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莫扎特之旅 编译 文/图 2020-09-05  19:36

 
 

 
 
 
 
 

 
 
 
 
 
 
  约瑟夫·西盖蒂(Joseph Szigeti 1892-1973)      
         
 

纪录片《约瑟夫·西盖蒂的艺术》

     
  The Art of Joseph Szigeti      
 
     
  音乐历史上的今天

1892年9月5日,约瑟夫·西盖蒂(Joseph Szigeti)出生在匈牙利的布达佩斯。
约瑟夫·西盖蒂(Joseph Szigeti 1892-1973)于1892年出生在匈牙利的布达佩斯。由于他的父亲和叔叔都是小提琴家,使得他在幼年时便与小提琴结下了不解之缘,在父亲和叔叔的亲自教导下,西盖蒂很早便学会了拉小提琴。后来,为了使他尽快提高技艺获得深造,父亲将他送进了布达佩斯音乐学院,在这里,西盖蒂有幸成为匈牙利著名小提琴家耶诺·胡贝的学生。在名师的悉心指点下,西盖蒂的演奏技艺得到了飞速的提高。十岁时,他已经在学院首次登台举行独奏会了,当时,人们对他所显示出的出众才能非常惊讶,许多人都羡慕和钦佩地将他称为神童。在他长到12岁那年,另一位伟大的匈牙利小提琴家约阿希姆与他邂逅,这位当时倍受人们尊崇的小提琴大师一眼便看中了颇具才华的西盖蒂,他马上给年幼的西盖蒂上了一段时间的课,使得这位年轻的小提琴家从一代大师的身上学到了许多宝贵的东西。

西盖蒂从13岁时起开始了自己漫长的演奏生涯,1905年,他首先在德国的柏林举行了生平第一次公开演奏会。1907年到1913年间,他又在英国的各大城市举行了多次的演奏会。此外,在相当长的一段时间里,他一直在欧洲各国的名城中进行着广泛的旅行演出,这其中包括巴黎、布鲁塞尔、布达佩斯、布加勒斯特、斯德哥尔摩、马德里和阿姆斯特丹等等。所到之处均受到了当地听众的热情欢迎,包括评论界在内的社会各界人士,都对他的精彩演奏作出了高度的评价。从此,他便一跃成为誉满欧洲的著名小提琴家。由于他在当时已经取得了很高的艺术荣誉和威望,1917年,若名的瑞士日内瓦音乐学院聘请他接替亨利·马尔托,担任该院的小提琴教授,西盖蒂在此卓有成就地工作到了1924年,这段经历后来成为了西盖蒂整个艺术生涯中的一个十分有意义的里程。

西盖蒂在担任日内瓦音乐学院小提琴教授期间,始终没有间断过他那锁繁的演奏活动,而且其范围和影响越来越大,1925年,他应著名指挥大师斯托科夫斯基的邀请,第一次踏上了美国的领土。他在费城和纽约先后举行了独奏会,演奏了贝多芬的《D大调小提琴协奏曲》,受到了当地听众的极大好评,当时美国的音乐评论界在赞扬他的文章中,曾将他称作是“音乐家中的音乐家”和,“充满聪明和智慧的小提琴家”。这种轰动般的效应,使得西盖蒂在美国获得了权威般的声誉,也使得他今后在美国所开辟的事业获得了一个良好的开端。到了1951年,西盖蒂便加人了美国国籍。

1960年,已经68岁高龄的西盖蒂来到了瑞士定居,从这段时间开始,他将自己工作的主要方向转向了写作和担任国际比赛的评委。西盖蒂一生留下了许多论述小提琴艺术方面的著作,最为著名的有《小提琴家摘记》、《喜爱琴弦》和《西盖蒂论小提琴》等等。至于评委工作就更加繁忙了,早在1937年他就担任了国际伊萨依小提琴比赛的首席评委,正是在那次比赛中,后来成为小提琴演奏艺术巨星的奥伊斯特拉赫以其无可比拟的天才演奏一举夺魁,这其中,西盖蒂的慧眼识才无疑起到了十分重要的作用。

