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今天的阅读，貌似又有几篇英文原文出来了哦耶~~
即兴创作
The art of embellishment—improvising cadenzas, adding ornaments, taking other opportunities for creativity in performance—is a hot topic in classical music these days. For generations, conservatories preached absolute fidelity to the score: do what the composer wrote and nothing more. The problem is that the scores of prior eras can leave quite a bit to the performer’s imagination, and the earlier the piece the sparser the notation. Modern musicians specializing in the Renaissance and the Baroque have led the way in looking beyond the printed page: the great viol player Jordi Savall improvises heavily in his appearances with Hespèrion XXI, and Richard Egarr, in a new recording of Handel’s organ concertos, responds imaginatively to passages marked “ad libitum.” The notion of adding unwritten material to Classical and Romantic works is more outré, especially in instrumental music, but it is gaining ground. At this summer’s Mostly Mozart Festival, both the pianist Robert Levin and the violinist Joshua Bell presented their own cadenzas, giving spark to what might have been routine events.
Cadenzas sprang up in the early eighteenth century, when composers began indicating brief episodes where the performer should play freely, delaying a final cadence. They appeared not only in opera but also in instrumental pieces, especially in the closing sections of concerto movements. Musicians had been embellishing the score for centuries, and perhaps the cadenza was a way of bringing improvisation under control, corralling it. Mozart, as composer and pianist, brought the practice to its peak; one of his contemporaries stated that cadenzas should be dreamlike in their logic, expressing “ordered disorder,” and Mozart’s playing evidently had that quality. (He wrote out cadenzas for many of his concertos, so his performances may not always have been spontaneous.) Beethoven carried on the tradition—the darkly rumbling cadenza that he devised for Mozart’s D-minor Piano Concerto is a fascinating case of one composer meditating on another—but he also helped to kill it. In the first movement of the “Emperor” Concerto, the soloist is told not to make a cadenza but to play “the following”—a fully notated solo. Performers gradually stopped working out their own cadenzas, instead turning to a repertory of written-out versions. Opera singers retained more freedom, especially when it came to interpolating bravura high notes, but they, too, grew more cautious. Improvisation became the province of church organists and avant-gardists, the latter often taking inspiration from jazz.
Classical advocates of the practice believe that it is not only historically valid but intellectually enlivening. For a recent paper in NeuroImage, Aaron Berkowitz and Daniel Ansari studied what happens cognitively when someone improvises; they observed increased activity in two zones of the brain, one connected to decision-making and the other to language. Even if a soloist extemporizes for only a minute, the remainder of the performance may gain something intangible. Levin, the Harvard-based musician who for decades has been the chief guru of classical improvisation, believes that performances need to cultivate risk and surprise. Otherwise, he says, music becomes “gymnastics with the affectation of emotional content”—a phrase that sums up uncomfortably large tracts of modern music-making.
艺术的构建- 提升华彩，增加装饰音，用其他的机会来在表演中进行创作-是一个在今天古典乐界很热的话题。对于一代又一代人来说，音乐学院严格遵循精确演奏的结论：只表现作曲家的意图，再无其他。而问题是对于早期年代的客刻画留给了表演者很多的想象，而且越早，符号越少。现代的音乐家精通于文艺复兴和巴洛克年代留下的方式来看待谱面后面的信息：伟大的六弦琴演奏者JS，极大地提升了H(貌似是一个曲子还是一个乐器)的表现力。 RE，用一种新的录音方式录了H的协奏曲，貌似很成功？（不太明白意思了）。在古典和浪漫作品中增加没写的音符是更加奇怪的，尤其是在乐器演奏中，但确实很吸引人。在本次莫扎特音乐节上？钢琴家RL和小提琴家JB都表演了他们自己的华彩，大大震撼了本该规矩演奏的事实（破翻译啊….）
华彩出现在18世纪早期，当作曲家想表达说这地方演奏者可以自由发挥，而推迟结束的时候使用。他们不仅仅出现在歌剧，在乐器演奏中也有，尤其是在协奏曲要结束的时候。音乐家在几个世纪中用这种方式渲染作品，而且华彩也许是一种可控性的带入即兴演奏的方式。莫扎特（作曲家和钢琴家）将这种方式发挥到了巅峰。一个他的同时代人说华彩应该像一种类似于在作曲家逻辑下的梦境，类似于“有秩序的混乱”，而且莫扎特也是这么表现的（他自己写了很多自己协奏曲的华彩，所以她的演奏可能总是无意识的）。贝多芬则比较传统，他创作莫扎特D小调钢琴协奏曲的黑暗的轰鸣华彩的时候就是当一个作曲家诠释另外一个的时候非常让人陶醉的一个例子，但是他确实毁了它。在作品“皇帝”协奏曲中，独奏者被告知不要华彩，但是要完全按照谱子来。于是演奏者逐渐停止了他们自己的华彩，取而代之就是按部就班，就跟报告一样。歌剧歌唱家则更加自由一些，尤其是在插入高音炫技的时候，但是他们一样，变得更加谨慎。即兴演奏变成了教堂管风琴演奏着和艺术先锋主义的专属，之后带动了爵士乐的启蒙。
古典主义的拥护者认为这不仅仅是历史正确方向，而且还是（使作品）更加生动。在最近的在N的文章中，AB和DA研究当一个人即兴发挥的时候认知上会发生什么。他们观察到大脑的两篇区域活动均增加了，一个关系到决策制定，另外一个有关语言。L，某古典即兴演奏的宗师级牛人音乐家，认为演奏应该带来创新风险和惊喜。否则，他说，音乐就会变成带有感情影响的体操，这句话让很多现在的音乐家不舒坦。 |
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发表于 2012-4-11 17:24:28
楼主
发表于 2012-4-12 16:02:06
