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莫扎特之旅－文化交流－音乐历史上的今天


	田润德编译文/图 2020-03-1 16:36

理查·施特劳斯(Richard Strauss 1864－1949）

理查·施特劳斯歌剧：玫瑰骑士（卡拉扬指挥，1962年）

理查·施特劳斯Richard Strauss- 玫瑰骑士Der Rosenkavalier1962 1080p.BluRay（原盘英文字幕）高画质指挥：卡拉扬乐队：维也纳爱乐歌剧《玫瑰骑士》是德国著名浪漫主义作曲家理查·施特劳斯最富盛名的作品之一，于1909年创作。歌剧的文学脚本由奥地利作家、诗人霍夫曼施塔尔特意为其创作。

《玫瑰骑士》是德国著名浪漫主义音乐家施特劳斯最富盛名的作品之一，于1909到1910年之间完成。施特劳斯赋予了这部歌剧流畅优美的音乐语汇。他用音乐描述着爱情的真真假假，明朗的音乐线条和戏剧节奏十分吻合，展现了不同人物的性格和关系，剧中三位女主角的爱情细腻而又真实。在理查·施特劳斯的歌剧作品中，虽然很难听到意大利歌剧中那样完整的咏叹调，但其各种唱段，却能鲜明地刻画出人物个性。

音乐历史上的今天

1919年3月1日，当理查·施特劳斯就职维也纳国家歌剧院音乐总监的那天，800名职员中的大多数人都罢了工，抱怨施特劳斯的薪水对于“新奥地利这样一个穷国”来说实在太高，而且他本人的歌剧会被演得太多。

理查·格奥尔格·施特劳斯（Richard Georg Strauss，1864年6月11日－1949年9月8日），德国晚期浪漫主义作曲家、指挥家。
伟大的音乐评论家爱德华·萨义德在《音乐的极境》(Music at the Limit's)中写到：“理查·施特劳斯去世将近半世纪至今，他在二十世纪音乐里的角色仍无定论。他的才华、他的专业素养、他每每非比寻常的音乐想象力，都无人置疑。但是，初期涉猎半音主义之后，他的作品一直扎实留在瓦格纳、勃拉姆斯建立的调性传统之内，虽然他也以别人做不到或不曾做过的方式阐释了那个传统。第三帝国建立之后很久，甚至第三帝国结束之后，他都写歌曲、歌剧、室内乐、应景的管弦乐曲，引起他和第三帝国是不是共犯、他是不是无辜的问题；同时，他似乎把他相当狭窄的美学发展成一种表现法，这表现法可以粗略比拟于早期维也纳乐派、斯特拉文斯基及巴托克达到的表现境界。他那件富于沉思、感人甚深的作品《变形》(Metarn,or ph,osen)就是一个例子，此作是二十世纪音乐顶峰之一，写于1940年代，使用的是他四十年前就已成熟的语法。

小异之处不计的话，理查·施特劳斯的情况也是如此，他长度惊人的生涯(1864-1949)与二十世纪许多重大变迁平行，并以出奇的方式碰触这些变迁，但又不算真正参与这些变迁。古尔德描述过，施特劳斯宁宁静静，漠然以对他周围一切潮流趋势，事不关己般做他的事，非常类似泰南笔下的卡森。如此观察施特劳斯，的确颇得其实，即使这看法忽略《莎乐美》(1905)和《埃莱克特拉》(1908)的巨大音乐影响，这两件作品问世之时，被视为革命，伤风败俗。勋伯格、马勒、德彪西是施特劳斯的早期信徒，不过，是施特劳斯生涯里那些密度极高的文学和文化关连，使他成为二十世纪音乐里或许最丰富，却又最谜一般的人物。”

今日视频：1、理查·施特劳斯歌剧：玫瑰骑士（卡拉扬指挥，1962年）。2、美岛丽演奏理查·施特劳斯的降E大调小提琴奏鸣曲。

理查·施特劳斯(Richard Strauss)