在小提琴演奏家当中,有一些人是属于风格较偏的特性演奏家,这些演奏家演奏的作品相对来说范围较窄,掌握的风格也不全面,著名的蒂博就是一个突出的例子。由于他本人的性格所在,使得他对于法国和德、奥早期作品有着精湛的演释能力,而对于其他各国作曲家的许多作品的演释,则显得力不从心甚至无能为力。而西盖蒂则不同,在这方面,他是一位真正具有全面驾驭能力的演奏大师,在演奏作品的范围方面,他不仅精于古典作品的诠释,而且对许多风格怪异的现代派作品,也有着极为出色的掌握。在对待古典作品的演释上,他有着非常严谨的把握尺度,在众多的这类作品中,他对于巴赫、贝多芬,尤其是勃拉姆斯的作品,有着极具权威性的诠释。勃拉姆斯的《D大调小提琴协奏曲》是他一生中最喜爱的一部作品,对待这一首协奏曲,他的演释应该说是最有价值的经典演释。而对于巴赫的作品,特别是他的六首无伴奏奏鸣曲,西盖蒂的演奏使他身边的许多伟大的同行都感到钦佩不已,当年著名的中提琴演奏家普里姆罗斯在听了西盖蒂演奏的巴赫无伴奏奏鸣曲后,曾经感叹地对人说道:“使人感到无奈的是,他拥有着比我们‘更多的弦’和‘更多的手指’!”

西盖蒂不仅善于演奏古典作品,对于现代派作品,他同样有着浓厚的兴趣和积极的热情。在20世纪早期他的演奏艺术处于巅峰时,就极力地推崇过普罗科菲耶夫的小提琴协奏曲,1925年,正当他在美国成功地演奏贝多芬的小提琴协奏曲而取得了如日中天般的辉煌成就时,就来到了英国的伦敦,为当地的听众演奏了普罗科菲耶夫的《D大调第一小提琴协奏曲》。此外,他还努力地扶植一些现代的作曲家来创作新的小提琴作品,用他自己的话说就是“我希望在我的每一次演奏会中都能够有新的作品出现”。在扶植一些现代作曲家从事小提琴音乐创作时,他经常不厌其烦地为他们提供技术上的帮助和经验方面的意见,为了感激和报答他所带来的帮助和作出的贡献,许多作曲家都将自己的新作献给他,并要求由他来首演。这些作品包括巴托克的《第一小提琴狂想曲》,布鲁赫的《异国之夜》,普罗科菲耶夫的《旋律》和《D大调小提琴奏鸣曲》,马尔廷的《小提琴协奏曲》,哈蒂的《d小调小提琴协奏曲》,卡塞拉的《a小调小提琴协奏曲》和科威尔的《小提琴奏鸣曲》等等,以上的新作品都是由西盖蒂进行首演的。

西盖蒂除了是一位杰出的小提琴演奏大师以外,还是一位优秀的小提琴教育家。早年他曾在瑞士的日内瓦音乐学院担任了七年小提琴教授,培养出了许多优秀的小提琴演奏人才。在教学中西盖蒂总是告诫他的学生不要仅仅为了追求耀眼的技巧炫耀,而要将技术运用在表现音乐上来,他总是强调说:“我们练琴要讲究分析和研究,就像透过作家的文字看出他要表达的思想一样,我们要透过音符来寻求出作品中的含意。”在西盖蒂所教过的众多学生中,以色列小提琴家罗尼·罗果夫是最为出色的一位,他曾从1969年开始在瑞士的蒙特勒跟随西盖蒂学习了多年。

西盖蒂无疑是一位名垂千史的人物,作为一个时代的艺术骄子,他的影响和作用是无法用语言和文字来表述的。1973年2月19日,西盖蒂以81岁的高龄在瑞士的卢塞恩逝世。

今日视频音频:1、纪录片《西盖蒂的艺术》;2、约瑟夫·西盖蒂演奏巴赫奏鸣曲1&2,帕蒂塔 3
;3、西盖蒂与巴托克演奏《贝多芬第九小提琴奏鸣曲“克鲁采”》4、西盖蒂演奏舒伯特的《蜜蜂》

 
 
 
 
 
   
