[揽瓜阁精读] 305. 18th century music

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In recent years the early music movement, which advocates performing a work as it was performed at the time of its composition, has taken on the character of a crusade, particularly as it has moved beyond the sphere of medieval and baroque music and into music from the late eighteenth and early nineteenth centuries by composers such as Mozart and Beethoven. Granted, knowledge about the experience of playing old music on now-obsolete instruments has been of inestimable value to scholars. Nevertheless, the early music approach to performance raises profound and troubling questions.

Early music advocates assume that composers write only for the instruments available to them, but evidence suggests that composers of Beethoven’s stature imagined extraordinarily high and low notes as part of their compositions, even when they recognized that such notes could not be played on instruments available at the time. In the score of Beethoven’s first piano concerto, there is a “wrong” note, a high F-natural where the melody obviously calls for a high F-sharp, but pianos did not have this high an F-sharp when Beethoven composed the concerto. Because Beethoven once expressed a desire to revise his early works to exploit the extended range of pianos that became available to him some years later, it seems likely that he would have played the F-sharp if given the opportunity. To use a piano exactly contemporary with the work’s composition would require playing a note that was probably frustrating for Beethoven himself to have had to play.

In addition, early music advocates often inadvertently divorce music and its performance from the life of which they were, and are, a part. The discovery that Haydn’s and Mozart’s symphonies were conducted during their lifetimes by a pianist who played the chords to keep the orchestra together has given rise to early music recordings in which a piano can be heard obtrusively in the foreground, despite evidence indicating that the orchestral piano was virtually inaudible to audiences at eighteenth-century concerts and was dropped as musically unnecessary when a better way to beat time was found. And although in the early nineteenth century the first three movements (sections) of Mozart’s and Beethoven’s symphonies were often played faster, and the last movement slower, than today, this difference can readily be explained by the fact that at that time audiences applauded at the end of each movement, rather than withholding applause until the end of the entire work. As a result, musicians were not forced into extra brilliance in the finale in order to generate applause, as they are now. To restore the original tempo of these symphonies represents an irrational denial of the fact that our concepts of musical intensity and excitement have, quite simply, changed.

calll

1.        早年音乐发展以莫扎特和贝多芬为例, 有什么变化和影响
2.        早起音乐支持者认为早年的音乐作曲是base on演奏工具, 曲子的音是由演奏工具决定的. 但是后来发现贝多芬会用当时乐器并不涵盖的音阶来作曲.
3.        早起的音乐和生活是分开的. 当时的观众在每一章表演结束后都鼓掌,所以当时前三章的节奏比现在的要快, 现在是在表演的最后才使用快节奏

哇哇哇wa

已看

吱野

Eunice12

文章结构
P1: overview
1、引出话题：近些年兴起early music movement具有远征军的特征，尤其是其超越了中世纪和巴洛克音乐，进入莫扎特和贝多芬等作曲家的音乐
2、让步：用现在已经陈旧的乐器演奏老音乐的经验具有很好的研究价值
3、转折（作者观点）：这种演奏方式会出现问题
P2:分论点
1、分论点1：早期音乐假设作曲家为当时能获得的乐器来写曲,但证据表明贝多芬等作曲家将非常高和非常低的音符想象成作品的一部分，即便他们意识到这些音符在那个年代的乐器是演奏不出来的
2、举例论证：贝多芬的协奏曲
3、重申论点：使用与作品同时代的钢琴演奏音符可能会觉得沮丧
P3:分论点
1、分论点2：早期音乐经常分开音乐和从生活而来的表演
2、举例论证：莫扎特和贝多芬交响乐被钢琴家演绎的发现产生早期的音乐记录，即钢琴可以在前奏被隐约听到，尽管证据表明观众实际上听不见交响乐钢琴声，且钢琴变得在音乐上不必要
3、举例论证：比起现代演奏，在19世纪莫扎特和贝多芬交响乐的前三个小节经常被演奏得更快，在最后章节演奏得更慢
4、原因解释：19世纪的观众在每个章节结尾都鼓掌，现在的观众在表演结束鼓掌
5、结果：音乐家们并没有像现在这样为了赢得掌声而在最后章节展现出辉煌
6、重申观点：恢复这些交响曲的原始节奏，是对这样一个事实的非理性否认，即我们对音乐强度和兴奋的概念已经发生了变化

