這是抄 CD 的手冊拿來賺錢的....:Q
裡面介紹的則是一系列十分精彩的曲子...
( 有些人已經在團室聽過其中的兩首了....:D )
有興趣的可以仔細看看...
原則上...
我想這篇如果翻成中文看得懂...
那看原文也不會差很多...
( 這裡說的中文看得懂當然是以不需要解釋來講吧... )
所以也就沒翻譯...
( 非英文我會翻成英文加在括弧裡... )
( 說實話... 英翻中的話我翻出的應該也不會跟英文差很多....:D )
我知道這樣的文章看起來很累...
不過我本來也就是打好玩的....:D
大家也就將就著看看吧...
哇哈哈....:D
--
Paul Hindemith: Between Tradition and Progress
Both as performer and composer, Paul Hindemith was one of the leading
figuers in the musical life of the 1920s, with an influence extending far
beyond the German-speaking world. He was an excellent craftsman in every
sense of the word - not only a famous vertuoso on both violin and viola
but also proficient on other intruments, in addition to being an
experienced composer who wrote quickly and prolifically for all manner of
intrumental groupings and occasions and who was not afraid to turn his hand
to light music. Whereas foreign writers such as the French lumped Hindemith
and Arnold Schoenberg together as typical representives of German music,
there was a tendency in Germany itself to draw a distinction between "New
Objective" ( a term coined in 1925 to describe paiting but quickly taken
over into other parts of art) and "functional music" on the other hand and,
on the other, an uncompromising twelve-note technique, the alleged
historical necessity of which theorists sought to justify by philosophising
about progress and the "state of the material". Today's listener is struck
not so much by the differences as by the similarities between Hindemith,
Schoenberg and even Igor Stravinsky - similarities that include a pronouced
predilection for counterpoint and for an often neo-classically coloured
reversion to older forms and genres. An almost personal characteristic of
Hindemith's music - especially that of the 1920s - is the continuous,
almost neo-Baroque kinetic impulse and, in the tonal sphere, the perfect
balance bwtween dissonance and an ultimately triumphant consonance.
Kammermusik ( Chamber Music ) Nos. 1 to 7 was the functionally neutral
title which Hindemith gave to a series of seven works written between
1922 and 1927 and involving a markedly virtuoso, concertante style. ( With
the exception of the first piece, all are solo concertos with
chamber-orchestra accompaniment.) Older techniques and forms are revived
and forms are revived here in a variety of interesting ways. These seven
Kammermusiken were followed, between 1926 and 1930, by four Konzertmusiken
( Concert Musics ), which reveal a certain suggestion of ostentation and
simplicity. "It seems", Hindemith noted in 1931, "as if a new interest in
serious and great music is gradually coming into vogue." Certainly, these
years seem to have witnessed a general shift away from revolutionary
innovation towards a more monumental art. Like Stravinsky's Symphony of
Psalms, Arthur Honegger's First Symphony and a number of other works,
Hindemith's Concert Music for String Orchestra and Brass (1930) was
commissioned by Sergei Koussevitzky for the fiftieth anniversary of his
world-famous Boston Symphony Orchestra, the quality of whose brass section
was particularly well-known. Hindemith wrote a full-blooded, vertuoso piece
for twelve brass players (four horns, four trumpets, three trombones and a
註: 這首曲子十分的精彩. 我想管樂團的人應該都能接受而大乎過癮的.
而且, 就算沒聽過, 看到上面還有下面寫的那些敘述, 也該會流口水了吧? :D
bass tuba) and strings, combining and contrasting the differenct groupings
in the most varied permutations and weightings. Whereas the first movement
dominated by the brass instruments, the second and fourth (the middle
movement of Part Two) are characterized by the great melodic arches of the
string writing. There is an emotionalism here which has absolutely nothing
in common with "New Objective" but which recalls, rather, the
expressiveness of composers such as Mahler and Shostakovich. The fourth
movement if framed by fugato passages of violent kenetic energy, with those
rapid "motoric rhythms" that are so typical of the composer, while a
jazz-like melodic phrase - apparently borrowed from Darius Milhaud's ballet
La cr'eation du monde ( The Creation of the World ) - adds its cheeky
contrapuntal voice.