  约瑟夫·西盖蒂(Joseph Szigeti)      
  Lev Theremin, creator of the Theremin, performing with the instrument.      
  追忆西盖蒂——郑延益      
  20世纪的小提琴大师中,克莱斯勒被公认是“提琴之王”,海菲茨是霸主,地位超越 众多小提琴家之上,另一个拥有独特地位的就是怪杰西盖蒂(Szigeti)。在1943年他刀岁寿辰时,梅纽因在BBC广播中向他祝贺,艾萨克·斯特恩从纽约,奥依斯特拉赫从莫斯科,米尔什坦在瑞士蒙特勒(Montreux)通过电话在琴上向他奏“生日快乐”(Happy Birthday);科岗从莫斯科写信给他,提起在 1937年为他演奏门德尔松协奏曲的事,信内称他为尊贵的大师(Honored Master),叙述了年少时科岗如何想沿着您的足迹(follow your footsteps)但又不得不最终放弃这个不现实的愿望(had to abandon this desire in the end),因为要达到那样的目标其实是不可能的(it was too difficult);在小提琴历史上,除伊萨依、克莱斯勒和海菲茨外,大概不曾有过第四者受到同行如此普遍的尊敬。但是现在的乐迷可能有很多不知道这位大师,现在出的两张唱片就太及时了,是不容错过的最珍贵的小提琴文献。
  
   首先要跟乐迷们打一个招呼,如果你没接触过西盖蒂,那么这张CD必须多听几次,因为很可能你开始会不喜欢,不能接受他的演绎,和笔者当年一样,不理解西盖蒂有什么了不起!但我可以保证,多听几次后,就会如同嚼橄榄,回味无穷,可以说甘美无与伦比,也没有第二个类似的小提琴家。总的说来,只有奥依斯特拉赫有点像。西盖蒂比奥依斯特拉赫“干”,但听多了却更有韵味,酷似京剧中的老生余叔岩。
     
  Recall The west Getty -- Zheng Yanyi      
  Never-before-uploaded 1928 archival audio recording of luminary Hungarian violin virtuoso Joseph Szigeti performing Brahms Violin Concerto in D Major.
The Art of Joseph Szigeti

Among the great violinists of the 20th century, Chrysler was known as the "king of the violin", Heifetz as the dominant violinist, and Szigeti as the odd violinist.On his Birthday in 1943, Menuhin congratulated him on BBC radio. Isaac Stern from New York, Oistlage from Moscow, And Milshtan from Montreux, Switzerland, were on the phone playing "Happy Birthday" to him.Post to write to him from Moscow, filed in 1937 for his play the Mendelssohn concerto, letter calls him honorable Master (Honored Master), describes the youth division post how to think along your footprint (follow your footsteps, but had to give up the unrealistic desire (had to abandon this desire in the end, because to achieve that goal is impossible (it was too about);In the history of violin, with the exception of Issa, Chrysler and Heifetz, perhaps no fourth violin has been so universally respected by his peers.But many of today's music fans may not know the master, and the two albums now released are just in time, the most valuable violin documents not to be missed.

First of all, say hello to the fans. If you haven't heard of Him, you should listen to this CD more often, because chances are you won't like it at first, you won't be able to listen to him, and you won't understand what he's all about, just like I did.But I can assure you that after a few more, it will chew like an olive and taste lusciously, and there will be no other violinist like it.On the whole, only Oistlach is anything like it.Seghetti is more "dry" than Oistlach, but more interesting when heard, like old Yu Shuyan in Beijing Opera.
     
   
  约瑟夫·西盖蒂(Joseph Szigeti)      
  多年前,当我第一次听西盖蒂唱片时,心里觉得奇怪:发音是干的,揉音慢得不象话,跳弓都是毛的,拉什么听起来都吃力;这样一位提琴家有什么了不起?似乎徒有虚名!(本套CD的小品录自1926年至1929年间,是西盖蒂全盛时期,当时发音还酸郁浓厚没那么干,揉音也较快,到1933年录巴赫时发音就干了些,揉音慢了些,到1950年就更干更慢了)。接着在电影纪录片中看到他拉舒伯特的小《蜜蜂》,这么简单的一首小曲子,我也会拉,他出来时头发梳得光光的,演奏时却把头颈都快扭断了,拉完时满头大汗 ,头发乱七八糟,实在不知道他好在哪里!可是逐渐听多了就愈来愈觉得他的演绎有一股任何人所没有的醇酸韵味,愈听愈喜欢;才开始理解为什么连梅纽因和奥依斯特拉赫这样以韵味著称的大师都对他推崇备至。可能西盖蒂最大的特点是,讲硬技巧,他的确是诸位大师中最差的;但在音乐演绎上却独树一帜,别具一格。弗莱什曾说过:可惜西盖蒂没跟他学,如果他的弓法和揉音能改进一些,那西盖蒂就会更了不起!这句话我个人认为并不夸张,也不是弗莱什自高自大;从记录片上看西盖蒂拉琴,由于他的手臂手指特长,方法很不自然,看起来鸡手鸭脚,完全是用传统方法硬拉的。克雷默的手也特别长大,可是运用得法;结果就技巧卓绝;但说明问题的却是发音西盖蒂比克雷默好,这就是音乐修养和天分问题。发音好坏,最后决定于演奏者的音乐听觉和概念,方法仅仅是工具。
  
