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The Character “Lucrezia Borgia” of Donizetti’s Homonymous Opera. An Analysis of Character and Vocal Features 多尼采蒂同名歌剧中的角色“Lucrezia Borgia”。性格与声乐特征分析
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.17
E. Adetu, Petruța-Maria Coroiu
"Donizetti’s opera “Lucrezia Borgia” presents one of the most complex female characters in the history of Italian lyrical theatre – a notable portrait of “femme fatale”. Based on Victor Hugo’s play, Gaetano Donizetti’s creation offers generous interpretation contexts, both from a vocal and a dramaturgic point of view. This article will deal with the particularities of Lucrezia Borgia’s role, underlining the importance of the relationship between vocality and dramaturgy, focusing on the analysis of the main soloist moments. Keywords: Lucrezia Borgia, Donizetti, character, typology, vocality "
多尼采蒂的歌剧《Lucrezia Borgia》展现了意大利抒情戏剧史上最复杂的女性角色之一——一幅著名的“蛇蝎美人”肖像Gaetano Donizetti的创作以维克多·雨果的戏剧为基础,从声乐和戏剧的角度提供了丰富的诠释背景。本文将探讨卢克雷齐亚·博尔吉亚角色的特殊性,强调声乐与戏剧之间关系的重要性,重点分析独奏者的主要时刻。关键词:Lucrezia Borgia,Donizetti,性格,类型学,声乐“
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引用次数: 0
Das Gebet „Vaterunser” in der komponistischen Sicht von Ciprian Porumbescu – theologische und musikologische Aspekte “主祷文”,在Ciprian Porumbescu的作曲观点中
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.15
Mihai Brie
"The Messianic model of prayer uttered on the Mount of Olives, which has become a standard for the entire treasury of the later church, is our interdisciplinary research today. Given that it was uttered by Jesus Christ himself, it becomes relevant to any believer who wants his daily life to be in continual communion with God. In the liturgical richness of the Christian church of all times, the Lord’s Prayer (Our Father) is an integral part of any time of the day, morning, noon, or evening, because it represents the quintessence of the key words that every Christian visionary must have in his vocabulary. daily. In the following I have prepared research meant to attract the musician or theologian, or the contemporary scientist in the pragmatization of the manipulative requests contained in this grandiose prayer. Thus, we combined theological research with musicological research in an exceptional composition from the old Romanian space. In the history of the local culture and civilization, famous names have remained that have shaped the Romanian academic space from all times. One of these names of scientific relevance was Ciprian Porumbescu. Endowed natively with hard work, he succeeds and confirms over time his passage through time. A plurivalent musician, but also a poet and essayist, he manages to imprint in the history of the second half of the 19th century a unique perspective on the religious and folkloric and patriotic treasure of Bucovina. All this treasure is haloed by its vast improvement in Chernivtsi and Vienna, inscribing itself in the memory of the musical times of the end of the 19th century both far from the native places and especially capitalizing on them with their whole load of centuries in a vision. unique, complex, representative musician of Romanian choral music. Keywords: Jesus Christ, religion, church, Porumbescu, culture, choir, folklore, music, history "
