柴可夫斯基 柴可夫斯基音樂學(xué)院

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1、柴可夫斯基 柴可夫斯基音樂學(xué)院 　　柴可夫斯基是俄羅斯最偉大的作曲家，其音樂真摯、熱忱，重視對(duì)人的心理的細(xì)致刻畫，并含有俄羅斯民族特有的風(fēng)格，是古典音樂寶庫中的珍品。本文不但對(duì)這位偉大的音樂家進(jìn)行了細(xì)致地描寫，還對(duì)其作品進(jìn)行了點(diǎn)評(píng)，值得讀者仔細(xì)體會(huì)和學(xué)習(xí)。 　　認(rèn)識(shí)柴可夫斯基 　　How is one to put into words those indeterminate feelings that engulf one during the composition of an instrumental work? It is a purely lyrical process,

2、 the outpourings of a soul marked by the 1)vicissitudes of life but destined by its very nature to express itself in music.” Tchaikovsky wrote that in 1878, after the completion of his fourth 2)symphony, in a letter to his benefactress, Nadezhda Von Meck, the widow of an industrialist. Her generosit

3、y enabled him to 　　devote himself entirely to composition. In the letter, Tchaikovsky has more to say about the vicissitudes of life, “This is fate, that 3)inexorable force; it is inescapable and invincible. There is no other course but to submit and to 4)lament in vain.” 　　He was convinced that t

4、his idea of fate or 5)providence was crucial and that it was beyond the powers of mere mortals to do anything about it. This conviction is reflected in his 　　music, notably in his symphonic works. For Tchaikovsky, music was not just the arrangement of notes on the page; it was the language of emoti

5、on, the mirror of his own feelings. 　　Eleven years later Tchaikovsky composed his fifth symphony. By then he was Russia’s most prominent composer at home and abroad. Again, the idea of fate ran through the whole work. He noted, “Introduction: complete surrender to fate or―and this is the same thing

6、―to the 6)inscrutable decrees of providence.” 　　Tchaikovsky was highly sensitive. Outwardly, the impression he made was balanced and self-controlled, but in reality he was very insecure; an unstable, tormented personality. He was prey to 7)dire 　　visions and nightmares and his diary is full of ast

7、onishing and distressing disclosures about the psychological 　　8)agonies he went through. He wrote to Nadezhda Von Meck expressing his fear that he was “written out”, but he completed the fifth symphony within the space of three months. Tchaikovsky conducted the first performance himself on the fif

8、th of 　　November, 1888, in St. Petersburg. His brother, Modeste, was present. 　　After the symphony Pyotr Ilyich received a rapturous applause. The orchestra played three 　　9)flourishes for him and he was presented with flowers. But despite its great success with the audience, many critics found f

9、ault with the new 　　symphony. But by no means all of them. After the first German performance five months later, the Hamburg reviewer Josef Zitaud, wrote, “The E-minor symphony can rightly be hailed as one of the most significant symphonic works of the age.” Today, Tchaikovsky’s “Fifth” is among th

10、e most famous symphonies ever written. 　　Pyotr Ilyich Tchaikovsky was born on the 7th of May, 1840, in a small mining town west of the 10)Urals called Votkinsk. His mother, Alexandra Andreyevna, played the piano and introduced her son to the world of music. The highly sensitive boy responded with p

11、assionate interest. Though his musical gifts were encouraged by his parents, the lowly social standing of professional musicians meant they never seriously 11)contemplated a musical career for him. At the age of ten he was sent to the School of 12)Jurisprudence in St. 　　本文為全文原貌 未安裝PDF瀏覽器用戶請(qǐng)先下載安裝 原版

12、全文　　Petersburg, which he left nine years later to take up a junior post in the Ministry of Justice. He 　　described himself as “a poor civil servant”. 　　Finally, in 1862, he enrolled at the new St. 　　Petersburg 13)Conservatory of Music established by 14)Anton Rubenstein. Rubenstein persuaded him t

13、o devote himself entirely to music. In a letter to his sister, Tchaikovsky says, “This is my vocation and I must follow it. Whether I become a great composer or a poor music teacher is immaterial. 15)At all events my conscience will be clear and I shall no longer have any cause to complain about my

14、16)lot.” 　　After successfully completing his studies in St. Petersburg, Tchaikovsky spent twelve years teaching music theory at the new conservatory in Moscow. His first four symphonies and many other works date from this period, so it was productive for him as a composer, but it was also a time of

15、 distress and unrest. Tchaikovsky was homosexual and that was a social 17)stigma. To avoid the inevitable 18)ostracism associated with it, he resolved to marry Antonina Miliukova, 　　a woman he hardly knew. The marriage was a disaster. Tchaikovsky suffered a complete nervous breakdown and tried to k

16、ill himself. After separating from his wife in 1878, Tchaikovsky continued as an extremely successful 19)freelance composer. The vicissitudes he had been through strengthened his firm belief in the force of destiny. 　　The mysterious circumstances surrounding his early death at the age of 53 have 20

