人生最惨的是发现一张好碟，然后又发现自己之前听过了

"特克借给我学习的，首先是巴赫的《音乐之声》（Well-Tempered Clavier）。

当然，在这之后，我掌握了所有更容易的所有新的钢琴作品。

尤其是克莱门蒂、海顿、莫扎特和年轻的贝多芬的作品"。

"昨天上午，我在年轻的施莱辛格家。

我本想和他商讨一下我的[E大调]奏鸣曲。

我为他演奏了这首曲子，他认为这首曲子太出色了，不适合现在的叮叮当当的时代"。

卡尔-罗威，自传。

"你的F小调奏鸣曲，你的春季奏鸣曲，你的马泽帕

也是不符合雷尔斯塔布的理论的作品。

他们在某种程度上是愚蠢的人，批评家们。

他们定下了一个理论，而当大脑出现的时候

并创造出一些无法与理论相吻合的东西，那么这些新的创造物就必须立即与理论相吻合。

那么这些新的创造就必须立即被认为是没有价值的"。

传教士Keferstein

在1836年在耶拿写给卢瓦的信中。

勒维是著名的丹尼尔-戈特洛夫-特克的学生。

今天我们只知道他是各种教学作品的作者。

在当时，特克的指导意味着深入的学习和对演奏家生涯的准备。

罗威确实必须有特殊的钢琴天赋。

他总是为自己的民谣朗诵会伴奏。

- 这种艺术成就在今天看来几乎是不可能的，我们几乎无法想象。

除了晚期的《吉普赛奏鸣曲》，卢瓦的钢琴作品都是他作曲生涯的前半段。

他的第一份作品目录列出了以下钢琴作品。

晚间幻想曲》（1817年），《降E大调奏鸣曲》（1819年），《春天奏鸣曲》（1824年），《阿尔卑斯山幻想曲》（1828年）。

E大调奏鸣曲（1829）。大二重奏（1829），马泽帕（1830），F小调奏鸣曲（1819-34），吉普赛奏鸣曲（1847）。

如果我们考虑到卢瓦的抒情诗和民谣与舒伯特的抒情诗作品一样多，那么他的钢琴作品就占了相对较多的比例。

那么他的钢琴作品在他的全部作品中只占相对较小的份额。

除了许多5010首歌曲外，他的作品还包括一些重要的清唱剧。

在对卢瓦的钢琴作品进行历史评价时，也许还需要谨慎行事。

当罗威还是个年轻人的时候，贝多芬还活着。

虽然两人在风格上很接近，但我们不应过分指责他们的附庸风雅。

即使在今天，钢琴作曲家卢瓦仍然是钢琴作曲工艺的杰出大师。

但他并没有成功地为钢琴音乐开辟新的道路。

最终，他无法与那些伟大的钢琴奏鸣曲作曲家相比。

然而，这似乎并不是这位在斯泰汀生活和工作的教师、风琴师和作曲家的目标。

他在斯德廷生活和工作了四十多年。

然而，作为诞生于文字的宏大音乐民谣的发明者。

今天，这种形式被认为是瓦格纳斯普雷希格桑的先驱和来源。

罗威以其取之不尽、用之不竭的想法，远远超过了不朽的贝多芬。

他在音乐方面的丰富想法远远超过了贝多芬。

E大调钢琴大奏鸣曲，作品16

献给枢密院院长铁勒宾的妻子

写于 1819年，1830年作为罗威的作品1出版。

[25:33]