“在橄榄山上祈祷的弥赛亚模式已经成为后来教会整个金库的标准,这是我们今天的跨学科研究。鉴于这是耶稣基督自己说的,它与任何希望自己的日常生活与上帝持续交流的信徒都有关rd’s Prayer(我们的父亲)是一天中任何时间,早上、中午或晚上不可或缺的一部分,因为它代表了每个基督教梦想家必须在他的词汇表中拥有的关键词的精髓。每日的在下文中,我准备了一些研究,旨在吸引音乐家、神学家或当代科学家对这篇宏大祈祷中包含的操纵性要求进行务实化。因此,我们将神学研究与音乐学研究结合在一起,创作了一部来自古老罗马尼亚空间的杰出作品。在当地文化和文明史上,自古以来就留下了塑造罗马尼亚学术空间的著名名字。其中一个与科学相关的名字是Ciprian Porumbescu。他天生就有勤奋工作的天赋,随着时间的推移,他取得了成功并证实了自己的成功。作为一名多才多艺的音乐家,同时也是一名诗人和散文家,他设法在19世纪下半叶的历史上对布科维纳的宗教、民俗和爱国宝藏留下了独特的视角。所有这些宝藏都因其在切尔尼夫茨和维也纳的巨大进步而黯然失色,将自己刻在了19世纪末远离家乡的音乐时代的记忆中,尤其是在视觉上利用了他们数百年的全部时光。罗马尼亚合唱音乐中独特、复杂、有代表性的音乐家。关键词:耶稣基督,宗教,教会,波伦贝斯库,文化,唱诗班,民间传说,音乐,历史
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引用次数: 0
Encouraging Guidelines in Neuromusicological Research Regarding Classical Music’s Usage in Sonic Therapy - When Science Becomes Magic 关于古典音乐在声音治疗中的使用的神经音乐学研究的令人鼓舞的指南-当科学变成魔术
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.02
Csilla Csákány
"In systematic musicology as a branch of music psychology we found an intriguing orientation called cognitive neuroscience of music, or neuromusicology. It studies the function of the brain in music processing, the way music perception and production manifests in brain. Compared to other analytical models of music cognition, the mapping of the brain’s functioning serves to examine the outcome of music rather than its process, and as the music therapy methods discussed reflect, most approaches follow this ontological direction. As recent scientific researches shows, the brain mapping technique differentiates moment of listening, playing classical music or improvising. In the light of the research findings, our main focus was to get to know and understand how our musical brains functions during classical music audition so we could argue from a scientific approach not only the existing therapeutic methods used in music therapy, but the perception of classical music in the present. In the master class “Dialogue of the Arts”, we explore with our students in all grades the possible links between music and other artistic and scientific disciplines. One of the most exciting aspects of this is music and brain research, an incredibly fast-developing field whose results could reinforce the place and role of classical music in contemporary society, reinforcing existing broad-based promotion of classical music education (Kodály, El sistema etc.) Keywords: music cognition, neuromusicology, sonic therapy, classical music, models of therapy. "
“在作为音乐心理学分支的系统音乐学中,我们发现了一个有趣的方向,叫做音乐认知神经科学,或神经音乐学。它研究大脑在音乐加工中的作用,音乐感知和音乐生产在大脑中的表现方式。与音乐认知的其他分析模型相比,大脑功能的映射用于检查音乐的结果而不是其过程,并且正如所讨论的音乐治疗方法所反映的那样,大多数方法都遵循这种本体论方向。最近的科学研究表明,大脑映射技术可以区分听音乐、演奏古典音乐和即兴创作的时刻。根据研究结果,我们的主要重点是了解和理解我们的音乐大脑在古典音乐试听过程中是如何运作的,这样我们就可以从科学的角度出发,不仅可以论证现有的音乐治疗方法,还可以论证当前对古典音乐的感知。在“艺术对话”大师课中,我们与各年级的学生一起探索音乐与其他艺术和科学学科之间可能的联系。其中最令人兴奋的一个方面是音乐和大脑研究,这是一个令人难以置信的快速发展领域,其结果可以加强古典音乐在当代社会中的地位和作用,加强现有的广泛推广古典音乐教育(Kodály, El sistema等)关键词:音乐认知,神经音乐学,声音疗法,古典音乐,治疗模式。
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引用次数: 0
The Changing of the Aesthetic Ballet’s Sphere in the Interwar Period. Between the Deconstruction of Oskar Schlemmer’s Ballet and the Idea of “Gebrauchmusik” of Paul Hindemith – An Imagistic Alley From Oskar Schlemmer to Céline Dion [1922-2019] 两次世界大战期间审美芭蕾领域的变化。在对奥斯卡·施莱默芭蕾的解构与保罗·辛德米特的“大众音乐”理念之间——从奥斯卡·施莱默到c<s:1>莱恩·迪昂的想象之路[1922-2019]
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.06
