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| 夏尔·卡米尔·圣-桑（Charles Camille Saint-Saëns，1835－1921） | |||||||||||||||||||||||
| 田元演奏圣桑第三协奏曲第三乐章 | |||||||||||||||||||||||
Saint-Saens, Violin Concerto No.3 in B minor, Op.61 |
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音乐历史上的今天
1886年5月19日，在伦敦，圣·桑指挥了他的第三部，也时最成功的交响曲，以管风琴伴奏。由此他赢得了“法国贝多芬”的赞誉。 |
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| 40岁的夏尔·卡米尔·圣-桑（Charles Camille Saint-Saëns) | |||||||||||||||||||||||
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圣-桑多才多艺，早年曾涉猎地质学、考古学、植物学及昆虫学，他亦是一位数学专家。后来，除了作曲、演奏及撰写音乐评论外，他还与欧洲知名的科学家进行讨论，以及撰写关于声学、巫术科学、罗马剧院装修及古老乐器的学术文章。他曾编写一份哲学著作，名为Problèmes
et
Mystères，讲述科学及艺术会取代宗教；圣-桑悲观及无神的理念，预示了存在主义的出现。他的其他学术成就还包括一册名为Rimes
familières的诗集，及一份十分成功的滑稽剧本，名为La Crampe des
écrivains。圣-桑亦是法国天文学会的成员；他还教导海市蜃楼，又懂得按自己的要求制作望远镜，以及按如日食般的天文现象来计划演奏会。 1870年，圣-桑参与了国家防卫军，并参加了普法战争。短短半年的战争，令圣-桑心中留了下了一道永不磨灭的疤痕。1871年，圣-桑与Romain Bussine成立国家音乐社团组织，借此推广新的法国音乐。巴黎公社瓦解后，圣-桑以社团组织主席身分，公开首演社团成员的作品，包括福莱、塞扎尔·弗兰克、拉罗及他本人的作品，令他成为塑造法国音乐将来的重要人物。 1875年，圣-桑与Marie－Laure Truffot结婚并育有两名孩子，但不幸于1878年先后逝世。三年后圣-桑离开了妻子，然二人并无正式离婚。据说圣-桑后来牵涉入同性恋的关系中，由于他曾于公开场合备受指责，他竟以自己有娈童恋性倾向为反驳。（法：Je ne suis pas homosexuel, je suis pédéraste!；中译：我不是同性恋者，我是娈童恋者！ |
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Saint sang
was a versatile man who had dabbling in geology, archaeology, botany and
entomology in his early years. He was also an expert in
mathematics.Later, in addition to composing, performing, and writing
music reviews, he discussed with prominent European scientists and wrote
scholarly articles on acoustics, the science of witchcraft, the
decoration of Roman theaters, and ancient Musical Instruments.He wrote a
philosophical treatise, Mysteres et Mysteres, about science and art
replacing religion;Sheng-san's pessimistic and godless ideas foreshadoed
the emergence of existentialism.Other scholarly achievements include a
volume of poetry called Rimes familieres, and a highly successful comic
play called La Crampe des ecrivains.Saint-sant is also a member of the
French astronomical society;He taught mirages, made his own telescopes,
and planned concerts for astronomical events such as solar eclipses. In 1870, saint sang joined the national defense army and took part in the franco-prussian war.Short half a year of war, so that saint - sang heart left an indelible scar.In 1871, saint - sang and Romain Bussine established the national music society to promote new French music.After the collapse of the Paris commune, saint-sang, as President of the society, premiered the works of its members, including those of Foley, cezal frank, rallo and himself, making him an important figure in shaping the future of French music. He married marie-laure Truffot in 1875 and had two children, but died in 1878.Three years later saint - SAN left his wife, although the two did not formally divorce.He is said to have later been involved in homosexual relations, and because he had been publicly accused, he argued that he was a homosexual.(method: Je ne suis pas homosexuel, Je suis pederaste!;I am not a homosexual, I am a child molester! |
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Today in the