   西盖蒂的成就和弱点和他的时代有关。他是胡包伊(Hubay)的学生,受的是传统训练方法和教养(胡包伊是一位修养极高的老师),可是在他13岁的初次登台后他听到了克莱斯勒演奏同一首他在音乐会的维奥蒂第22协奏曲,使他听到了从所未闻的琴声和演绎风格。用西盖蒂自己的话说,克莱斯勒打开了他的眼(耳)界,使他进人了一个新的音乐世界(直到西盖蒂名扬世界后,他还在纽约到处搜罗克莱斯勒的旧唱片,视若珍宝),接着他又听到了伊萨依、蒂博、爱尔曼。西盖蒂说这 4个人引进了一个提琴演奏风格的新纪元。可是在当时,西盖蒂传统技术的基础已定了型,传统演绎的古典风格也有了根底,由于理智上他清楚,并接受了新演奏风格,及新作家如巴托克、普罗科菲耶夫的新的潮流,西盖蒂就吸收兼蓄两家之长,形成了他自己的特殊风格,朴素的古典严肃却同时又具有内在的醇薄浪漫热情,结果就是这样一位独特的浪漫古典大师。
  
   由于上述的原因,从技术上说,他用的是小布什和胡伯曼,以及梅纽因年青时强迫拉琴的传统方法,这种方法强迫弓子去拉动弦,发出来的音似乎是硬把声音从琴的肚子里拉出来的;泛音少,因此不亮;但却极浓而深厚,特别是G线;似乎是瓮底里传出来的;至于揉音,当时约阿希姆是不赞成的,胡包伊很可能就没教过西盖蒂揉音,更可能是他听了克莱斯勒后自己学的(因为西盖蒂对克莱斯勒是五体投地的佩服;同时这里又可以看到克莱斯勒的了不起,他年龄要比西盖蒂大17岁,所用的演奏方法却是新的、自创的,因为他弓子的发音和揉音都是从所未有,不可能是马萨尔教他的,而且在12岁后,他就没跟过老师□□□,因此他的揉音就运用不得法,速度就慢(很可能是按弦太过用力所导致)。这些,就形成了他在演绎上的技术局限性,但西盖蒂却能在这个局限内,从音乐出发,以他独特的发音、音准的巧妙运用和杰出的节奏处理,通过深人地分析、体会各种不同音乐的风格, 在他的琴上使它们体现了出来;这里要特别指出他的几乎是无痕迹的换弓,这使他拉慢的旋律线如天马行空,长短、逗点、句段都可以随心所欲地表现出来,这点,除□□□外,很少人能做到他的水平(不过由于他跳弓是往下敲出来的,开弓有时也有这种倾向,快分弓有时就不能完全做到毫无痕迹,不及以上几位)。例如巴赫g小调无伴奏的第一乐章的演绎, 他的旋律线处理犹如在叙述,句逗极其细腻,和声和低声部似画龙点睛,清清楚楚地点了出来;节奏上的Rubato和力度变化极其微妙地使句逗、段落更为分明;音准使和声调性鲜明;它是众多版本中最精彩的,是既古典严肃,又抒情富有生命力的维拉契尼和巴赫。还有,可能有很多乐迷不知道,小提琴在拉双音时,弓子在两根弦上的用力不应该是平均的,而应该也可以根据旋律线或低声部分别加以强调;只不过能做到的人不多,听的人只知道效果好坏,却不知道其所以然。
     
