composers (e.g. Debussy and Strauss) were experimenting with similar
sonorities, but Schoenberg was here trying to combine the tonality of the
German symphonic style with these new sounds.
Even more than Schoenberg's other works of the time, the Chamber Symphony
is motivic in the extreme: that is, the same few melodic fragments and
patterns reappear in ever new guises and combinations. (the horn call just
mentioned is one such motive.) In fact, the combining, varying and developing
of motives often seems to matter more to the composer than his revolutionary
harmonic ideas.
By contrast, the Second String Quartet composed soon afterward is
conservative in form but pushes tonality to its very limits. Schoenberg no
longer bows to the rule that says dissonances must resolve in orderly ways;
and, as though announcing a new era, a soprano joins the quartet for the last
movement and sings of "feeling a breeze from another planet."
A new world of sound followed as advertised. In the years 1908 to 1911,
Schoenberg composed several major works in which tonality, or even the triads
on which tonality is based, played no part; thus did Schoenberg launched the
"atonal" revolution that would have an impact on virtually every composer
throughout the rest of the century.
But the revolution was hardly more than a rumor to the public at large.
By 1912, only three of the new pieces written since the Second quartet had had
even one performance; and those had touched off scandals. When Albertine Zehme,
an actress with musical training, came to Schoenberg with commission for a set
of melodramas that she might perform in her musically accompanied poetry
recitals, he immediately set to work, and soon produced Pierrot lunaire; before
the last pieces were finished, the first ones were being rehearsed for a concert
tour.
Schoenberg selected 21 poems from a set of 50 by Albert Giraud, which had
been translated into German by Otto Erich Hartleben. these Epigrammatic verses,
all in the same thirteen-line rondel form, has satiric, grotesque and macabre
overtones which had contributed to their popularity in the German cabaret.
Schoenberg called his numbers "melodramas," after the almost-forgotten genre
in which a speaker declaims poetry over a musical accompaniment. But
Schoenberg's melodramas differ from their 19th-century forebears in that the
composer now specified precise speech-rhythms and indicated, in musical
notation, the approximate pitch at which the reciter should speak each
syllable. Schoenberg's detailed instructions emphasize that the reciter must
neither sing nor speak conventionally.
The accompanying instrument group is yet another Schoenbergian
innovation, one so influential that modern chamber ensembles often choose as
thier personnel the Pierrot ensemble: five musicians playing eight
instruments. Each of the 21 menbers calls for a different combination of
instruments; only the last one calls for all eight.
The set of short poems allowed Schoenberg to present many of his
compositional innovations in individual studies. Three of the pieces use
strict methods: No.8 uses a three-note ostinato in the instruments and in a
rare moment of real singing for the vocalist; nos. 17 and 18 employ fugue and
canon respectively. Each of the other pieces has a unique style as well; e.g.
the three pieces in waltz-time (nos. 2,5 and 19) all travesty the dance in
different ways.
Schoenberg's small traveling ensemble, performing these short,
idiosyncratic pieces in major Austrian and German cities in late 1912,
attracted reviews ranging from horror to the suspicion of a pratical joke to
genuine admiration, and drew the attention of the musical world to Schoenberg's
new musical ideas. Musical jounalists brought word of the piece to England,
France and America; Igor Stravinsky, having heard an early Berlin performance,
returned to Paris and wrote his own set of small-ensemble songs, the Three
Japanese Lyrics. In later years he would sum up the significance of Pierrot
lunaire as "the solar plexus of twentieth-century music."
- Roger L. Lustig
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