history of music On May 19, 1886, in London, saint sang conducted his third and most successful symphony to the accompaniment of the organ.Thus he won the praise of "French Beethoven". Camille saint-sant was born on October 9, 1835, in Paris, France.His father, a clerk in the French interior ministry, died just three months after the baby was born.The growth of saint mulberry, all depend on the mother and aunt of hard feeding. Saint - sang's musical talent has long been apparent, comparable to Mozart, and known as the music "child prodigy."He began to learn piano at the age of two and seven and a half, studied music theory at three, played in public at four, and wrote his first composition at five.By the time he was six, the prodigy had become so interested in tomes that he was found to enjoy studying the score of Mozart's don Juan as much as reading a moving novel. In 1848, at the age of 13, he entered the Paris conservatory of music to study organ and composition.At school, both subjects received awards for outstanding academic performance.But he didn't win the Rome prize because he was too young, just 17 years old. Saint - sang was a distinctive composer, each one of his works in a very different style, it is incredible that they were all written by one person.He was a brilliant composer and orchestrator who could laugh and talk with others at the same time.His organ performance enjoyed a high reputation, which attracted famous musicians such as Clara schumann, sarasati and rubenstein. Saint-sant lived a long life, was a contemporary of Berlioz, and saw with his own eyes ravel's work and the reputation of the young stravinsky in Paris.Saint sang died in Algiers, Algeria, on December 16, 1921, three years after Debussy's death.Although he lived through more than 20 years in the 20th century, none of his works could stand the test of time. He is a typical representative of French musical art in the 19th century. He was a man of many languages, and in addition to music and sister arts, he was also interested in the study of philosophy, astronomy, archaeology, animals and plants.For his music, he was made an honorary order and elected to the French academy.The university of Cambridge also awarded him an honorary doctorate.In order to promote the creation of French composers and establish the national spirit of French musical life, he initiated and organized the French national music association in Paris in 1871, and served as the first President of the association himself.He was a piano professor at the school founded in Paris by Swiss composer and music educator niedermeyer from 1861 to 1865, among his students.He played the piano for 75 years and conducted his last orchestral concert until the year of his death.He traveled frequently around the world, sometimes to one city for many visits. During his frequent travels, he spread French music widely and studied the folk music creation of a series of countries, including Africa, America and Asia. Saint sang's creation involves almost all genres and forms of music, and his works are numerous and vary in style from time to time.In the early '40 s, he converted to contemporary classical and romantic music tradition, he apparently influenced by Berlioz, liszt, and Wagner, 19th century 60 s to 80 s, namely his creative s most achievements, his music is the most individuality, is often the free fantasy of enthusiasm with the classical full form, the development logic of music, combination of pure French elegance.He opposed sectarian creative organizations and a narrow understanding of the art of music, so he did not create his own system or genre.But saint-sausant's aesthetic ideas undoubtedly had a great influence on the younger generation of composers, who he warned against being seduced by erroneous tendencies.However, saint sang himself had contradictions between theory and practice, and sometimes he would sacrifice the content of his works in order to obtain the completeness of the form. Therefore, many of his works appeared to lack depth. Today's video: 1. Tian Yan plays the third violin concerto by sheng sang; 2.2. Dudamel conducts Danse Macabre op.40, "the dance of the skull" by the Venezuelan youth orchestra saint-sang. |