Curiously enough, it was in the context of a stage work that Hindemith
first tackled the tradition-bound genre of the symphony: the three-movement
Symphony Mathis der Maler ( Mathis the Painter ) (1933/34) consists
entirely of sections subsequently taken up into the opera of the same name,
a work which, not completed until some years later, revolves around the
painter Matthias Gruenwald. There is a tragic irony to the fact that, from
the early 1930s onwards, Hindemith's more straight-forward and traditional
style, dismissed by many critics as reactionary - one thinks particularly
in this context of their condemnation of the Philharmonisches Konzert
( Philharmonic Concert ) of 1932 -, was attacked by the National Socialists
as "questionable" and "un-German".
As early as April 1933 Hindemith was informed by his publisher that a
considerable number of his earlier works had been banned as examples of
"cultural Bolshevism" ( 文化的布爾什維克主義. 複習一下歷史吧: Bolshevik:
1917 年取得政權之蘇俄共產黨之擁護者. ) His works were forbidden to be
performed and the members of his string trio - his partners were the
Jewish violinist Szymon Goldberg - could only appear abroad. With his
opera on the life of Matthias Gruenwald, hindemith began an inner
emigration, a spiritual process which found its physical counterpart in the
years between 1938 and 1940, when he emigrated first to Switzerland and
then to America. during the summer of 1940 Hindemith taught at Tanglewood
at Koussevitzky's commissions for the Boston Symphony Orchestra. Both the
註: 這是另外一個由 Koussevitzky 委託作曲家創作給 Boston SO 精彩作品的例子.
這首 Eb 大調交響曲也是十分的精彩, 首樂章可以說是從頭爽到尾,
不聽可惜啊. :Q
duration of the work and formal design of its four movements (although not
described as such, the third movement is a regular scherzo with a central
trio section) reveal an entirely conscious exploitaion of the
representative symphonic tradition, an indebtedness underlined by the
Bruckneresque reminiscenes of the "scherzo", the frequent ostinato effects
and the fugato passages (espacially in the final movement). The only
exception to this rule is the relatively brief opening movement, whose
principle theme is developed from the motto-like fanfare that introduces
the piece. On the whole this is a highly accesible work and, as such, it
may well be seen as a typical first major work by a German composer living
in America and conscious of the tradition in which he is writing: of course,
one can only speculate on this possibility, since Hindemith - equally
typically - expressed no thoughts on the subject. Ernest K^renek, another
German composer living in exile in America, noted: "There is no doubt that
America sharpened the sense of reality of those European composers who came
here as immigrants. [...]"
Apart from the Mathis der Maler Symphony and the Symphony in E-flat,
Hindemith's best-known works are the Stmphony Die Harmonie der Welt (The
Harmony of the World) of 1951 (another forerunner of a later stage work)
and Symphonic Metamorphoses on Themes of Carl Maria von Weber. The later
began life in 1940 as a baller score, which Hindemith planned to write in
collaboration with Leonid Massin, but it was a concert work which he
finally produced in the summer of 1943. Its title notwithstanding, the
Symphonic Metamorphoses are a reworking not only of individual themes fron
Weber's works but of entire pieces - including three piano duets and the
prchestra overture to Friedrich Schiller's "Turandot" - which he has
refasioned and reworked in an altogether witty and subtle manner, thus
rendering the originals barely recognizable.
Richard Schott
( transl.: Stewart Spencer)
--
不知道有沒有人有興趣去查查我註解的那兩首曲子有沒有管樂的改編版?
因為感覺上這樣的曲子要改成管樂版應該不很難,
只是有點好奇有沒有管樂團演的出來而已....:D
若是誰看了覺得很有興趣的話,
我改天再拿 CD 去放好了....:D
--
※ 發信站: 批踢踢實業坊(ptt.m8.ntu.edu.tw)
◆ From: fourier.math.nt