白色的蓝的音乐

Very much a pianist’s take on these wonderfully life-affirming concertos. http://www.bbc.co.uk/music/reviews/qg5c

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Abram Chasins, 1903-1987 美国钢琴家、作曲家、电台音乐主持人，阿布拉姆·蔡辛斯（又译“查辛斯”、“蔡辛思”），于1903年8月17日生于纽约，父母是俄罗斯犹太血统。他就学于美国茱莉亚音乐学院（Juilliard School of Music）、哥伦比亚大学（Columbia University）和柯蒂斯音乐学院（Curtis Institute of Music），师从厄尼斯特·哈奇森（Ernest Hutcheson）、鲁宾·戈德马克（Rubin Goldmark）和约瑟夫·霍夫曼（Józef Hofmann），于1926-1935年执教于柯蒂斯音乐学院。他作为钢琴家的演奏生涯是从1927年直到1947年。1929年1月1日，他与费城交响乐团合作首演自己创作的《f小调第一钢琴协奏曲》。1941-1965年任纽约WQXR广播电台音乐主持，期间于1946年始担任该电台音乐总监。1949年，他和曾经是他学生的女钢琴家康斯坦斯·金（Constance Keene）结婚，随后两人组合成钢琴二重奏进行公开演奏和录音。1972年任南加利福尼亚大学（University of Southern California）客座音乐教授，并重组了由学生支持的KUSC古典现代音乐广播电台频道。于1977年退休，于1987年6月21日因癌症在曼哈顿的家中去世。 蔡辛斯一生仅作有一百余首作品，大部分是为钢琴而作。由于他很早就放弃了创作，且作品质量参差不齐，因此几乎陷入默默无闻的状态，但其中也不乏优秀之作。托斯卡尼尼指挥演出的第一部美国作品就是蔡辛斯所作。代表作有：乐队作品《游行》Parade (1931)、两部钢琴协奏曲(1928，1931)、钢琴作品《三首中国风格小品》Three Chinese Pieces 等。他还著有数部音乐著作和音乐家传记，其中包括《论钢琴演奏家》Speaking of Pianists (1958) 、《凡·克莱本传奇》The Van Cliburn Legend (1959) 、《音乐欣赏》The Appreciation of Music (1966) 、《音乐十字路口》Music at the Crossroads (1972) 、《不可思议的光芒——斯托科夫斯基》Stoki, the Incredible Apollo (1978) 等。 http://ppguoqiang.blog.163.com/blog/static/684037832010516229369/ ----------- 10. Chinese Pieces (3) for piano: No. 1. A Shanghai Tragedy, Op. 7, No. 1 《上海悲剧》A Shanghai Tragedy ，作于1925年，于1926年出版，是蔡辛斯(Abram Chasins)所作的中国题材系列钢琴作品中的代表作《三首中国风格小品》Three Chinese Pieces 中的第一首。关于这首作品，蔡辛斯这样写道：这是为佛罗伦萨·里德（Florence Reed）所饰演的音乐剧《上海风光》The Shanghai Gesture 所作的配乐。这不是单纯的背景音乐，而是整部音乐剧的印象。剧情是以中国的一个城市——上海的黎明作为整个悲剧的开端，接着是令人情绪不安的情节，最后在一片漆黑的夜晚结束不幸的一天。这首作品还被用于约瑟夫·冯·斯坦伯格（Josef von Sternberg）编剧的同名电影作为配乐。采用g小调，4/4拍，慢板-中板。 http://ppguoqiang.blog.163.com/blog/static/684037832010516239223/ 11. Chinese Pieces (3) for piano: No. 2. Flirtation in a Chinese Garden, Op. 5 《中式花园迷情》Flirtation in a Chinese Garden ，又译“在中国花园调情”，作于1925年，于1926年出版，是蔡辛斯所作的中国题材系列钢琴作品中的代表作《三首中国风格小品》Three Chinese Pieces 中的第二首。在乐谱上蔡辛斯标有“为白键而作”的字样。作品为C大调，4/4拍，轻盈优雅的，三部曲式。蔡辛斯在这里展示了C大调上巧妙而有趣的不协和和弦。主部轻盈的四度双音宛如一位中国女郎在花园中优雅地摇曳着手中的扇子。副部引用了一段东方风格小调“你从哪儿弄来的帽子？”Where did you get that hat? 这是女郎在嘲笑翻过花园大门、戴着可笑的圆顶高帽的求爱者。最后简单再现了主部。 http://ppguoqiang.blog.163.com/blog/static/6840378320105162338150/ 12. Chinese Pieces (3) for piano: No. 3. Rush Hour in Hong Kong 题献给他的朋友大卫·萨波顿（David Saperton）。这是蔡辛斯的代表作——以中国为主题素材所作的《三首中国风格小品》Three Chinese Pieces 中的第三首，作品出版后随即受到广大群众的喜爱，在短暂的六个月时间内就再版了十六次，令戈多夫斯基亦大吃一惊，难以置信。作品为g小调，4/4拍，激动的急板，以托卡塔的形式表现了香港上下班尖峰时刻车水马龙的街道场景，反映了紧凑和繁忙的都市生活节奏。随后蔡辛斯还将此曲改编成双钢琴演奏形式，题献给他的朋友维拉·布洛斯基（Vera Brodsky）和哈罗德·崔格斯（Harold Triggs）。 http://ppguoqiang.blog.163.com/blog/static/6840378320105162242248/ ----- 想看西方人如何看待华人世界？ 林佳靜 / 鋼琴－中國風 http://www.books.com.tw/exep/cdfile.php?item=0020028779 申明一下，不是我写的，附上了原作链接。没有条目论坛真是麻烦

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"Turk lent me for study above all Bach's Well-Tempered Clavier. Of course, after this I mastered all the easier all the newer piano things, especially those by Clementi, Haydn, Mozart, and the young Beethoven". "Yesterday morning I was at the young Schlesinger's, with whom I would have liked to have negotiated about my sonata [in E major]. I played it for him, and he regarded it as so outstanding to be too good for the current tinkly period". Carl Loewe, Autobiography. "Your Sonata in F minor, your Spring Sonata, your Mazeppa are also compositions such as do not fit in with Rellstab's theory. They are in part foolish people, the critics. They set down a theory, and when brains come along and create something that cannot be made to fit in with the theory, then these new creations immediately have to be deemed worthless". Preacher Keferstein in a letter to Loewe, in Jena, 1836. Loewe was a pupil of the famous Daniel Gottlob Turk, who is known to us today only as the author