舒伯特不应该只是一个名字
音乐史上,许多人对舒伯特的声名纳闷,就象在中国诗中,许多人不
解陶潜为何有不一般的名气。很多年前读《傅雷家书》,里面确实把
这两者相比,我以为是解了的,但一直对舒伯特的感性认识不够,象
标题中说,舒伯特一直只是一个名字,一个音乐的指称。有点象牙塔
,有点音乐内的,有点知识分子气。
这回去维也纳,拜访了两处舒伯特博物馆,还有中央墓地。那里他是
伴着贝多芬,对面的勃拉姆斯,背后,不甚注意的地方还有一个墓碑
,雨果*沃尔夫--已经很陈旧了。我把两处舒伯特博物馆的一些场
景,墓地,与舒伯特的一些音乐作品融合一下,以增强咖啡里对舒伯
特一些感性认识,象题目说的,舒伯特不应该只是一个名字。
先列一张他的墓照吧:
FRANZ SCHUBERT (1797-1828)
舒伯特的诞生地
http://www.museum.vienna.at/1815.htm#Seitenanfang
A-1090 Wien, Nußdorfer Straße 54
有许多德奥等古典音乐家在维也纳获得巨大声名而逝去,但究竟其中
,真生在维也纳的无几,莫扎特也是生于萨尔兹堡,海顿也是生于乡
下,就是他的老师萨列里,更是远自威尼斯。
“我到这个世界上来,就是要作曲”。
Franz Schubert was born in this house on 31 January 1797.
The apartment was hardly conceived for such a large family,
consisting of only one room and a "Rauch-kuchl" - a little
smokehouse - cum-kitchen with open fire. Today a major part
of the top floor is devoted to the composer's memory.
庭院,当时有十四家合居,后面有小花园,大门后有水井。这种筑造
,很让我想起古罗马的庞贝,花园中也有个石刻--寻思的裸女。
It provides a moving and graphic documentation of his musical
development, his circle of friends and important stations of his
life. The most fascinating exhibit for many of the visitors:
Schubert's spectacles.
Schubertiades
Leopold Kupelwieser, parlour game of the Schubertians in Atzenbrugg,
1921, collotype print after water colour.
http://www.musicologie.org/Biographies/schubert.html
这是一间大房子,里面有许多艺术家朋友的画,有谱的手稿,还有音
乐试听。大部分是艺术歌曲,魔王,纺车旁的格列卿,自然有菩提树
,鳟鱼,还有鳟鱼五重奏。。。
室中往往只有一两人,可以试听很久。有一对老夫妻看门,看不出来
他们与舒伯特有否亲属关系。
这是他艺术家朋友们的画,当然他的朋友还有许多诗人,舒本身也写
诗的,并且谱曲。都会这样的文化圈,是以后维也纳文学、艺术、科
学、哲学学派的雏形?
当然,那都是梅特涅时代,思想是有些禁锢的。
舒伯特的石膏像。
To be continued...
- Re: 舒伯特不应该只是一个名字posted on 06/05/2008
我喜欢舒伯特,我想他是gay, 不知是否有断论。 - Re: 舒伯特不应该只是一个名字posted on 06/05/2008
多讲讲他的音乐。赋格喜欢舒伯特。 - Re: 舒伯特不应该只是一个名字posted on 06/06/2008
那年代这词汇好象还没有这么吃香。但我知道一点,舒伯特三十岁曾
经疯狂爱上一个六岁的小女孩,不可思议?
他确实有梅毒病,多凡是春坊,不会是同性惹起的吧?
July wrote:
我喜欢舒伯特,我想他是gay, 不知是否有断论。
何必要断论呢?我担心只有同性之爱的艺术家,深度不够:)
再聊舒伯特的音乐吧。
- Re: 舒伯特不应该只是一个名字posted on 06/06/2008
这些照片让我深受感动。
羡慕XW。 - Re: 舒伯特不应该只是一个名字posted on 06/06/2008
除了音乐,舒伯特的其他方面都够糟糕的,包括他的同性恋。我不能确定我这印象是从哪里来的,好像也是从罗伯特*格林伯格教授的其他音乐讲座中听来的。 - posted on 06/06/2008
Ich bein für nichts als das Componieren auf die Welt gekommen.