Maria-Roxana Bischin
"The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937) in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plisețkaia (the ʻprima-ballerinaʼ of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the “becoming” of the dancer [object]ified through the corporal movements and to justify the stage- Space as a place of “being-in-the-world”. Keywords: ballet, body, dance, Weimar period, Oskar Schlemmer, Paul Hindemith, Avant-garde, ontical-structures, Céline Dion, Paul Klee, Alexandre Vauthier. "
“芭蕾可以通过一些数学形式解构,如几何线条和凹槽创造的对称性。有一次,保罗·克利(Paul Klee)以一些音乐家在音乐中进行创新实验的方式绘制了《抽象芭蕾舞》(1937),或者以与奥斯卡·施莱默(Oskar Schlemmer)为他的《三重芭蕾》(Triadisches Ballet)找到独特表达形式相同的方式。但是,在20世纪两次世界大战之间的时期,我们可以区分出两种类型的芭蕾舞:古典芭蕾舞(也保持了浪漫主义的路线)和先锋芭蕾舞,后者通过奥斯卡·施莱默创作的Triadisches芭蕾舞团出现。米哈伊尔·巴里什尼科夫(Mikhail Baryshnikov)等舞者将芭蕾舞带入了经典表演领域,而玛雅Plisețkaia(20世纪的首席芭蕾舞女演员)等人则将芭蕾舞带入了古典浪漫的路线。显然,奥斯卡·施莱默(Oskar Schlemmer)和保罗·克利(Paul Klee)想把波纹弄掉,就像他们弄掉橱柜或盒子一样。我将在我的分析中展示芭蕾舞如何成为我们生活的一部分,以及它对数学形式的限制有时如何对艺术信息的表达产生解构作用。在我的分析中,我将服务于对此在的分析,以证明舞者(对象)通过身体运动而具体化的“成为”,并证明舞台-空间是一个“存在于世界”的地方。关键词:芭蕾,身体,舞蹈,魏玛时期,奥斯卡·施莱默,保罗·欣德密斯,先锋派,立体结构,凯文迪安,保罗·克利,亚历山大·沃蒂耶
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引用次数: 0
Converting Nationalism Into Socialism Through Folk Music in Stalinist Romania 从民族音乐看斯大林时期罗马尼亚的民族主义向社会主义的转变
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.07
Otilia-Maria Badea
"When a political change occurs, either in democratic or under authoritarian circumstances, the institutional dimension is the first that manifests the control exerted by the new power. We know that the socialist realism was imposed by politicians but in the end, it was created by the composers. Either convinced or not by the communist beliefs, they were faced with providing content for a doctrine that had clear contours and sharp direction, but with technical dimensions impossible to pinpoint. My intention is to shed light not on the politically active composers (whose works explicitly conveyed the propaganda messages of the regime), but rather on those that were trying to find a middle ground between the requirements of the socialist realism canon and their own ideals and aesthetic preferences. One of the most common solutions used by these composers, and one of the most polyvalent, was the appeal to folklore. It conveniently satisfied both the nationalism and the artistic aspirations of the interwar school of composition as well as the requirements of the communist present. Keywords: Nationalism, socialist realism, Stalinist Romania, Soviet model, Romanian Composers Union. "
“当一种政治变革发生时,无论是在民主的情况下还是在专制的情况下,制度层面都是第一个体现新权力施加控制的方面。我们知道,社会主义现实主义是由政治家强加的,但最终它是由作曲家创造的。不管他们是否相信共产主义信仰,他们都面临着为一种教义提供内容的问题,这种教义有清晰的轮廓和明确的方向,但在技术层面上却无法精确定位。我的目的不是要揭示政治上活跃的作曲家(他们的作品明确地传达了政权的宣传信息),而是要揭示那些试图在社会主义现实主义经典的要求与他们自己的理想和审美偏好之间找到中间地带的作曲家。这些作曲家使用的最常见的解决方案之一,也是最具多样性的解决方案之一,就是诉诸民间传说。它既方便地满足了两次世界大战之间的作曲学派的民族主义和艺术愿望,也满足了当前共产主义的要求。关键词:民族主义,社会主义现实主义,斯大林主义罗马尼亚,苏联模式,罗马尼亚作曲家联盟
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引用次数: 0
Music Transfer and Cultural Contact: Romanian Popular Songs in the Repertoire of the Saxons From the Secașe Valley 音乐转移和文化接触:来自Secașe山谷的撒克逊人保留曲目中的罗马尼亚流行歌曲
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.12
Theodor Constantiniu