17、)given rise to a great deal of speculation. We know that he drank a glass of unboiled water in a restaurant in St. Petersburg when 21)cholera was raging in the city. Some believe that he did this intentionally. 　　22)Igor Stravinsky, a great admirer of Tchaikovsky, said this about his countryman, “T

18、chaikovsky had a powerful sense of melody. It is the 23)centre of gravity in all his symphonies, operas and ballets. There is no doubt that he was an inspired creator of melody and that is a rare and precious gift.” 　　當(dāng)一個(gè)人在譜寫一篇樂章的時(shí)候，她該怎樣用語言去描述那些令她深深沉醉于其中卻又模糊不定的感覺呢？這純粹是一個(gè)宣泄情感的過程，是刻滿人世滄桑的靈魂的流露，卻注定了要用

19、音樂來表示其真實(shí)的天性?！辈窨煞蛩够?878年完成了她的第四交響曲后，在一封給娜婕達(dá)?馮?梅克夫人的信中寫下了這段話。馮?梅克夫人是一位工業(yè)家的遺孀，正是因?yàn)樗目犊抛尣窨煞蛩够軌蛉硇牡赝度氲揭魳穭?chuàng)作中去。在信中，柴可夫斯基更多地談到了生命的改變無常：“這就是命運(yùn)，是那無情的力量――既無可逃避也無法戰(zhàn)勝。沒有其余方法，只能屈服并徒勞地傷悲?！? 　　她深信命運(yùn)或天意是含有決定意義的，并遠(yuǎn)遠(yuǎn)超出了純粹人力之所能及。這種信念也反應(yīng)在了她的音樂中，尤其是在她的交響樂中。對(duì)于柴可夫斯基來說，音樂不但僅是在紙上書寫的一串串音符，還是情感的語言，是她本身感覺的反應(yīng)。 　　11年后，柴可夫斯基

20、譜出了她的第五交響曲，當(dāng)初她已經(jīng)是俄羅斯遠(yuǎn)近馳名的作曲家，而有關(guān)命運(yùn)的想法再一次貫穿了她的整篇曲譜。她統(tǒng)計(jì)道：“開篇：完全屈服于命運(yùn)，或――這是一樣的――屈服于不可預(yù)知的天意?！? 　　柴可夫斯基的性格極其敏感。表面看來，她給人的印象是平穩(wěn)而自制的，但實(shí)際上她很缺乏安全感，性格不穩(wěn)定且苦悶。她常常遭受可怕的幻象和夢(mèng)魘的折磨，而她的日志中則大量暴露了她所遭受的驚人的心理痛苦。她在寫給娜婕達(dá)?馮?梅克的信中說，她擔(dān)心自己已經(jīng)“才思枯竭”，可是她仍然在三個(gè)月內(nèi)完成了第五交響曲。柴可夫斯基于1888年11月5日在圣彼得堡親自指揮了交響曲的首演。她的弟弟馬戴斯特到場(chǎng)觀看了演出。 　　演出結(jié)束后，彼得?

21、伊里奇取得了熱烈的掌聲。樂隊(duì)三度吹奏對(duì)她表示感謝，還有些人向她獻(xiàn)花。然而即使演出大受觀眾歡迎，取得了極大的成功，很多批評(píng)家還是對(duì)這篇新交響曲吹毛求疵。但并不是全部批評(píng)家全部不喜愛它。五個(gè)月后在德國首演以后，漢堡的評(píng)論家約瑟夫?齊達(dá)德寫到：“正確說來，這篇E小調(diào)交響曲能夠被擁為是本時(shí)代最主要的交響曲之一。”今天，柴可夫斯基的第五交響曲已經(jīng)被看作是有史以來最著名的交響曲之一。 　　彼得?伊里奇?柴可夫斯基于1840年5月7日出生于烏拉爾河西岸一個(gè)名叫沃特金斯克的礦業(yè)小鎮(zhèn)上。她的母親亞歷山德拉?安德列葉夫娜會(huì)彈鋼琴，并將兒子領(lǐng)進(jìn)了音樂的世界，這個(gè)性格極其敏感的男孩對(duì)此顯露出了極大的愛好。即使她的音

22、樂天賦得到了父母親的激勵(lì)和支持，然而因?yàn)楫?dāng)初職業(yè)音樂家的社會(huì)地位低下，這也就意味著她們并沒有真的計(jì)劃未來讓她以此為職業(yè)。在10歲的時(shí)候，她被送往圣彼得堡的法學(xué)院學(xué)習(xí)，9年后她離開了那里在司法行政部謀得了一份小差事。她形容自己是一個(gè)“可憐的小文員”。 　　本文為全文原貌 未安裝PDF瀏覽器用戶請(qǐng)先下載安裝 原版全文　　 　　最終，在1862年，她被圣彼得堡的音樂學(xué)院錄用了，該學(xué)院是由安東?魯賓斯坦剛建立起來的。魯賓斯坦勸說她全身心地投入到音樂創(chuàng)作中去。在一封寫給她妹妹的信中，柴可夫斯基說道：“這就是我的天職，我必需服從它。不論我是會(huì)成為一位偉大的作曲家，還是一名貧窮的音樂老師，這全部不主要。