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| 巴拿马太平洋国际博览会上的约翰·菲利普·苏萨和查尔斯·卡米尔·圣-萨恩斯 | |||||||||||||||||||||||
| John Philip Sousa and Charles-Camille Saint-Saëns at the Panama-Pacific International Exposition | |||||||||||||||||||||||
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| 圣·桑：B小调第三小提协奏曲介绍： | |||||||||||||||||||||||
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圣·桑：B小调第三小提协奏曲作品61号 ： 《Saint-Snens:Concerto for and Orchestra No.3,in B Minor,1880) 圣·桑的三部小提琴协奏曲中，这第三部是最受欢迎和被演奏得最多的一部。提琴家们喜爱它，因为它不仅具有优美的旋律和迷人的诗意多、而且为小提琴表现各种技巧提供了广泛的机会。这些优点恐怕也同样符合音乐爱好者的要求。就名气而言，这部B小调协奏曲的地位和其他两首小提琴协奏曲地位相比，就像圣·桑的第二钢琴协奏曲和其他四部钢琴协奏曲一样，远远地胜过它们。沃森·莱尔（WatSn,n Lyle)在著作的书中认为圣·桑的B小调协奏曲是“永存”的，这也包括圣·桑其他小提琴和乐队作晶中的《引子与回旋随想曲》《Introduction and Rondo Capricciso Op.28,1863);《哈瓦奈斯》(Havanaise OP.83)和《安达卢斯随想曲》（Caprice Andalous,OP.122),此外，在圣·桑完成其第三小提琴协奏曲后不久，1880年他还写了《音乐会小品》（Morceau de Concert,OP.62),也属此例。 1881年1月2固在巴黎夏特莱(Chatelet)音乐会上演奏和介绍了此作品，由著名的小提琴家萨拉萨蒂担任独奏。萨拉萨蒂在2月20日举行该作品第二次演出的音乐会上仍担任了独奏，同场演出的还有他的西班牙舞曲和在法国首次公演的勃鲁赫《苏格兰幻想曲》（Brueh：Scottish Fantasy)。该协奏曲第二年出版，是专为献给这位伟大的西班牙提琴大师的。 圣·桑的这首提琴协奏曲为他的学生们显示了高度的富于想像力的写作手法，影响较大。奥托。奈泽尔(Otto Neitzel)在他的自传中谈到它第一和第三乐章的特点是； “忧郁的决心”，它最后掀起了“强烈的热情”。慢乐章中笼罩着“春天阳光的微笑”。最后是“一首赞美诗，它作为是热情奔放后；平静而满足的插曲”。 对那位英国人莱尔来说，这“稍快的行版”（第二乐章）当然就是威尼斯的船歌(Barcarolle),好似“有回声的歌声飘荡在静静的潮面上，小舟载送着青年们，懒洋浮 地驶向西下的夕阳。”莱尔觉得这乐章“在快乐中有心事”那用泛音演奏的十三小节分奏和弦呈现了一幅清晰的画景：“ 当小舟越漂越远时，声音也就逐渐消逝。” 莱尔继续分析说： “第三乐章充满刚强有力的气氛，富于生命力，具有南方晴天的温暖。独奏乐器以热烈的姿态闯入，就像一团窒息浓烟的火苗，只要有丝毫加温，随时会发展成猛烈的火焰。 不久我们就得道一个动机，它交错着固执和甜言密语，并不摈弃生活的快乐。然后是胜利，这胜利浸沉在相互热恋狂喜中，不管生活将怎样继续，胜利它将以傲慢、冷漠的姿态冲往直前，因为它坚信已寻到了爱”。 曲按传统习惯为独奏提琴配备两支长笛（其中，一支后转高音笛）箩两支双簧管，两支单簧管，两支大管，两只圆号两只小号、三只长号，还有铜鼓和弦乐。 始的乐章有二个强烈对比的主题形式。第一个主题由独奏提琴表达，热情有劲，带有精力旺盛的挑战性质。第二主题转为B大调，是以比较平静的姿态出现。法国的传记作家乔治。塞尔维埃(Geoges Serveres)觉得它是“圣·桑笔下最具有柔和旋律的灵感之一”。塞尔维埃在圣·桑家里第一次听到萨拉萨蒂演奏此首协奏曲时，特别为这位西班牙提琴家处理这两个相对的主题有这样显著变化而受到震动。 在“稍快的行版”， （降B大调6／8）中，独奏提琴家哼起了懒散而优美的船歌，每句短句最后总有其他乐器接上。双簧管重复了主题。这乐章有西西里安诺舞曲的特点。最后一个乐章（颇中庸和庄严，B小调，4／4》由小提琴的朗诵开始，然后乐队伴奏加入。独奏旋律在大管和园号的支持下长驱跨入活泼的“快板”。第二主题，似歌般地，由提琴奏出。第三主题，很唐突地，也由提琴担任，但转为D大调，过后，带有宗教般宁静的第四主题（G大调）由弦乐（小提琴和中提琴）加上弱音器表现出来，在它持续安静的气氛中，主题显示了瓦格纳《罗恩格林》（Lohengrin)d的“前奏”，在结尾前有一个以第三主题为主，经过精心加工的发展部。 |
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Concerto
no. 61 in B minor no. 3: "Saint-snens :Concerto for and Orchestra No.3,in B Minor,1880) Of the three violin concertos by saint sang, this third is the most popular and played.Violinists love it because it not only has beautiful melody and charming poetry, but also provides a wide range of opportunities for violin performance.These virtues may also appeal to music lovers.As far as fame is concerned, this concerto in B minor is far superior to the other two violin concertos, just as saint sang's piano concerto no. 2 and the other four piano concertos are.WatSn, n Lyle wrote that the concerto in B minor was "forever", including Introduction and Rondo Capricciso op. 28,1863, "Havanaise op. 83" and "Caprice Andalous" (op. 122), among other things,"Morceau DE Concert (op. 62), which he wrote in 1880, shortly after he finished his third violin concerto, is another example. On