"The Secașe Valley is an ethnographic area populated by different ethnic groups, the most numerous being the Romanians, Saxons, Hungarians, and Roma. Starting from field recordings of Romanian music performed by Saxon peasants from this region, we aim to contribute to the topic of inter-ethnic musical exchange in Transylvania. The songs borrowed by the Saxons from their Romanian neighbors are diverse, ranging from ritual songs, ballads, lyric songs representative for the area, to dance songs, romances, and other modern creations. We concluded that the Saxons thoroughly absorbed the style of traditional Romanian music not only from their own villages, but also from a wider area that goes past the Secașe Valley and into the neighboring regions. This allows us to claim that, as an ethnic minority, the Saxons were involved in a process of acculturation. The cultural strategy adopted by the Saxon community was the integration within the dominant culture, but without abandoning its own musical patrimony. Keywords: Transylvanian Saxons, Secașe Valley, cultural exchange, inter-ethnic relations, acculturation, Romanian folk songs, Southern Transylvania "
“Secașe山谷是一个民族志区,居住着不同的民族,人数最多的是罗马尼亚人、撒克逊人、匈牙利人和罗姆人。从该地区撒克逊农民演奏的罗马尼亚音乐的现场录音开始,我们的目标是促进特兰西瓦尼亚民族间音乐交流的主题。撒克逊人从他们的罗马尼亚邻居那里借来的歌曲种类繁多,从仪式歌曲、民谣、代表该地区的抒情歌曲,到舞曲、浪漫歌曲和其他现代创作。我们得出的结论是,撒克逊人完全吸收了传统罗马尼亚音乐的风格,不仅来自他们自己的村庄,而且来自更广泛的地区,通过Secașe山谷进入邻近地区。这使我们可以断言,作为一个少数民族,撒克逊人经历了一个文化适应的过程。撒克逊人所采用的文化策略是融入主流文化,但不放弃自己的音乐遗产。关键词:特兰西瓦尼亚撒克逊人,Secașe山谷,文化交流,民族关系,文化适应,罗马尼亚民歌,南特兰西瓦尼亚
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引用次数: 0
Compositional particularities and asian influences in the musical conception and works of john cage 约翰·凯奇音乐观念和作品中的作曲特点和亚洲影响
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.09
Rucsanda Mădălina Dana, N. Karácsony
"One of the most important figures of the 20th century, avant-garde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art – discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. Keywords: John Cage, Asia, Avant-garde, Hinduism, Buddhism, Zen, I-Ching, indeterminacy "
“20世纪最重要的人物之一,先锋派作曲家、艺术家、作家和理论家约翰·凯奇深受南亚和东亚各种哲学取向的影响,如印度教、佛教、道教、禅宗和易经。他研究了各种学说和几位亚洲哲学家的作品,这导致了他的哲学和美学的重新定位ic理念。同时,这也影响了他的音乐风格、作品的构思,以及他对艺术功能的思考——在他的音乐中是显而易见的。凯奇认同他在研究的哲学文本中遇到的某些观点,但他没有将自己描述为这些观点的代表。与其他受东方艺术和音乐启发的西方作曲家不同,凯奇受到了亚洲哲学层面的影响。他在作品中避免使用亚洲音乐来源,也不想为了创作新颖的音乐话语而使用新的声音,而是希望通过作品唤起或强调某些哲学思想。本文的目的是介绍以约翰·凯奇为标志的亚洲哲学影响,他对生活和艺术的看法,影响他的修辞,以及他在创作过程中使用的思想。关键词:凯奇,亚洲,前卫,印度教,佛教,禅宗,易经,不确定性
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引用次数: 0
Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1 巴姆拉西Bartók第一弦乐四重奏中罗马尼亚民间风格的表现
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.19
A. Pătraş
"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
“Bartók的弦乐四重奏在他的整体作品中发挥着重要作用,因为它们代表了一个几乎涵盖了他全部作品的风格世界。在他的《第一弦乐四重奏》中,Bartík旨在重新创作和扩展民间元素,并发展他自己的个人表达。尽管它深深植根于民间传说,但它不是一部民间传说作品,而是一种超越传统的表达方式d民间传说,作曲家将其置于与艺术音乐的新关系中。本文的目的是探索语言方面、符合现代关注的内容和使用的写作类型,重点是民间音乐的旋律和节奏元素的使用。这部作品的音乐风格正是基于民间和艺术这两大创作原则的交织和融合。关键词:Béla Bartók,弦乐四重奏,民间元素。“
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引用次数: 0
The Hypnotic Garden: Repetition and Trance in Salvatore Sciarrino’s Works for Flute 催眠的花园:萨尔瓦托·夏里诺长笛作品中的重复与恍惚
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.20
Diana Rotaru