  Years ago, when I first listened to A Sigattie record, I found it strange that the sounds were dry, the notes were painfully slow, the bows were hairy, and the sounds were labored.What was so great about such a violinist?It seems to be in vain!(The sketches on this CD were recorded from 1926 to 1929, the heyday of The Sigatti, when the pronunciation was still sour and thick and not so dry and the knead was faster. By 1933, when Bach was recorded, the pronunciation was dry and the knead was slower, and by 1950 it was even drier and slower.)Then in the film documentary saw him play Schubert's little "bee", such a simple little song, I will also play, he came out of the hair combed bare, playing but the head and neck are almost broken, when the end of the sweat, hair at a mess, really do not know where he is good!However, as I listened more and more, I felt more and more that his interpretation had an alkyd charm that no one had. The more I listened, the more I liked it.He began to understand why even menuhin and Oisterach, masters of charm, admired him so much.Perhaps the greatest characteristic of Seghetti was that he was really the worst of the masters in terms of hard skills;But in the musical interpretation is unique, unique.It's a pity, Fleish once said, that Segetty didn't learn from him. If his bowing and rubbing could have improved, He would have been even better!Personally, I don't think this is an exaggeration, nor is It that Fleish is conceited;As seen in the documentary, the Sigheteh is played in an unnatural way due to his long arms and fingers. It looks like a chicken hand and duck foot, which is completely pulled by the traditional method.Kramer's hand, too, was particularly large, but it worked;The result is excellent skill;But it's the pronunciation that matters. Well, that's the question of musical accomplishment and talent.Pronunciation is ultimately determined by the player's musical hearing and concept, and the method is only a tool.

Seghetti's achievements and weaknesses are related to his time.He was a student of Hubay, trained in traditional methods and upbringing (Hubay was a highly cultivated teacher), but after his 13-year-old debut he heard Chrysler play the same violetti no. 22 concerto that he had performed in the concert, giving him a sound and a style he had never heard before.In Sigatti's own words, Chrysler opened his eyes and ears to a new world of music (he would scour New York City for old Chrysler records and treasure them until Sigatti became famous), and then he heard Isay, Tibbo, Ehrman.Seghetti says the four men introduced a new era in violin playing style.But at the time, the getty type is decided on the basis of traditional technology, the traditional interpretation of the classic style has a root, due to the reason he knew that on and accept the new style of play, and new writers such as bartok, prokofiev's new trend, west getty absorption and accumulation of two long, formed his own special style, simplicity of classical serious but has intrinsic alcohol thin romantic passion again at the same time, the result is such a unique romantic classical master.

For this reason, technically he used the traditional method of forcing the strings, as used by George W. Bush and Huberman, and by Menuhin as a young man, in which the bow is forced to pull the string, producing sounds that seem to be forced out of the belly of the instrument;Few overtones, therefore not bright;But very thick and deep, especially the G line;It seemed to come from the bottom of a urn;As for kneading, Joachim disapproved at the time, and Hupaoyi probably never taught Him to knead. It is more likely that he learned it himself after listening to Chrysler (because Sigatty was so impressed with Chrysler;Here and can see Chrysler's fantastic, at the same time he age 17 years older than the west getty, playing method is used in the new and original, because the pronunciation of his bow and knead the sound came from is unprecedented, it can't be taught him mazar, and after the age of 12, he didn't follow the teacher / -s, so he is using it cannot be rubbing the sound, the speed is slow (probably) caused by too heavy.These are the technical limitations of his interpretation, but In this limitation, Sigatti was able to start from the music, with his unique pronunciation, intonation and excellent rhythm processing, through deep analysis and experience of different musical styles, to make them reflected in his piano;It must be noted he is almost no trace of the bow change, which made him slow melody line as a powerful and unconstrained style, length, comma, sentence, paragraph can follow one's inclinationsly, that, besides / -s, few people can do his level, but because of his jump bow is knocked down, drew his sometimes have this tendency, fast bow sometimes just can't do it without a trace, as more than a few).For example, the interpretation of Bach's unaccompanied first movement in G minor, his melody line processing seems to be narrating, the sentences are extremely delicate, the harmonies and whispers seem to make the finishing point, and come out clearly.The Rubato in rhythm and the change of strength make the sentences and paragraphs more distinct in a very subtle way;Intonation makes harmonic tonality distinct;It is the most wonderful of many versions, both classical and lyrical and full of vitality of Viracini and Bach.What's more, many music fans may not know that when a violin is playing a double note, the force of the bow on the two strings should not be equal, but should also be emphasized separately according to the melody line or the low voice.It's just that not many people can do it, and those who listen only know how it works, but don't know why.
     