January 2, 1881, the work was performed and introduced at a concert in Chatelet, Paris, with the famous violinist sarasati as a soloist.Mr. Sarasati also played a solo at a concert on Feb. 20, the second performance of the piece, along with his Spanish dance music and Brueh's "Brueh: Scottish Fantasy," which premiered in France.The concerto, published the following year, was dedicated to the great Spanish violin master. This violin concerto by saint sang shows a high degree of imaginative writing for his students, which has a great influence.Otto.In his autobiography, Otto Neitzel talks about the features of the first and third movements;"The melancholy resolution," which eventually inspired a "strong passion."The slow movement is covered with "the smile of spring sunshine".And finally, "a hymn, which ACTS as a passionate after;A calm and contented interlude. To the Englishman lyell, this "swifter version" (the second movement) was, of course, the Barcarolle of Venice, as if "an echo of song floated on the still tide, and boats carried the young, and the lazy ocean floated To the west into the sunset."Lyell felt that this movement, "in the joy of the heart," presented a clear picture of the 13 bars of segmented chords played in overtones: "as the boat drifted farther and farther, the sound gradually died away." Lyell went on to say: "The third movement is full of strong and energetic atmosphere, full of vitality and warmth of sunny days in the south.The solo instruments burst in with a passion, like a smothering flame, which, with the slightest warmth, grows into a violent flame. We soon acquire a motive, mingled with obstinacy and sweetness, that does not reject the pleasures of life.Then comes victory, in the ecstasy of mutual love, which, however life goes on, carries on with haughty indifference, because it is sure that it has found love. It is traditional to have two flutes (one of which goes to the treble), two oboe, two clarinet, two bassoon, two horns, two trumpets, three trombones, and drums and strings for the solo violin. The first movement has two contrasting thematic forms.The first theme is expressed by the solo violin, which is passionate and challenging.The second theme is in B major, which is in a relatively calm attitude.George, French biographerTo the Geoges Serveres, it was "one of the most gentle melodic inspirations of saint-saens".Sylvie Emmanuel in Lhasa saint mulberry home the first time I heard she played this concerto, in particular for the Spanish violin family deal with the two relative theme has such a significant change and trembled. In "a little faster" (6/8 in B flat major), the solo violinist hums a lazy, graceful barcarolle, each phrase ending with another instrument.The oboe repeated the theme.This movement has the hallmarks of a Sicilian ano.The last movement (rather neutral and solemn, 4/4 in B minor) begins with a violin recital, followed by the orchestra.The solo melody, supported by the bassoon and the garden horn, moves into the lively allegro.The second theme, like a song, is played by a violin.Third theme, very abruptly, also shall be a bass, but turned in D major, later, as peaceful fourth religious theme (G major) by the string (violin and viola) plus a mute, in its quiet atmosphere and theme shows the Wagner, "RON green" (Lohengrin) D "prelude", before the end of one in the third theme is given priority to, carefully processing development. |