"Salvatore Sciarrino creates what could be described as an isolated, mysterious “sonic garden”: a ghostly world of sounds where the archetypal corporal processes, such as breathing or heartbeat, are transformed into music. His conceptual thinking – refreshing the musical perception, the ecological hearing, the persistence of repetition, the figures of music (formal archetypes that can be adapted to any kind of art) – as well as his very particular, non-traditional sound make Sciarrino’s music an incredibly rich world to explore. The flute seems to be his favourite instrument, due to its ability to incorporate so many corporeal noises of the performer (from voice to fingertips), becoming almost an extension of his body. The many and ingenious ways of applying repetition in his work, as well as the play with time length – taken to almost unbearable boundaries – make Salvatore Sciarrino one of the true explorers of musical trance today. Keywords: Sciarrino, flute, contemporary music, repetition, persistence, musical figures "
“Salvatore sciarino创造了一个可以被描述为孤立的、神秘的‘声音花园’:一个声音的幽灵世界,在这里,原型的身体过程,如呼吸或心跳,被转化为音乐。”他的概念思维——清新的音乐感知,生态听觉,持续的重复,音乐的形象(可以适应任何一种艺术的形式原型)——以及他非常特殊的,非传统的声音,使sciarino的音乐成为一个令人难以置信的丰富的探索世界。长笛似乎是他最喜欢的乐器,因为它能够融合表演者的许多身体噪音(从声音到指尖),几乎成为他身体的延伸。在他的作品中运用重复的许多巧妙的方法,以及时间长度的发挥-几乎无法忍受的边界-使塞尔瓦托·夏里诺成为当今音乐恍惚的真正探索者之一。关键词:夏里诺,长笛,当代音乐,重复,坚持,音乐人物
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引用次数: 0
"Significant Personalities as Turning Points in the Life and Music of Johannes Brahms " “重要人物是约翰内斯·勃拉姆斯生活和音乐的转折点”
Pub Date : 2022-06-30 DOI: 10.24193/subbmusica.2022.1.05
Sebastian Shwan, Stela Drăgulin
"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Robert Schumann, Brahms contributed to the composition of the FAE Sonata for piano and violin, Julius Otto Grimm is the witness of Brahms’ love for Agathe von Siebold, while Julius Stockhausen emerges as the master of the Brahms lieder), the conductors who became the composer’s close friends and promoted his symphonies (Hermann Levi, Hans Richter, Hans von Bülow, the latter a genuine emissary of Brahms’s works, the author of the Three B syntagm – Bach, Beethoven, Brahms), the Viennese friends (the critic Eduard Hanslick, who characterized the works in Opp. 117-119 as genuine monologues and Joseph Hellmesberger, founder of the quartet name after him, with whom Brahms performed gems of the chamber music repertoire), and the confidants of Brahms, permanent figures in the life of the composer (the surgeon Theodor Billroth and Joseph Viktor Widmann, the author of the memoirs that revealed significant aspects of the composer’s life and works). Keywords: Johannes Brahms, works, life, significant personalities, friends "
本文旨在揭示德国作曲家约翰内斯·勃拉姆斯生活和工作中的转折点。这些主要事件受到当时某些人物的影响,他们的遭遇标志着勃拉姆斯的艺术活动。在解释作品构成背后的原因时,情感是最具体的标准之一。个人体验成为艺术创作不可或缺的条件,是创作冲动的核心。本文的结构主要分为以下四个方面:第一批朋友(与阿尔伯特·迪德里奇和他们的导师罗伯特·舒曼一起,勃拉姆斯为钢琴和小提琴创作了FAE奏鸣曲,朱利叶斯·奥托·格林是勃拉姆斯对阿加特·冯·西博尔德的爱的见证,而朱利叶斯·施托克豪森则成为勃拉姆斯抒情诗的大师),成为作曲家亲密朋友并推广他的交响曲的指挥家(赫尔曼·列维,汉斯·里希特,汉斯·冯·贝罗,后者是勃拉姆斯作品的真正使者),“三个B”合成器的作者——巴赫、贝多芬、勃拉姆斯),维也纳的朋友们(评论家爱德华·汉斯利克,他认为op . 117-119中的作品是真正的独白,以及以他的名字命名的四重奏的创始人约瑟夫·海尔梅斯伯格,勃拉姆斯与他一起演奏了室内乐的精华),以及勃拉姆斯的知己,他们是作曲家生活中的永久人物(外科医生西奥多·比罗斯和约瑟夫·维克托·威德曼),揭示作曲家生活和作品重要方面的回忆录的作者)。关键词:勃拉姆斯,作品,人生,重要人物,朋友
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引用次数: 0
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Studia Universitatis Babes-Bolyai Musica
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