Today in music history
On March 1, 1919, the day Richard strauss took over as music director of the Vienna state opera, most of the 800 staff stopped work, complaining that strauss's salary was too high for "a poor country like new Austria" and that his own operas would be performed too much.
Richard Georg Strauss (June 11, 1864 -- September 8, 1949) was a German composer and conductor of late romanticism.
The great Music critic Edward W Said wrote in Music at the Limit's: "nearly half a century after his death, Richard strauss's role in twentieth-century Music remains uncertain.His talent, his professionalism, and his extraordinary musical imagination are unquestioned.But after his early forays into semitonism, his work has remained firmly embedded in the tonal tradition established by Wagner and Brahms, though he has also interpreted that tradition in ways that no one else could or had.Long after the establishment of the third empire, and even after its end, he wrote songs, operas, chamber music, and melodies for the occasion, raising the question of whether he was an accomplice or not;At the same time, he seems to have developed his rather narrow aesthetic into a form of expression roughly comparable to that achieved by the early Viennese school, stravinsky and bartok.One example is his thoughtful and moving Metarn,or ph,osen, one of the apotheosis of 20th-century music, written in the 1940s in a grammar he had perfected four decades earlier.
Small differences aside, the same is true of Richard strauss, whose extraordinary career (1864-1949) parallels many of the great changes of the twentieth century and touches them in surprising ways, without actually participating in them.Strauss, as gould has described him, was quiet, indifferent to all the currents around him, doing his own thing, very much like tynan's Carson.It is a fair observation to make of strauss, even if it ignores the great musical influence of salome (1905) and elektra (1908), both of which came out as revolutionary and immoral.Schoenberg, mahler and Debussy were early disciples of strauss, but it was the density of literary and cultural connections in strauss's career that made him perhaps the richest and most enigmatic figure in twentieth-century music.
Today's video: 1. The Richard strauss opera: the knight of the roses (conducted by karajan, 1962).2. Beautiful island performs Richard strauss's violin sonata in E flat major.

1938年希特勒等纳粹高官在看理查·施特劳斯的歌剧

爱德华·W·萨义德（Edward W Said)

萨义德，1935年生于巴勒斯坦的耶路撒冷，接受国英式教育，取得哈佛大学的博士学位，哥伦比亚大学英文系与比较文学系教师，担任THE NATION杂志乐评，著作等身。2003年逝于纽约。

Saeed, born in Jerusalem, Palestine, in 1935, received a British education. He received a doctorate from Harvard University, taught English and comparative literature at Columbia University, and was a critic and author of THE NATION magazine.He died in New York in 2003.

美岛丽Midori 演奏理查·施特劳斯 | 降E大调小提琴奏鸣曲

Midori plays R. Strauss Violin Sonata in E flat, Op. 18

美岛丽MIDORI

美岛丽1971年的10月25日,出生于日本大阪,开始与她的母亲学习小提琴,她的小提琴,后显示在早期音乐的强大能力。 1982年,导体位于Zubin梅塔邀请当时11岁的美岛绿来执行的纽约爱乐乐团在乐团每年的新年音乐会。接下来的起立鼓掌首张促使美岛绿追求音乐生涯的最高水平。

美岛绿是一个有远见的艺术家、活动家、教育家,其独特的职业生涯已经超越了传统边界，通过她不懈的努力探索和构建音乐和人类经验之间的连接。永不静止,美岛绿带来相同的动态创新和富有表现力的洞察力使她著名的音乐会小提琴家其他角色作为一位著名的全球文化大使和一个专门的音乐教育家。

Midori was born on October 25, 1971, in Osaka, Japan, and began learning the violin with her mother, which later showed strong ability in early music.In 1982, conductor Zubin mehta invited then-11-year-old mijima green to perform at the New York Philharmonic orchestra's annual New Year's concert.The standing ovation that followed prompted green to seek the highest level of his career.
Mijima green is a visionary artist, activist and educator whose unique career has gone beyond traditional boundaries through her tireless efforts to explore and build connections between music and the human experience.Never at rest, miyashima green brings the same dynamic innovation and expressive insight that made her famous concert violinist in other roles as a renowned global cultural ambassador and a dedicated music educator.

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