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| 克交响诗《骷髅之舞》（Christopher Hogwood） | |||||||||||||||||||||||
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交响诗《骷髅之舞》；0P。40 死神是中世纪和文艺复兴时期欧洲艺术家们的常用主题。《死神之舞》创作于1874年，翌年初演后便使作者的声名传遍全欧。《死神之舞》是圣桑的流行最广的作品之一。圣桑的《死神之舞》（又称《骷髅之舞》）,并非从德国画家荷尔本的木版画作《死神之舞》中取材，而是依据法国诗人卡扎里斯的同名幻想诗作写成。圣桑原先把这个题材写成一首歌曲，但因它的旋律有点难唱，又把它改为管弦乐曲。 “吱咯，吱咯，吱咯，死神合着节奏， 用踝骨在墓石上敲打拍子； 他在午夜拉小提琴， 吱咯，吱咯，吱咯，奏出一首舞曲。 寒风呼啸，夜色苍茫， 椴树下传出声声呻吟； 暗处闪忽着骷髅的白色身影， 他们裹着宽大的寿衣飞奔乱跳。 吱咯，吱咯，吱咯，个个跳跳蹦蹦， 舞者的白骨格格作响。 可是，别作声，公鸡已经报晓， 他们突然停止跳舞，慌慌张张，东逃西窜。” 这是一则古老的神话所叙述的万圣节之夜，据说每年11月1日，所有的鬼魂在午夜里都聚在一起狂歌乱舞。乐曲开始时，竖琴在弦乐器持续和弦的陪伴下，准确地拨出]2个附点二分音符，宣告“鬼魔的时辰”已经到来，墓地的石门随即大开，众鬼魂都从自己的墓穴里爬出来，为首的一个拿着一把小提琴，这就是死神。现在，他正在调试他的乐器——按作者的要求，乐队的独奏小提琴的弦调比较特别，它的第四根弦调低半音，同第三根琴弦构成一个减五度音程，因此给人一种古怪的感觉。接着诸鬼魂的群舞便开始了。 这是乐曲的第一主题，主要是急骤的八分音符音型，全是断音，作者标明是一支圆舞曲，但它的节奏却刻板、鲁莽，加上长笛独奏，使音乐更加显得阴森和惨淡。乐曲的这一主题改由小提琴声部复奏后，独奏小提琴立即奏出乐曲的另一主题。这两个主题以各种不同的戏剧性笔法幂口巧妙的技巧进行无数次的变奏反复，其中当木琴加入演奏旋律时，好像有意模仿骷髅跳舞时用脚踝骨击墓石的声响，从而更逼真地再现了中世纪古木琴的死神形象。 这段音乐有时借第二主题本身的赋格式进行来发展，有时用半音阶乐句的穿插以强调阴风呼啸和鬼魂悲鸣，甚至也可以想像为幽灵的狞笑，到乐曲的最高潮，则是第一和第二主题的有机结合：舞蹈的旋风越刮越猛，力度越来越强，气焰越来越嚣张。但是，狂乱的舞蹈突然中止，法国号的和弦暗示了黎明的微曦，双簧管立即模仿雄鸡的啼叫，象征诸鬼魂竞相逃入各自墓穴的神秘和弦渐次减弱并消失，只有死神的小提琴还在勉强发出几声有气无力的哀鸣，但随即也在神秘的簌簌声中隐去. |
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| 2019年4月，田元在美国新泽西州参加了国际青年人才表演视觉艺术节，并获得了小提琴青年组的第一名。艺术节奖励田元和其它获奖人员在2019年12月26日在卡内基演奏舒伯特的三重奏。 | |||||||||||||||||||||||
| In April 2019, tian participated in the international youth talent performance and visual arts festival in New Jersey, the United States, and won the first prize in the youth violin group.Artist award tian yuan and other laureates perform schubert's trio at Carnegie Hall on Dec. 26, 2019. | |||||||||||||||||||||||
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| 田元和师姐姚璇在天普大学的音乐会上演奏萨拉萨蒂的纳瓦拉小提琴二重奏。 | |||||||||||||||||||||||
| Tian yuan and her senior sister yao xuan played sarasati's navarre violin duet at the temple university concert. | |||||||||||||||||||||||
| 田元1999年生于哈尔滨，3岁半随父田润德学琴，四岁登台表演。2009年考入中央音乐学院附小四年级师从汤伟剑副教授。2014年参加勋菲尔德国际弦乐比赛，获得少年组优秀表演奖;2015年获得中央音乐学院奖学金竞赛三等奖;2016年获得香港艺术节小提琴青年组二等奖。2017年赢得了参加NYO-china中美巡演，以全额奖学金被天普大学博伊尔音乐学院录取，师从著名小提琴大师爱德华·施密德先生。2019年又赢得与NYO-china欧洲巡演。2019年荣获美国青年才艺表演艺术节一等奖，并赢得2020年2月26日在卡内基的演出资格。 | |||||||||||||||||||||||
| Tian Yan was born in Harbin in 1999. He learned to play the piano at the age of three and a half, following his father tian runde.In 2009, I was admitted to the central conservatory of music.In 2014, I participated in the schoenfeld international string competition and won the outstanding performance award of the junior group.In 2015, won the third prize in the central conservatory of music scholarship competition;In 2016, she won the second prize in the violin youth group of Hong Kong arts festival.In 2017, he won the nyo-china sino-us tour and was admitted to the Boyle conservatory of music of temple university on a full scholarship, under the tutelage of the famous violin master Mr. Edward schmid.In 2019, it won the European tour with nyo-china.In 2019, he won the first prize of the young talent show and art festival of the United States, and won the qualification to perform at Carnegie on February 26, 2020. | |||||||||||||||||||||||
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【圣-桑】骷髅之舞 Danse Macabre Op.40 |
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| 卡尔·夏米尔·圣-桑 骷髅之舞 Danse Macabre Op.40 委内瑞拉青年乐团 杜达梅尔指挥 | |||||||||||||||||||||||
| Danse Macabre op.40 conductor of Venezuelan youth orchestra dudamel | |||||||||||||||||||||||
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