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| 尤金·伊萨依（Eugene Ysaye 1858- 1931) | ||||||||||||||||||||||
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塞萨尔·弗兰克（1822 - 1890） A 大调小提琴与钢琴奏鸣曲，作品编号 FWV 8（1886 年） 小提琴：雅克·蒂博（1880 - 1953） 钢琴：阿尔弗雷德·科尔托（1877 - 1962） © 2008 爱富龙唱片有限公司。华纳古典唱片公司出品，版权归属 1930 年、1989 年帕罗非姆唱片有限公司。 |
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César Franck (1822-1890) Sonata for Violin and Piano in A Major, FWV 8 (1886) Violin: Jacques Thibaud (1880-1953) Piano: Alfred Cortot (1877-1962) © 2008 EMI Records Ltd. A Warner Classics release, ℗ 1930, 1989 Parlophone Records Limited |
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音乐历史上的今天
1886年9月28日，尤金·伊萨依（Eugene Ysaye)在婚礼上收到了一份惊喜礼物，他的同胞赛瑟尔·弗兰克创作的《A大调小提琴奏鸣曲》。 |
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| 尤金·伊萨依小提琴珍品展 舍尔班·卢普 小提琴 希里姆·博纳米 钢琴 利帕贾交响乐团 | 保罗·曼恩 | ||||||||||||||||||||||
| Bach played the organ to the King of Prussia | ||||||||||||||||||||||
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| 伊莉莎白·巴伐利亚王后 尤金·伊萨依 基拉·克罗伊扎 1916 年 | ||||||||||||||||||||||
| Elisabeth of Bavaria Eugène Ysaÿe Claire Croiza 1916. | ||||||||||||||||||||||
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| 埃贡·伊萨耶（1858 - 1931），比利时小提琴家，与他的第二任妻子珍妮特以及他们的家人于 1923 年左右在纽约相聚。 | ||||||||||||||||||||||
| EUGENE YSAYE (1858-1931) Belgian violinist with his second wife Jeanette and their family in New York about 1923. | ||||||||||||||||||||||
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拉乌尔·普诺与尤金·伊萨依——私人音乐会。 Raoul Pugno & Eugène Ysaÿe - Récital privé. |
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| Pages from Score of the 'St. Matthew Passion' | ||||||||||||||||||||||
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| 伊萨耶与卡米尔·德雷克斯于 1912 年在哥伦比亚录音室的合影。他几乎肯定使用了他那架 1740 年的瓜尔尼乐器来进行这些录制 | ||||||||||||||||||||||
| : Ysaÿe with Camille Decreus in the Columbia studios in 1912. He almost certainly used his 1740 Guarneri for these recordings | ||||||||||||||||||||||
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| 泰奥·伊萨耶、尤金·伊萨依、拉乌尔·普诺 | ||||||||||||||||||||||
| Théo Ysaÿe, Eugène Ysaÿe, Raoul Pugno | ||||||||||||||||||||||
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| 尤金·伊萨依的创新弓法 | ||||||||||||||||||||||
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亨利•罗斯认为，在伊於依的演奏中，体现着最淋滴尽致的浪漫主义精神。他是一位发乎至情的艺术家，兼备娴熟的技巧和优美的音色，更有热情洋滥的激情。在演奏中，他喜欢在不损害原作 凤骨的基础上随兴所至而又恰到好处地改动一个音，变换一下节奏以增添作品的新鲜感。比方说他每次演奏同一首乐曲中的同一个抒情段落时，总是采用不同的指法和弓法，极少重复。这种在 19世纪曾风靡一时的浪漫主义遗风神韵在以后日渐崇尚法则、从众的年代里已变得寥若晨星,形同古迹。在伊萨依的演奏中很有些后人无法效仿，甚至在今天看来是令人匪夷所思的独特手法，如借助上半弓上推时所产生的爆发力来增加音色的亮度;在下弓时采用回弓(指一个长音拉至弓尖时突然松弛对弓的压力并迅速地把弓推回到中部继续拉第二个下弓的弓法）使音保持令人难以觉察丝毫的连贯性;还有多用空弦以拓展音响色彩的丰富性和用弓子靠近指板或在指板上轻轻擦弦以获取空灵悠扬的长笛效果等等。伊萨依的揉指是他个性的直接延伸，它得自于维尼亚大斯基的真传，速度和色彩细腻敏感、富于变化。当他的同时代人都尽情地在抒情乐句用上甜膩而夸张的揉指时，伊萨依却根本不用揉指，他主张应依靠弓本身的表现力来达到艺术效果。卡尔•弗莱什盛赞他的音色“宏亮而高贵”。同样，伊萨依的演奏中也并不因为频繁地使用滑音和换把而令人感到有粗俗的意味，相反，正是由于这些与众不同的艺术手法，使得他的演奏个性鲜明，充满魅力。 在伊萨依艺术生涯全盛时期的二十多年中，他演奏了小提琴文献宝库中的大量作品。总的说来，在演释德奥古典作品方面较之约阿希 姆不免稍逊一筹，而在表现浪漫派作品，尤其是法国提琴作品时他确乎称得上是独领风骚的。伊萨依的记忆力极其惊人，他演奏时从不用乐谱。当学生演奏时他会在旁边用自己的小提琴即兴拉出钢琴伴奏部分的旋律，而且和声丝毫不差。无论是多么艰深的乐曲，只要学生遇到困难,他就会亲自示范给学生听，其熟稳程度简直使人相信他当下就一直在练习这首乐曲。从1898 年起,为了使自己有更多的演出机会，伊萨依放弃了音乐学院的教职。 |
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| 尤金·伊萨依和他妻子。 比利时小提琴家，指挥家和作曲家。 克拉里工作室的照片。 签字日期是1908年。 1858-1931. | ||||||||||||||||||||||