       
  约瑟夫·西盖蒂(Joseph Szigeti)      
   西盖蒂在这方面的功力是罕见的惊人。他不但在拉双音时能随意强调其中的一个音,甚至在和弦中都能强调所需要的某一个音,这是弓子上的真功夫。我曾经说帕尔曼的几首赋格很不错,但西盖蒂比他更高一筹。赋格听起来很容易枯躁,因为复调和弦发音难、容易毛、带噪音,声部线条不易清楚,但在西盖蒂手里,赋格很容易听,旋律声部向逗、段落都清清楚楚,而且发音依然浓酸;这就使他在1931年和1933年所灌的g小调和a小调两首成为巴赫无伴奏公认的典范。听他a小调的行板,就完全像两把提琴在拉,一把在拉旋律 ,另一把在伴奏,妙的是两个声部还各有节奏上的Rubato和音准的变化,使之互相衬托;再去听听帕尔曼,优劣立现。值得一提的是有人批评海菲茨拉巴赫用跳弓,其实西盖蒂早就用了,“a小调的快板”就是一个例子。用跳弓是为了有对比,有活跃的生命力,用得恰当无可厚非;只不过西盖蒂的跳弓是传统式用弓敲击出来的,这种跳弓优点在可用弓的任何部位演奏,缺点是杂音较多,力度变化较小(胡伯曼用这种跳弓演奏柴科夫斯基是了不起的技术),西盖蒂在这里用跳弓说明他不是学究派,但的确丰富了这章快板。
  
   西盖蒂不仅在巴赫上是公认的经典,他的近代作品的演绎也同样地有权威性。最突出的是他的巴托克和普罗科菲耶夫。巴托克是他的好朋友,这两张没有这两位作家的曲子,相信第二集一定会有,巴托克不但在写作时征求他的意见,而且还为他弹钢琴伴奏灌唱片(他们的《克莱策奏鸣曲》版本是一个里程碑,仅从这里就可以看到,巴托克还是一位出色的钢琴独奏家和古典乐演绎者)。巴托克和普罗科菲耶夫的小提琴作品能得到普遍地承认,西盖蒂是元老功臣。除这两位外,西盖蒂还首演了许多近代作家的作品。这里有布洛赫,米约的4首小品都极其精彩,尤其是布洛赫和□□□(此处明显错漏),它与年青梅纽因的版本是我所听到过最动人的演绎。使我最惊讶的却是西盖蒂的克莱斯勒作品;而且居然有5首之多。他和克莱斯勒可以说是两个完全不同世界的演奏家,但除克莱斯勒本人外,西盖蒂的演绎是最精彩动人的,包括两首德沃夏克的《斯拉夫舞曲》《西西里舞曲和里戈东舞曲》《爱的忧伤》和《中国花鼓》。我反复地听(从前没听过),才发现是由于西盖蒂抓住了克莱斯勒节奏上和音准的处理变化的结果。由此可见,技术不过是工具(因为西盖蒂的发音、揉音、运弓和克莱斯勒完全不同),音乐的修养才是决定性的因素;而且西盖蒂并不是摹仿,而是有他自己的创造性。
     
  Seghetti's skills in this area are rare and amazing.He was able to emphasize not only one note in a double note, but also a particular note in a chord. This was the skill of the bow.I had said perlman had a few good fugues, but Segetty was a cut above him.The fugue was easy to hear, because polyphonic chords were difficult to pronounce, fuzzy and noisy, and the lines were not clear. But in Sigatty's hands the fugue was easy to hear, the melody was clear, the paragraphs were clear, and the pronunciation was still sour.This made his songs in G minor and A Minor, both in 1931 and 1933, widely regarded as examples of Bach unaccompanied.To listen to his Andante in A minor is exactly like playing two violins, one in melody and the other in accompaniment. The wonderful thing is that the two parts also have Rubato and intonation changes in rhythm, so that they complement each other.Listen to Perlman again. The pros and cons.It's worth noting that Heifezlabach was criticized for using a jump bow, as Was Segetti, for example, with "Allegro in A Minor."The purpose of jumping bow is to have contrast, to have active vitality, and to be properly used.Just west of the getty jump is a traditional bow knock out with a bow, the jump advantage in any part of the available bow bow to play, the disadvantage is that noise is more, efforts to change smaller (huberman, using this jump bow playing Tchaikovsky is great technology), west getty here with jump bow shows that he is not a pedant, but indeed enriched the allegro chapter.

