手冊的全文...
裡面還有 Arnold 本人的介紹...
應該會有些錯字...
有耐性看的人幫忙抓一下吧....:Q
--
Louis Armstrong and his Hot Five first inspired Malcolm Arnold to learn
the trumpet, and he has not been ashamed to acknowledge the influence on
his music of jazz, pop, brass bands and music hall. He was only 21 when he
was appointed principal trumpet of the London Philharmonic Orchestra, and
although the war interrupted his career, he returned to orchestral playing
on his discharge from the army. Before long the writing of film music
allowed him to give up playing and devote himself to composition, but not
before he had gained valuable experience of the practicalities of writing
for orchestra.
As a performer himself, he had been able to watch at close quarters the
reactions of other instrumentalists to the music they were asked to play,
and to observe the reaction of audiences as they listened. He had been able
to hear in detail which passages were played well, which badly, and which
were not played at all, and he had developed a respect and concern for his
fellow musicians. When composing for orchestra he always think in terms of
the sound of individual instruments and strives to write music which will
be grateful to play. One of his greatest pleasures is to write concertos
for his friends, for he delights to contrive music which is not only apt
for the instrument but which also conveys some of the individual character
of the artist himself. In his Clarinet Concerto No.2, for instance,
completed in april 1974, he allows his friend Benny Goodman, to whom the
work is dedicated, to improvise a first-movement cadenza 'as jazzy and way
out as you please...'.
Arnold believes that music 'is a social act of communication among people,
a gesture of friendship, the strongest there is.' He has no sympathy for
those members of avant garde whose work can only be understood by a tiny
minority. 'Modern' music must certainly look towards the future, but Arnold
is adamant that it must be a future which concerns human beings. Music which
states something sincere in the simplest term can be enjoyed because its
message is accessible, and it is by writing 'something unstandable' that
Arnold makes his gesture of friendship. He has no interest in the arid
application of mathematical principles to create mere patterns in sound, and
he sees it as a hateful contradiction that many who are avant garde in their
music should be complacent in their ideas on social life. His own attitude
is simple: 'When the shooting's over I'd like to be there saying something.'
Arnold composed his Second Symphony in the early 1950s at a time when
avant-garde composers in Europe were turning accepted musical values upside
down. Arnold does not hesitate to use 20th-century techniques when they suit
his purpose, and most of his later works contain serial processes, but
essentially he chooses to work within a tradition which has developed over
the past 200 years. He feels that within the familiar idiom of the diatonic
system a tonal melody possesses both the strength and the weakness which it
needs to make it expressive. Atonal music in which these tensions are weaker,
seems to Arnold to lead to a state of musical meandering.
... to be continued.
--
※ 發信站: 批踢踢實業坊(ptt.twbbs.org)
◆ From: fourier.math.nt
> -------------------------------------------------------------------------- <
作者: KevinLan (Posaunenblaeser) 看板: NTUWindBand
標題: 全文 (2)
時間: Mon Feb 22 11:29:39 1999
這篇前段是接上篇...
後面開始介紹他的曲子...
那個什麼樂章結構的分析其實沒聽過音樂就沒什麼好看的了....:QQ
--
At first sight it seems inconsistent that it should be the abstract
quality in music which appeals to Arnold so strongly. However, he writes
music because it is through the medium of music alone that he can express
those ideas and emotions which he wants to express. If a musical argument
communicates something to others then it is valid, and in developing a
musical idea Arnold insists that the music must say more to the listener
than 'I am the first three notes of the original thought', or 'I am the
original thought backwards'. What this 'something more' is is impossible
to defire in words, which perhaps helps to explain why Arnold searches
after this elusive 'something' only by writing music.
The majority of Arnold's works, whether orchestral or chamber music,
are purely instrumental. The symphony itself holds a very special place
and in his own programme note to his Sixth Symphony he wrote: 'I find the
symphony orchestra still to be the most satisfying and exciting musical
sound so far available, and an intelligent musical argument carried by
this wonderful ensemble to be the highest musical peak.' That symphony took
him seven years to complete, and its successor, which received its
performance in 1974, followed after yet another seven years.
Malcolm Arnold's "Symphony No.2" was completed in Febuary 1953. It was
commissioned by the Winter Gardens Society, Bournemouth, and was dedicated
to Charles Groves and the then Bournemouth Municipal Orchestra in
celebration of the diamond jubilee of the orchestra. The dedicatees gave
the premiere in May 1953. The two outer movements present the traditional
drama of opposing yet attracted forces, the conflict of tonic and dominant.
Even before the appearance of the first theme the timpani present a forceful
three-note figure which contains elements of both tonic and dominant. In
both the first and last movements this figure, with its inherent tensions,
is set against the stabilising force of the tonic triad of E flat, which
is elaborated in a distinctive way in each case to form the principle theme.
