以贝多芬作品80《C小调钢琴、合唱和管弦乐队幻想曲》为例解读维也纳古典音乐

Nataliya Byelik-Zolotarova, N. Zolotaryova, Viacheslav Boiko, T. Sukhomlinova, Olena Zaverukha
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引用次数: 0

摘要

“这项研究的相关性取决于是否需要涵盖维也纳古典学派的杰作之一——贝多芬为合唱团、钢琴和管弦乐队创作的《c小调幻想曲》,作品80的意义、独特性和表演方式贝多芬为钢琴、独奏家、混合合唱团和管弦乐队创作的幻想曲。研究方法有:建立信息背景;信息的比较分析和结构;确定构成问题基础的类别;对获得的数据进行概括。使用了以表演艺术杰出代表的作品录音和录像为基础的材料。还使用了关于维也纳古典主义时代风格和构图氛围的文献,以及关于作品流派特征的文献。研究结果揭示了所研究问题所有组成部分之间的相互关系。他们证明了流派、音乐形式、乐器、表演方式、某个历史时期以及其中盛行的风格取向等因素的不可分割性,并建立了心理(表演者的个性)语境。这些事实成为对艺术科学、表演史以及音乐教育学的理论和方法论贡献。以贝多芬的《幻想曲》为例,对维也纳古典音乐的演绎进行研究,得出其流派风格和作曲技术的普遍性;钢琴成为独奏音乐会乐器的过程;即兴创作在大型合成流派中的作用;由指挥家、钢琴家和唱诗班指挥发展出单一的表演理念,在保留主要作者理念的同时,表现出艺术和心理类型的多样性。这一主题的研究具有广阔的未来前景,这要归功于它的体积、多矢量性质、与广泛的音乐主题的联系以及对不同时代背景下的个人诠释风格的敏感性。强调这一点的是古典遗产的价值,需要保存和普及古典遗产;作者的表现;即兴创作;音乐形式的综合;独奏音乐会乐器。“
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A Performance Interpretation of the Viennese Classics by the Example of Fantasia for Piano, Chorus and Orchestra in C Minor, Op. 80 by Ludwig van Beethoven
"The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it. Keywords: performance interpretation, genre uniqueness; author’s performance; improvisation; synthesis of musical forms; solo concert instrument."
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