Not only is Sigatti a recognized classic in Bach, but his interpretation of modern works is equally authoritative.The most prominent are his Bartok and Prokofiev.Bartok is his good friend, the two have no melody, the two writers believe that there will be the second set, bartok not only asking his opinion in writing, but also for him to play the piano accompaniment disc (their sonata "clay version is a milestone, only you can see from here, bartok is an excellent piano soloist and classical competence).The violin works of Bartok and Prokofiev are generally recognized, and Sighetti is the patriarch of the work.In addition to these two, Seghetti premiered the works of many modern writers.Here is Bloch. Milo's four sketches are excellent, especially Bloch and □□ (obviously wrong here). It and the young Menuhin's version are the most moving I have ever heard.What surprised me most was the Chrysler works of The Sigattie;And there were five songs.He and Chrysler can be said to be two completely different worlds of the players, but besides Chrysler himself, sighetti's performances are the most fascinating and moving, including two dvorak's "Slavic dance", "Sicilian and rigdon", "sadness of love" and "China flower drum".I listened to it over and over (and never heard it before) and realized that It was Sigatti who had caught up with Chrysler's changes in rhythm and pitch.Technology, then, is nothing but a tool (because Sigatee's pronunciation, kneading, bowing, and Chryslers are so different), and cultivation of music is the decisive factor;And Sigatti was not an imitation, but a creation of his own.
     
     
         
 
     