The first monvement ends with a dissonance which leaves the conflict
unsolved, but the finale sweeps away all doubt with its final unison E flat
distilled from an E flat major chord.
Arnold once commented: 'looking over my scores, I am amazed at the way
in which a whole section has taken its musical texture from a few basic
intervals.' The two central movements of the Second Symphony present a drama
based on the conflict between the 3rd as a consonant interval and the
dissonaces arising from piling 3rds one on top of the another, in dense
chordal structures. The second movement, which takes the place of the
traditional scherzo, is a play of 3rds in which each idea is throughly
explored both vertically and horizontally. This search for ever new
expressive possibilities leads to a conflict of major and minor, and it is
typical of Arnold's optimism that at the last moment the major should
prevail.
In the slow movement Arnold allows his main theme to appear over and
over again, each time stubtly varied, with a new instrumental colour
revealing some new aspects of its character. Highly dissonant chords of
eight superimposed 3rds, used in a subordinate role, are picked out by a
distinctive syncopated rhythm. Towards the close, in a passage of Mahlerian
intensity, the dramas of inner and outer movements are combined when
the inevitable tread of alternating tonic and dominant in the bass underpins
a passage of woodwind figures in parrallel 3rds.
Arnold's Symphony No.5 was commissioned by the Cheltenham Festival
Society for their 1961 Festival of British Contemporary Music. In this work,
completed in May 1960, the composer has a very personal reason for featuring
certain instruments. As he explains: 'Without wishing to sound morbid, the
work is filled with memories of friends of mine who all died very young.
Jack Thurston (the clarinet player), Dennis Brain, David Paltenghi (the
ballet dancer and choreographer) and Gerard Hoffnung... The reference to
each of there friends are fairly obvious in the first movement.'
Fearing to overweight to texture, Arnold does not require an unusually
large orchestra. A lonely oboe begins the opening Tempostoso with a wistful
melody, tonally ambiguous. The movement's stormier elements are soon rebuked
by a delicate arpeggio theme; a celesta chases a harp in canon, while a
glockenspiel adds sparkle to the mood of quiet vitality. Arnold explains the
simplicity of the slow movement, Andante con moto, in term of his belief
that 'in times of great emotion we speak in cliches...'; this movement is
such en emotional cliche.
The third movement, Con fuoco, is thematically related to the first.
Bongos and a deep tom-tom are used in characteristic fashion; Arnold always
allows his percussive instruments to stand out on their own. The brash
opening of the final Risoluto features Arnold's own instrument, the trumpet.
A 'pipe and tabor' theme of military flavour follows, soon to be disturbed
by disquieting harmonies. The climactic return of the slow movement theme,
richly scored for full orchestra, heralds the close. The distortion of its
final phrases stirs up old passions, but bells and timpani sound in
valediction, bringing the work full circle.
... to be continued.
--
※ 發信站: 批踢踢實業坊(ptt.twbbs.org)
◆ From: fourier.math.nt
> -------------------------------------------------------------------------- <
作者: KevinLan (Posaunenblaeser) 看板: NTUWindBand
標題: 全文 (3)
時間: Mon Feb 22 11:37:00 1999
這是最後一段啦...
開頭就是之前 Peterloo 的介紹...
--
Arnold has provided the following pen-picture of his "Peterloo" overture,
which was commissioned by th TUC for the century of the first meeting of the
Trades Union Congress in 1868:
Peterloo is the derisive name given to an incident that happened on August
16th 1819 in St Peter's Fields. Manchester, when an orderly crowd of some
8,000 people went to hear a speech on political reform.
On the orders of the Magistrates, they were interrupted by the Yeomany,
attempting to seize two Banners they carried, and to arrest their speaker,
Herry Hunt.
Cavalry was sent in and 11 people were killed and 400 injured in the
ensuing panic.
This Overture attempts to portray these happenings musically but, after
a lament for the killed and injured, it ends in triumph in the firm belief
that all those who have suffered and died in the cause of unity among
mankind, will not have done so in vain.
Arnold's work inevitably reveals fingerprints of those composers who
have influenced him most: Berlioz, Mahler, Sibelius and Walton. Sibelius
impressed him deeply for his formal musical structures. Mahler compels
his admiration for those 'wonderfully clear and clean sounds which he used
to such perfection.' As for Berlioz, Arnold's own description of this
unpredictable genius could well apply to Arnold himself: 'His composition
always strike me as so fresh... If he can express his ideas by a melody
based on tonic and dominant harmonies (which would have been considered by
some as "old-fashioned" in his day) he is not afraid to do so. At times
within a tonic and dominant context he will astonish by a harmonic change
which is decidedly "not done" -- which goes to prove once again that so
many of the things which are so well worth doing are decidedly "not done".'
... from notes of Margaret Archibald
--
※ 發信站: 批踢踢實業坊(ptt.twbbs.org)
◆ From: fourier.math.nt