| Above Eugène Ysaye with his wife. Belgian violinist, conductor and composer. Photo by Klary studio. Date of signature is 1908. 1858-1931. | ||||||||||||||||||||||
| Eugene Isayev's innovation in violin bowing techniques | ||||||||||||||||||||||
| Henry Ross believes that in Iouri's performance, the most exquisite and passionate romantic spirit is embodied. He is an artist who expresses his emotions freely, possessing both proficient skills and beautiful tone, as well as abundant passionate energy. During the performance, he likes to modify a note or change the rhythm freely without damaging the original melody, to add freshness to the work. For example, every time he performs the same lyrical section of the same piece, he always uses different fingerings and bowing techniques, rarely repeating. This romanticist legacy that was popular in the 19th century has become scarce and like an ancient relic in the era that increasingly values rules and conformity. In Iosy's performance, there are some unique techniques that later generations cannot imitate, and even seem bizarre today. For instance, he uses the explosive force generated by pushing upwards with the upper bow to increase the brightness of the tone; when using the lower bow, he adopts the reverse bowing (when pulling a long note to the tip of the bow and suddenly relaxing the pressure on the bow and quickly pushing the bow back to the middle to continue the second lower bow) to maintain imperceptible continuity of the sound; and he often uses open strings to expand the richness of the sound color and uses the bow to approach the fingerboard or gently rub the strings on the fingerboard to achieve the ethereal and melodious effect of the flute, etc. Iosy's plucking fingers are a direct extension of his personality, which comes from the genuine transmission of Vigna Daski. The speed and color are delicate, sensitive, and full of variation. When his contemporaries were using sweet and exaggerated plucking fingers in the lyrical phrases, Iosy did not use plucking fingers at all. He advocated relying on the expressiveness of the bow to achieve artistic effects. Karl Fliesch praised his tone as "loud and noble". Similarly, in Iosy's performance, frequent use of glissando and changing the position of the bow does not make it seem vulgar. On the contrary, it is precisely because of these distinctive artistic techniques that his performance is distinctively individual and full of charm. | ||||||||||||||||||||||
| During the two decades when Isaïe was at the peak of his artistic career, he performed a large number of works from the treasure trove of violin literature. Generally speaking, in interpreting the classical works of Germany and Austria, he was somewhat inferior to Joachim. However, when it came to expressing romantic works, especially French violin pieces, he was truly the undisputed leader. Isaïe had an astonishing memory. He never used the score when performing. When a student was playing, he would play the melody of the piano accompaniment part on his own violin right beside them, and the harmony was exactly the same. No matter how difficult the piece was, whenever a student encountered difficulties, he would personally demonstrate it to the student, and his proficiency was so great that it made people believe that he was actually practicing this piece at that moment. Starting from 1898, in order to have more performance opportunities, Isaïe gave up his teaching position at the music academy. | ||||||||||||||||||||||