of various instructional works. At the time instruction from Turk meant intensive study and preparation for a virtuoso career. Loewe indeed must have had special pianistic talent: he always accompanied his own vocal recital of his ballads - an artistic achievement seeming virtually impossible and scarcely imaginable to us today -. Except for the late Gypsy Sonata, Loewe's piano works date to the first half of his compositional career. His first catalogue of his works lists the following piano pieces: Evening Fantasy (1817), Sonata in E flat major (1819), Spring Sonata (1824), Alpine Fantasy (1828), Sonata in E maior (1829). Grande Duo (1829), Mazeppa (1830), Sonata in F minor (1819-34), and Gypsy Sonata (1847). When we bear in mind that Loewe's lieder and ballads are as extensive as Schubert's lied oeuvre, then his piano works account for a relatively minor share of his complete oeuvre. Along with its many 5010 songs, his oeuvre also includes a number of major oratorios. Another word of caution is perhaps in order with respect to the historical evaluation of Loewe's piano oeuvre. When Loewe was a young man, Beethoven was still alive. Although the two are close in stylistic matters, one should not be overhasty with charges of epigonism. Loewe the piano composer continues to be a outstanding master of the craft of piano composition even today, but one who did not succeed in opening up new paths for piano music. In the end he was no match for the great piano sonata composers. This, however, does not seem to have been the goal of the teacher, organist, and composer who lived and worked in Stettin for more than four decades. Nevertheless, as the inventor of the grand musical ballad born of the word, a form today regarded as the precursor and source of Wagernian Sprechgesang, Loewe far outdid the monumental Beethoven with the inexhaustible wealth of ideas at his disposal for the musical rendering of the word. Grand Sonata for piano in E major, Op 16 Dedicated to the wife of Privy Councilor Tielebein Written: 1819, published as Loewe's op. 1 in 1830 [25:33] 01. - I. Adagio introduzionale. Allegro cantabile, con molto sentimento 02. - II. 'Toujours, toujours je te serais fidèle' 03. - III. Presto 04. - IV. Finale. Allegro assai Apart from Louis Spohr's Sonatine with a Song, a work of smaller dimensions, Loewe's sonata represents a unique case within the piano literature. A slow sonata movement consisting of two song strophes, one for male voice and one for female voice: the literature had never before produced anything like this. As the placement of the handwritten song text in the printed edition suggests, this second movement was not originally designed as a vocal piece but followed the traditional three-part song form. Information about the source of the simple poem is lacking. It is quite likely, however, that the dedicatee, the wife of Privy Councilor Tielebein, was its author. Loewe performed many of his songs in public for the first time in her salon in Zulchaw near Stettin. It is unclear why it was that the composer later added a French version to the German version. Max Runze later removed this romance from its context in the sonata and published it (in keeping with the publisher's wishes, in German only) under the title of Sonata Romance in his seventeen-volume complete edition of Loewe's lieder and ballads at the beginning of the XXth century. In general the Sonata in E major may be said to contain clear reminiscences of Schubert and Beethoven. This may be one of the reasons why judgments of the work have been so very different. The evaluative scale ranges from enthusiastic approval (Loewe's best sonata, according to Engel in 1934) to almost brusque rejection (e.g., by Robert Schumann). The first movement