   Today in the history of music
Joseph Szigeti was born in Budapest, Hungary, on September 5, 1892.
Joseph Szigeti was born in Budapest, Hungary, in 1892.Since his father and uncle were both violinists, he was attached to the violin at an early age. Under the personal guidance of his father and uncle, He learned to play the violin at an early age.Later, in order to improve his skills as quickly as possible, his father sent him to the Budapest Conservatory, where He had the honor of becoming a student of the famous Hungarian violinist Yenor Hube.Under the careful guidance of famous teachers, Seghetti's playing skills have been improved by leaps and bounds.At the age of ten, when he had made his college debut in recital, people were so surprised at the remarkable talent he showed that many people called him a child prodigy with admiration and admiration.In his long to 12 years old, another great Hungarian violinist joachim met with him, this was the most revered master violinist and west getty took a fancy to have talent, he immediately to the younger west getty in class for a long time, makes the young violinist have learned a lot from a generation of master and precious things.
After a long playing career that began at the age of 13, He first gave his first public concert in Berlin, Germany, in 1905.From 1907 to 1913, he gave concerts in major English cities.In addition, for a long time, he has been performing extensively in famous cities in Europe, including Paris, Brussels, Budapest, Bucharest, Stockholm, Madrid, Amsterdam and so on.Everywhere he went, he was warmly welcomed by the local audience. People from all walks of life, including the critics, all spoke highly of his excellent performance.From then on, he rose to become a famous violinist throughout Europe.Because he has been made at the time the art of high honor and prestige, in 1917, if the name of the institute of music in Geneva, Switzerland, hired him to replace Henry omar, a professor of violin, west getty accomplished in this work by the year 1924, the experience became west getty a very meaningful in the entire artistic career of mileage.
During his tenure as a violin professor at the Geneva Conservatory, Seghetti continued his intensive playing activities, which grew in scope and influence. In 1925, he set foot in the United States for the first time at the invitation of the renowned maestro Stokowski.He gave recitals in Philadelphia and then in New York, playing Beethoven's Violin Concerto in D Major, which was well received by the local audience, and the American music critics at the time wrote in their praise of him, calling him "a musician among musicians" and "a violinist full of wit and wisdom."This sensational effect gave Him an authoritative reputation in the United States and a good start in his future career in the United States.By 1951, The West Getty had become an American citizen.
In 1960, at the age of 68, He moved to Switzerland, where he turned his attention to writing and judging international competitions.During his life, He left behind many works on the art of violin, the most famous of which are Notes of the Violinist, Love of the Strings, And Sigatty on the Violin.As to judge the work is more busy, as early as in 1937, he served as the issa in accordance with the international violin competition chief judges, it is in the game, then become a violin art star in the east lage topped with its incomparable genius plays, this among them, the eye of the west getty just just just just know clearly has played a very important role.
Among the violinists, there are some of the more idiosyncratic players, who play a relatively narrow range of works and grasp a less comprehensive style. The famous Thibault is a prominent example.Because of his own personality, he has a superb ability to interpret French, German and Austrian early works, but for the interpretation of many works by composers from other countries, he is powerless or even powerless.In this respect, He was a master with a true mastery of the whole range of his compositions. He was not only good at interpreting classical works, but also had an excellent command of many modern works with strange styles.In terms of the interpretation of classical works, he has a very strict grasp of the scale. Among many such works, he has a very authoritative interpretation of Bach, Beethoven, especially Brahms.Brahms's Violin Concerto in D Major is one of his favorite works in his life, and his interpretation of this concerto should be regarded as the most valuable classical interpretation.For the Bach's works, especially his six accompanied sonatas, west getty play makes him many great peers are admired, the famous viola player she rose in listening to the west the getty after playing Bach without the accompaniment of sonata, ever told people sigh: "make a person feel very helpless, he has more than the us' string 'and' more fingers!"
Seghetti was not only good at playing classical works, but also had a keen interest and enthusiasm for modernist works.In the early 20th century his performance art in a peak, it tried to promote the prokofiev violin concerto, in 1925, when he succeeded in playing Beethoven's violin concerto in the United States and the heyday of brilliant achievements, came to London, for the local audience plays prokofiev's "first violin concerto in D major".In addition, he worked hard to cultivate modern composers to create new violin works. In his own words, "I want new works to appear in every concert Of mine."In order to appreciate and reward his help and contribution, many composers dedicated their new works to him and asked him to perform the first performance.The first violin rhapsodies of these works include bartok, bruch "exotic nights", prokofiev "melody" and "D major violin sonata, Martin's violin concerto, violin concerto in D minor" harty, casella "violin concerto in a minor" and kewell "violin sonata" and so on, more than new works are conducted by west getty premiere.
In addition to being an outstanding violin master, Sigatti was also an excellent violin educator.In his early years, he served as a violin professor at the Geneva Conservatory of Music in Switzerland for seven years, and cultivated many outstanding violin-playing talents.In the teaching of Chinese and western getty always told his students not only in pursuit of dazzling skills to show off, and to use technology in music performance, he always stressed: "we should pay attention to analysis and research practice, like through the writer's see words to express his ideas, we will through the notes to find the meaning of the work."Ronnie Rogoff, an Israeli violinist, was one of the most outstanding of Seghetti's students, having studied with her for many years in Montreux, Switzerland, beginning in 1969.
Seghetti is undoubtedly a famous figure in the history of thousands of years. As an artistic pride of an era, his influence and function cannot be expressed in words or words.He died in Lucerne, Switzerland, on February 19, 1973, at the age of 81.
Video and audio: 1. The Art of The West Getty; 2.2. Joseph Seghetti playing Bach Sonatas 1&2, Patita 3;Seghetti and Bartok playing Beethoven's ninth violin Sonata "Kreutz" 4. Seghetti playing Schubert's "The Bee".
     
   
  约瑟夫·西盖蒂(Joseph Szigeti)和加拉米安及拉宾在一起。      
 
     
         
  约瑟夫·西盖蒂(1892-1973)巴赫奏鸣曲1&2,帕蒂塔 3 (R.纽约1946- 49)      
  Joseph Szigeti (1892-1973) Bach Sonata 1&2, Partita 3 (R. New York 1946-’49)      
         
  【西盖蒂x巴托克】贝多芬第九小提琴奏鸣曲“克鲁采”      
  Joseph Szigeti, Bela Bartok: Beethoven Kreutzer Sonata      
         
  约瑟夫· 西盖蒂演奏舒伯特的《蜜蜂》      
  the Bee by François Schubert(1808-1878)       
 
 
 
     
  未得原作者编者授权严禁转载www.mt77.com任何内容      
                   
                     
 
 
 
 
                   
                     
 

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