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| 尤金·伊萨依和钢琴家的漫画 | ||||||||||||||||||||||
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Today in
the history of music On this day in the history of music, September 28, 1886, Eugene Ysaye received A surprise gift at his wedding, the Violin Sonata in A Major composed by his compatriot Sesel Frank. Eugene Ysaye (July 16, 1858 - May 12, 1931) was born into a poor family that had been engaged in the nail-making industry since the 16th century. Isai's father, disregarding the family tradition, became a seaman. He was an outstanding amateur violinist and also served as the music director of the local church. Isai began to learn the violin from his father when he was four years old. However, he was not a child prodigy. As a child who was both passionate and willful, he often played noisily with his friends and was unwilling to practice for a long time as his parents required. In 1865, when he was only seven years old, he entered the Liege Conservatory of Music. A year later, he ranked second, but was expelled from the school in 1869. We can't be sure of the specific reason for his dismissal. It seems that it was caused by the inconsistency between his father's teaching methods and those of the music academy. The conservatory admitted that he was "talented", but complained that he "didn't practice the piano". After that, Isai participated in local music events together with his father. He also tried to become an armored soldier, but was soon dismissed because he had no interest in military service at all. Today's video: 1. Jacques Thibaud and Alfred Cortot - Frank's "Sonata for Violin in A Major"; 2. Ashkenazy and Perlman perform Frank's "Sonata for Violin and Piano in A Major". |
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| 尤金·伊萨依小提琴珍品展 舍尔班·卢普 小提琴 希里姆·博纳米 钢琴 利帕贾交响乐团 | 保罗·曼恩 | ||||||||||||||||||||||
| Bach played the organ to the King of Prussia | ||||||||||||||||||||||
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| 尤金·伊萨依签名图片 | ||||||||||||||||||||||
| 伊丽莎白皇后国际音乐比赛的来源 | ||||||||||||||||||||||
| 1930 年是比利时独立 100 周年的日子。11月13日，右小腿己被截肢的伊萨依被拾上舞台，在庆祝大会上指挥了由 500 人组成的大乐队。次年5 月 12日，这位被比利时奉为国宝的伟大小提琴家与世长辞,他的心脏装在贵重的小匣子里被运到了列日，长眠于他故乡的土地中。比利时政府为了纪念他，手1937年起在布鲁塞尔举办了以他的名字命名的“伊萨依国际小提琴比赛”，这项比赛在50年代被改名为人们更熟悉的“伊莉莎白皇后国际音乐比赛”。 | ||||||||||||||||||||||
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The origin of the Elizabeth Queen International
Music Competition 1930 marked the 100th anniversary of Belgium's independence. On November 13th, Issay, whose right leg had been amputated, was carried onto the stage and led the 500-member large orchestra at the celebration ceremony. On May 12th of the following year, this great violinist, revered as a national treasure by Belgium, passed away. His heart was placed in a precious box and transported to Liège, where he was laid to rest in the land of his hometown. The Belgian government, in order to commemorate him, started holding the "Issay International Violin Competition" in Brussels under his name in 1937. This competition was renamed the "Queen Elizabeth International Music Competition" by the 1950s, which is the more familiar name to people. |