is maintained in a basic mood of simple lyricism. A few unusual chord doublings intended for the light pianoforte are difficult to reproduce on the modern concert piano. The recitative at the end of the exposition is strikingly reminiscent of Beethoven. The scherzo and its sparkling passages and the last movements recall Beethoven's Sonata op. 27,1. Its characteristic signature occasionally recalls the piano arrangements of his earlier symphonies. Grande Sonate élégique in F minor, Op 32 Dedicated to H. R. H. Mme. Marie Paulowna, Grand Duchess of Russia, etc. Written: 1819 -1834, published as Loewe's op. 32 in 1834 [23:53] 05. - I. Grave con moto. Allegro 06. - II. Andante 07. - III. Presto 08. - IV. Finale. Presto con fuoco. Fuge con doloro This work Is of much more impressive dimensions; its compositional approach places it in the vicinity of Beethoven's Appassionata Sonata. Broad broken chords range over the entire extent of the keyboard of the pianoforte then in use. Over long stretches what we have is a virtuoso work concerned with content and operating with simple harmonic structures such as we encounter before Franz Liszt's time only in the piano sonatas of Carl Maria von Weber. In the development section of the first movement Loewe, who according to his own testimony was always interested in the further development of the sonata form, sets out on what are very much formally new paths through two short songlike "inserts" which are not to be mistaken for the second theme. In their lyrical content they recall a Fieldian nocturne. The variations of the andante movement and the scherzo breathe the spirit of Beethoven's Variations in C minor. The sonata concludes with a fugue. Loewe begins his fugue almost in the style of Bach - this in contrast to Beethoven in his much more important Hammerklavier Sonata - . The strict form then goes on to take on greater dimensions not unlike those of Busoni's Bach arrangements, only then to conclude in quiet Biedermeier modesty. The numerous expressive markings intended for the pianoforte cannot always be reproduced on the modern concert grand piano. Advance warning should be issued against taking the pedaling all too literally; it is generously dosed from taday's perspective and does not even shy away from harmonic shifts with the pedal down. (The author of these lines is of the view that, as in the similar case presented by Liszt's early oeuvre, the pedal sign does not mean that the pedal is to be held dawn until the cancellation of this sign. Rather, it seems to indicate that the pedal is to be used in this area.) Le Printemps, A Tone Poem for piano in sonata form, Op 47 Written: 1824, published as Loewe's op. 47 in 1835 [26:56] 09. - I. Der erwachende Morgen. Morgenfeier (L'aube du jour) Ben sostenuto in tempo 10. - II. Naturleben (Grand jour) Allegretto con comodezza 11. - III. Scherzo. Gang zu ländlichen Gruppen (Vie Champêtre) 12. - IV. Tagesneigen (Le Crépuscule). Allegro assai Loewe's efforts to continue the quest for innovations in sonata composition after the death of his titanic contemparary Beethoven bore fruit not so much in the extension of its harmonic ond pianistic possibilities as in the form of original approaches for the modification of the structural design of the piano sonata. This is especially striking not only in the song insert in the Sonata in E major but also in the purely programmatic Spring Sonata. Here, as in Beethoven's Pastoral Symphony, the movements are accompanied with atmospheric explanations. Loewe even inserted a poem by Uhland into the score of the introduction to the first movement: One still hardly suspects the sun's light, the morning bells have not yet done their ringing in the dark valley. How quiet the wide expanse of the