01. - I. 前奏快板。悠扬的快板，带有强烈的感情色彩

02. - II. Toujours, toujours je te serais fidèle"。

03. - III. 预备曲

04. - IV. 终曲。快板

除了路易斯-斯波尔的《带歌声的奏鸣曲》是一部规模较小的作品之外。

卢瓦的奏鸣曲是钢琴文献中的一个独特案例。

一首慢板奏鸣曲由两段歌曲组成。

一个为男声，一个为女声。

文学界以前从未出现过这样的作品。

正如印刷版中手写的歌曲文本的位置所表明的那样。

第二乐章最初不是作为声乐作品设计的，而是遵循传统的三部曲形式。

关于这首简单的诗的来源的信息是缺乏的。

然而，很有可能献词人，即枢密院议员蒂勒宾的妻子，就是其作者。

罗威在她位于施特廷附近的祖尔查夫的沙龙里首次公开演唱了他的许多歌曲。

目前还不清楚为什么后来作曲家在德文版中加入了法文版。

马克斯-朗兹后来将这段浪漫的故事从奏鸣曲的背景中删除，并出版了它

(按照出版商的意愿，只出版了德语版本），标题为《奏鸣曲浪漫曲》。

在他二十世纪初出版的十七卷《罗威抒情诗和民谣全集》中。

总的来说，E大调奏鸣曲可以说包含了对舒伯特和贝多芬的清晰回忆。

这可能是为什么对这部作品的评价如此不同的原因之一。

评价的范围从热情的赞许（恩格尔在1934年说，罗威是最好的奏鸣曲）

到几乎粗暴的拒绝（例如，罗伯特-舒曼）。

第一乐章维持在简单抒情的基本情绪中。

有几个不寻常的和弦双音是为轻型钢琴准备的，在现代音乐会钢琴上很难再现。

阐述部分结束时的朗诵让人明显地想起了贝多芬。

回旋曲及其闪亮的段落和最后几个乐章令人想起贝多芬的奏鸣曲作品27,1。

其特征性的签名偶尔会让人想起他早期交响曲的钢琴编曲。

F小调大奏鸣曲，作品32

献给俄罗斯大公夫人玛丽-鲍洛夫娜女士，等等。

作曲。1819-1834年，作为罗威的作品出版。32于1834年出版

[23:53]

05. - I. Grave con moto. 快板

06. - II. 慢板

07. - III. 预备曲

08. - IV. 终曲。预备曲与火锅。Fuge con doloro

这部作品的规模更令人印象深刻。

它的作曲方法使它与贝多芬的《激情奏鸣曲》相近。

广泛的分解和弦覆盖了当时使用的钢琴键盘的整个范围。

在漫长的时间里，我们看到的是一部关注内容的演奏家作品。

在很长一段时间里，我们看到的是一部关注内容并以简单的和声结构运作的演奏家作品，就像我们在李斯特的时间之前遇到的那样。

在李斯特时代之前，我们只在卡尔-玛丽亚-冯-韦伯的钢琴奏鸣曲中遇到过。

在第一乐章的发展部分，罗威根据自己的证词说

他一直对奏鸣曲形式的进一步发展感兴趣。

在第一乐章的发展部分，罗维通过两个简短的歌曲式 "插入"，走上了形式上的新路。

不能误认为是第二主题。它们的抒情内容让人想起了菲尔迪的夜曲。

慢板乐章的变奏和回旋曲充满了贝多芬C小调变奏曲的精神。

这首奏鸣曲以赋格曲结束。罗威几乎以巴赫的风格开始他的赋格曲

- 这与贝多芬在他更重要的《哈默克拉维耶奏鸣曲》中的风格形成鲜明对比。

严格的形式随后进入了更大的层面

与布索尼对巴赫的改编不一样，然后在安静的比德梅尔式的谦逊中结束。

为钢琴准备的大量表现性标记

的大量表现性标记不一定能在现代的三角钢琴上再现出来。

应该预先警告，不要把踏板看得太重。

从塔代的角度看，它的剂量很大，甚至不回避踩下踏板时的和声变化。

(这几句话的作者认为，就像李斯特早期作品中的类似情况一样。

踏板符号并不意味着踏板要保持在黎明状态，直到这个符号被取消。

相反，它似乎表明踏板要在这个区域使用)。

Le Printemps, 奏鸣曲形式的钢琴音诗，作品47

作曲。1824年，作为Loewe的作品出版。47在1835年出版

[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. 奏鸣曲。Gang zu ländlichen Gruppen (Vie Champêtre)

12. - IV. Tagesneigen (Le Crépuscule). 快板（Allegro assai

罗威在与他同时代的巨匠去世后，努力继续寻求奏鸣曲创作的创新。

在与他同时代的巨匠贝多芬去世后，他为继续寻求奏鸣曲创作的创新所做的努力取得了成果，而不是在扩展其和声和钢琴的可能性上。

奏鸣曲的和声和钢琴的可能性，而是以原创性的方式来修改奏鸣曲的结构设计。

在钢琴奏鸣曲的结构设计上的修改。

这一点不仅在《E大调奏鸣曲》中的插曲中表现得尤为突出

中的插曲，而且在纯程序性的《春天奏鸣曲》中也是如此。

在这里，就像贝多芬的《田园交响曲》一样，各乐章都伴随着大气的解释。

伴随着大气的解释。罗威甚至将乌兰的一首诗插入了《春之声》的引子中。

在第一乐章导言的乐谱中。

人们仍然很难怀疑太阳的光芒。

早晨的钟声还没有在黑暗的山谷中敲响。

广阔的森林是多么安静！小鸟只在梦中鸣叫。

小鸟只在梦中鸣叫。

耳朵里没有歌声。

在鸟儿的第一声犹豫不决的颤音之后，越来越多的颤音宣布了这一天的到来

欢呼雀跃的清晨庆典。在对乡村舞蹈的各种回忆之后。

甚至包含非常不寻常的赋格元素。

乡村的繁忙活动在合唱的追忆中平静地结束。

科德-加本

译者

苏珊-玛丽-普拉德

"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.