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巴托洛梅奥·朱塞佩·瓜尔内里·“德尔·杰苏”（1740 年，克雷莫纳），《伊萨耶》 小提琴：40064 Bartolomeo Giuseppe Guarneri 'del Gesù', Cremona, 1740, the 'Ysaÿe' |
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巴托洛梅奥·朱塞佩·瓜尔内里·“德尔·杰苏”（1740 年，克雷莫纳），《伊萨耶》 小提琴：40064 |
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| Bartolomeo Giuseppe Guarneri 'del Gesù', Cremona, 1740, the 'Ysaÿe' | ||||||||||||||||||||||
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巴托洛梅奥·朱塞佩·瓜尔内里·“德尔·杰苏”（1740 年，克雷莫纳），《伊萨耶》 小提琴：40064 |
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| Bartolomeo Giuseppe Guarneri 'del Gesù', Cremona, 1740, the 'Ysaÿe' | ||||||||||||||||||||||
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巴托洛梅奥·朱塞佩·瓜尔内里·“德尔·杰苏”（1740
年，克雷莫纳），《伊萨耶》 小提琴：40064 |
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| Bartolomeo Giuseppe Guarneri 'del Gesù', Cremona, 1740, the 'Ysaÿe' | ||||||||||||||||||||||
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| 尤金·伊萨依工作室 | ||||||||||||||||||||||
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尽管列日音乐家欧根·耶萨耶（1858 -
1931）是一位享誉国际的小提琴家、作曲家和指挥家，但公众却忽略了他本人要求由卢森堡列日同代人古斯塔夫·塞鲁里耶-博瓦（1858 -
1910）所创建的这个工作室。古斯塔夫·塞鲁里耶-博瓦是耶萨耶先生同时代的一位杰出人物。这个非凡人物和那个时代的独特见证，由耶萨耶先生的继承人通过遗赠被添加到了列日市的收藏品中。在福格尔街的音乐学院内，该工作室被忠实地重建。1977
年，它被迁至位于乌尔苏琳小巷的原邮局大楼的二楼，那里现在是建筑博物馆，最终被安置在格朗·库蒂斯博物馆的永久性展览空间内。 许多人并不知道“比利时伊丽莎白女王国际音乐比赛”，也就是通常所说的“伊丽莎白女王比赛”，这个比赛的构想是出自尤金·伊萨依之手，灵感来源于他的朋友伊丽莎白女王。该比赛旨在帮助 30 岁以下的年轻演奏者崭露头角。因此，“伊萨依比赛”于 1937 年诞生。由于战争的干扰，比赛在 1951 年以现在的名称重新举行。 |
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The
Eugène Ysaye Studio Although the Liège musician Eugène Ysaye (1858–1931) is an internationally-renowned violinist, composer and conductor, the public overlooks the studio created at his request by Gustave Serrurier-Bovy (1858–1910), one of his contemporaries from Liège. This unique testimony of an exceptional man and an era has been added to the collections of the City of Liège by bequest Eugène Ysaye's heirs. Faithfully reconstituted in the premises of the conservatory on rue Forger, the Studio was transferred in 1977 to the second floor of the former Post Office in the Ursulines cul-de-sac, which is now the Museum of Architecture, before finally being housed in permanent spaces at the Grand Curtius museum. Many people are unaware that the "Queen Elisabeth International Musical Competition of Belgium", commonly known as the "Queen Elisabeth Competition", is an idea that Eugène Ysaye got from his friend, Queen Elisabeth. This contest helps young performers under the age of 30 to get their names out there. Thus the “Ysaye Competition” was born in 1937. Interrupted by the war, it resumed in 1951 under the name by which it is known today. |
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| 阿什肯纳齐/帕尔曼·弗兰克-A大调小提琴与钢琴奏鸣曲 | ||||||||||||||||||||||
| Ashkenazy·Perlman：Franck-Sonata A major Violin·Piano | ||||||||||||||||||||||
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阿什肯纳齐与佩尔曼：塞萨尔·弗兰克——A大调小提琴与钢琴奏鸣曲 3月14日 2022年 阿什肯纳齐与佩尔曼：塞萨尔·弗兰克——A大调小提琴与钢琴奏鸣曲 伊扎克·帕尔曼 - 小提琴 弗拉基米尔·阿什肯纳齐 - 钢琴 英国室内乐团 |
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| Ashkenazy and Perlman: César Franck - Sonata in A major for Violin and Piano 3月14日 2022年 Ashkenazy and Perlman: César Franck - Sonata in A major for Violin and Piano Itzhak Perlman - violin Vladimir Ashkenazy - piano English Chamber Orchestra | ||||||||||||||||||||||
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