woods! The little birds twitter only in dreams, no song was within the ear's bounds. After the first hesitant trilling of the birds, the increasing tremolos announce the day with a jubilant morning celebration. After assorted reminiscences of country dances, which even contain very unusual fugue elements, the busy activity in the country comes to a peaceful close with choral reminiscences. Cord Garben Translated by Susan Marie Praeder Cord Garben (Born: 1943; Bad Homburg) Within the Classical recording industry, Cord Garben was for years better known as a record producer than as a pianist or conductor. In fact, he won eight Grammy awards for various recordings he produced. Veteran record collectors will remember his name from the many von Karajan, Fischer-Dieskau, and Michelangeli recordings he oversaw for the Deutsche Grammophon label beginning in the 1970s. But Garben has been active as a pianist throughout his career as well, typically as an accompanist to singers and as a conductor. In recent decades Garben has amassed a discography of his own, accompanying some of the leading singers of the day in lieder repertory -- Anne Sofie von Otter, Hildegard Behrens, Brigitte Fassbaender, Andreas Schmidt, Thomas Allen, & many others -- and as a conductor and solo pianist in rarely encountered repertory (piano sonatas of Carl Loewe). Garben has also partnered instrumentalists, most notably the violinist Gottfried Schneider in Godowski's 12 Impressions for Violin and Piano on the Etcetera label. Garben has recorded for DG, Naxos, Sony, Harmonia Mundi, CPO, Orfeo, and Hänssler Classics. He studied music at the Academy of Music and Theater in Hanover and after graduation served as a vocal coach at the Niedersächsische Staatstheater there. He soon began appearing in concert as accompanist to singers and was then taken on by Deutsche Grammophon as a recording producer. In 1975 he served as executive producer on the acclaimed multi-disc complete DG set of Schumann lieder sung by Fischer-Dieskau. Garben would produce many more Fischer-Dieskau recordings, as well as several by Rostropovich, Michelangeli and von Karajan, including the maestro's first collaborations with Anne-Sophie Mutter in 1978 (the Mozart Violin Concertos No. 3 and No. 5). In 1986 Garben was appointed director of vocal productions for Deutsche Grammophon. By then he was already well known as a pianist and conductor. In 1989 Garben led the North German Radio Symphony Orchestra in a collaboration with pianist Arturo Benedetti Michelangeli on an acclaimed DG disc of Mozart's Piano Concertos No. 20 and No. 25. Throughout the 1990s and into the new century Garben remained active in both the concert hall and recording studio. In the latter realm he worked on a 21-CD set on the CPO label of the complete songs of Carl Loewe, with singers Andreas Schmidt, Kurt Moll, Ruth Ziesak, and others.

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http://lat.ms/lMNre8 Beethoven: “Diabelli” Variations Paul Lewis, piano (Harmonia Mundi) In a follow-up to his refreshing recordings of Beethoven’s 32 piano sonatas and five piano concertos, the British pianist Paul Lewis has now turned to Beethoven’s other great piano score –- the 33 variations on a waltz by one Anton von Diabelli. And not a minute too soon. After the lumbering sentimentalizing of Beethoven and his score in Moisés Kaufman’s “33 Variations” at the Ahmanson Theatre last winter, Lewis’ light touch is the perfect antidote to schmaltz. His sparkling tone reminds us that Beethoven was inspired by a dance tune in a popular style. Even the most intense variations never lose their lilt. Twyla Tharp understood that when she choreographed the “Diabelli.” So does Lewis.

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