xixio

305
生词：crusade十字军东征  inaudible听不见的
Early music movement---performing as at the composition’s time
Nevertheless, raise questions

assume: composers write only for available instruments-----but evidence: imagined notes that could not played by available instruments (in B’s concerto)

divorce music and its performance from their life (Haydn’s and Mozart’s) ----despite evidence indicating that xx was inaudible and unnecessary
+ Haydn’s and Mozart’s played faster, and last movement slower than today-----audience applauded at the end of each movement rather than withholding it until the end of entire work ----musicians forced into extra brilliance

To restore the original===represent a denial that our concepts have changed

xrrrrrr

305.
1.早期音乐运动主张按照作品创作时的方式来演奏，尤其是18-19世纪莫扎特和贝多芬时期。Granted，演奏古老音乐的经验对于学者来说有着不可估量的价值。然而早期音乐的表演方式也提出了问题。
2.早期音乐支持者认为作曲家只为现有的乐器编曲，但事实证明贝多芬会想象出当时乐器无法演奏的音符。贝多芬的乐曲中需要F-sharp，但当时钢琴无法演奏这个音，只能用F--natural。贝多芬希望修改他的早期作品以探索更广的音域，如果有可能他会演奏F-sharp。
3.此外，早期音乐倡议者经常无意的将音乐演奏和生活分离开。莫扎特的交响曲是由钢琴家指挥的，钢琴的声音会突兀地出现，尽管证据表明钢琴无法被听众听到。当更好地beat time的方式被找到后，钢琴就被放弃了。尽管在19世纪早期，前三部分会比今天演奏的更快，最后一部分会更慢，这一差距可以被事实解释，那时候人们会在最后一部分鼓掌而不是等到全部结束。因此，音乐家不会在最后一部分为了赢得掌声而格外出彩。恢复交响乐的原始节奏展示了我们观念发生变化的非理性否定。

xrrrrrr

er1ka 发表于 2023-5-12 09:45
Mark一下！

305.
1.早期音乐运动主张按照作品创作时的方式来演奏，尤其是18-19世纪莫扎特和贝多芬时期。Granted，演奏古老音乐的经验对于学者来说有着不可估量的价值。然而早期音乐的表演方式也提出了问题。
2.早期音乐支持者认为作曲家只为现有的乐器编曲，但事实证明贝多芬会想象出当时乐器无法演奏的音符。贝多芬的乐曲中需要F-sharp，但当时钢琴无法演奏这个音，只能用F--natural。贝多芬希望修改他的早期作品以探索更广的音域，如果有可能他会演奏F-sharp。
3.此外，早期音乐倡议者经常无意的将音乐演奏和生活分离开。莫扎特的交响曲是由钢琴家指挥的，钢琴的声音会突兀地出现，尽管证据表明钢琴无法被听众听到。当更好地beat time的方式被找到后，钢琴就被放弃了。尽管在19世纪早期，前三部分会比今天演奏的更快，最后一部分会更慢，这一差距可以被事实解释，那时候人们会在最后一部分鼓掌而不是等到全部结束。因此，音乐家不会在最后一部分为了赢得掌声而格外出彩。恢复交响乐的原始节奏展示了我们观念发生变化的非理性否定。

电气白兰

9.30

Carmenk

P1：早期音乐运动，用古乐的方法的演奏古乐。
P2：早期音乐支持者认为，古音乐家写的曲子只适合当时乐器，但有证据表明并不是这样。
P3：早期音乐支持者将音乐和生活分开。举例过去观众在每个乐章结束鼓掌，因此音乐家不会像现在音乐家被迫出彩以赢得掌声。恢复其原始的节奏是对现在改变的否定。