23、不論怎樣，我的意識(shí)很清醒，而且我也不再有任何理由去埋怨我的命運(yùn)?！? 　　在順利完成了她在圣彼得堡的學(xué)業(yè)后，柴可夫斯基花了12年時(shí)間在莫斯科的一間新音樂學(xué)校教授樂理。她的前四部交響曲和很多其它樂章全部是在這一時(shí)期完成的，因此作為一位作曲家，她算是很高產(chǎn)的，然而這段時(shí)期對(duì)于她來說也充滿了憂傷和不安。柴可夫斯基是名同性戀者，而這在當(dāng)初被看作是社會(huì)的恥辱。為了避免所以而受到社會(huì)的排斥，她決定娶安東妮雅?米露可娃，一個(gè)她幾乎完全不了解的女子為妻。這場(chǎng)婚姻完全是場(chǎng)災(zāi)難，柴可夫斯基的精神完全瓦解了，還企圖自殺。在1878年和妻子分居后，柴可夫斯基成為了一位極其成功的自由作曲家。她所經(jīng)歷的坎坷生活更堅(jiān)定了她

24、對(duì)命運(yùn)之力的信仰。 　　而她在53歲時(shí)神秘的英年早逝更是引發(fā)了多種猜測(cè)。我們知道的原因是在霍亂肆虐的時(shí)候，她在圣彼得堡的一家餐館飲用了一杯未經(jīng)煮沸的生水。有些人認(rèn)為她是有意這么做的。 　　作為柴可夫斯基的熱心崇敬者，伊戈?duì)?斯特拉文斯基對(duì)她這位同胞的評(píng)價(jià)是：“柴可夫斯基對(duì)旋律有著強(qiáng)大的感知力。這種感知力是她全部交響曲、歌劇和芭蕾舞曲的重心。毫無疑問，她是一位對(duì)旋律極有靈感的創(chuàng)作者，這是一個(gè)罕見而珍貴的天賦?！? 　　對(duì)第二樂章的樂評(píng) 　　The beginning of the second movement takes us into an entirely different wor

25、ld. With quiet piano- 　　24)pianissimo chords in the lower strings, it’s a very gentle introduction. Then comes a 25)cantilena on the horn; this is the main theme. The movement is marked 　　“26)Andante 27)Cantabile 28)con alcuna licenza”, a songful andante with a degree of license. This is an allusi

26、on to the licenza of operatic arias, allowing the singer to modify the 29)tempo at his or her discretion. 　　The horn cantilena is followed by an 30)oboe theme that Tchaikovsky refers to in his sketches as “a ray of light”. Both these themes 31)culminate in passionate 　　climaxes, which, however, su

27、bside again almost as soon as they appear. 　　If you think of the symphony in terms of a novel, I would say that this is an 32)idyllic episode. In fact, I think you could even call it a love scene. It opens as a dialogue between the horn melody and the oboe theme. In the 　　central section you have

28、constant give and take between different instruments or groups of instruments. Then there’s the indication “33)Con desiderio e passione”, which is very unusual. 　　The central section introduces a new theme that builds to a 34)forte-fortissimo climax. At this point the full orchestra hammers out the

29、 “fate” theme. After a 　　general pause, the 35)recapitulation sets in. Again, the two main themes are developed into a passionate climax. The “fate” theme intrudes once more before the coda brings the movement to a melancholy close built around the second theme. 　　第二樂章的開篇就將我們帶入了一個(gè)完全不一樣的世界。伴隨輕柔的鋼琴聲

30、和低音域和弦，這是一篇溫柔的序曲。接著是圓號(hào)吹奏的抒情曲，這是專題旋律。這一樂章屬于“稍自由的如歌的行板”，即旋律優(yōu)美的行板但又帶有少許的自由，像是在引用歌劇的唱腔，讓歌手能夠自行調(diào)整速度。 　　圓號(hào)以后緊接著是一段雙簧專題，柴可夫斯基在初稿中將其稱之為“光線”。這兩個(gè)專題旋律全部達(dá)成了高潮，不過幾乎轉(zhuǎn)瞬即逝。 　　假如你用小說來比方交響樂，我想說這首如同一篇田園詩。實(shí)際上，我認(rèn)為你甚至能夠?qū)⑺Q之為愛情詩篇。它以圓號(hào)曲調(diào)和雙簧管專題的對(duì)話為開篇，在中段你能夠常常聽到其它單個(gè)或群體樂器此起彼伏。然后出現(xiàn)了激情片段，這是極少見的。 　　中段出現(xiàn)了一篇新的專題，進(jìn)入了新的高潮。此時(shí)整個(gè)樂團(tuán)帶出了“命運(yùn)”這一專題。稍作停頓以后，進(jìn)入重復(fù)部分。兩個(gè)專題旋律再次營(yíng)造出激情的高潮，接著在結(jié)尾處由第二旋律帶出悲傷的曲調(diào)，再次出現(xiàn)命運(yùn)的專題。 　　本文為全文原貌 未安裝PDF瀏覽器用戶請(qǐng)先下載安裝 原版全文