--Franz Schubert(1797-1828)
舒伯特只活了三十一岁,相比莫扎特(1756-1791)还要短五年,舒
伯特的音乐作品的编号也到了九百九十八曲之多,当然其中有大量艺
术歌曲,但也有十多部歌剧,弥撒安魂,交响曲,奏鸣曲重奏室内乐
钢琴瞬间之类的。舒伯特一直带眼镜,展厅中有他的一幅眼镜,
Franz Schuberts Brille, um 1820
中间都裂开了。我还留意到一把吉他,这是很特别的。
Schubert playing the guitar at a Schubertiade, by Otto Nowak
当然,他也作了一些吉他曲。这里有一张盘,可以试听:
http://www.buy.com/prod/schubert-s-guitar/q/loc/109/60578913.html
从舒伯特的吉他你能想到许多,比如小夜曲,音乐小品,瞬间之类的
,并不是多么了不起的浪漫派发明。吉他而已,市井人情。
古典吉他村的这一篇《舒伯特与吉他》就是的:
http://www.cguitar.net/Composer/Franz_Schubert/
说聂耳也是用吉他作曲,当然是歌曲。我一直把钢琴与艺术歌曲合类
,吉他与通俗歌曲并一类,看来是没有这个界限的。舒伯特的许多艺
术歌曲,钢琴部分就是一把大吉他。
To be continued... - posted on 06/06/2008
这绿包子有没有考证老贝(贝多芬)也是同性恋?
还有一个享德尔,估计也八九不离十了。
touche wrote:
除了音乐,舒伯特的其他方面都够糟糕的,包括他的同性恋。我不能确定我这印象是从哪里来的,好像也是从罗伯特*格林伯格教授的其他音乐讲座中听来的。
如果是没条件结婚,或者无法适应婚姻生活,这另当别论。还有,军
校,海军,女子寄宿学校,或养马场的一些奇闻,本不足多论,人的
一生是很复杂的,一两点私生活,怎能作全盘指代?
Here is the Chinese Wikipedia that may be interesting:
事业上的挫折驱使舒伯特走近青楼女子,他希望这些思想简单的女子们可以使他压抑的心情得以解脱。不幸的是舒伯特1823年1月被感染梅毒,这在当时是不治之症。当年秋天舒伯特入院治疗,有所好转,但次年年初他精神也受到重创,在一封信中他写到:“我感到自己是世界上最不幸,最可怜的人”。
&
1824年舒伯特写了壮丽的Octet in F (D.803), "A Sketch for a Grand Symphony"; 当年夏天他重返Želiezovce, 在那里他被匈牙利的当地语言特色深深吸引,而写成了Divertissement a l'Hongroise (D.818)和String Quartet in A minor (D.804)。舒伯特无可救药地爱上了伯爵夫人,他当时的学生Caroline Esterhazy。无论后人如何评价这段罗曼史,在历史上都无从查证。
http://www.mayacafe.com/forum/topic1sp.php3?tkey=1197250049
舒伯特音乐中总离不开一个死神的主题,包括死神少女,还有许多艺
术歌曲(选取别人的诗)。这恐怕与他早逝的母亲有关联,还有,天
主教西班牙的传统,另外,与他染的病是否有关?
- Re: 舒伯特不应该只是一个名字posted on 06/06/2008
xw wrote:
军校,海军,女子寄宿学校,或养马场的一些奇闻,本不足多论,
哈哈,想起才听说的,现在 Seven Sisters 到沙特一类的中东石油国家去招付学费的学生,因为那里家庭不愿意送女孩子去co-ed,but some of these colleges are known for having high ratio of lesbians. :) - posted on 06/06/2008
According to Maynard Solomon, the famous biographer of some of the greatest composers, Schubert was bi-sexual but predominantly homosexual. He did love one aristocratic lady and one soprano, but the affections were not returned. Towards the one who did love him, a daughter of a schoolmaster, he felt he was not in a position to marry.
Schubert had a playboy patron/best buddy of the same age and they frequented brothels featuring both female and male prostitutes.
According to his contemporaries, Schubert was short (only 5'1"), fat, near-sighted, shy, awkward, tardy but sensual and hedonistic, and he drank and smoked heavily.
Just throw in something for perspective. ;) - posted on 06/07/2008
touche wrote:
According to Maynard Solomon, the famous biographer of some of the greatest composers, Schubert was bi-sexual but predominantly homosexual. He did love one aristocratic lady and one soprano, but the affections were not returned. Towards the one who did love him, a daughter of a schoolmaster, he felt he was not in a position to marry.
Schubert had a playboy patron/best buddy of the same age and they frequented brothels featuring both female and male prostitutes.
According to his contemporaries, Schubert was short (only 5'1"), fat, near-sighted, shy, awkward, tardy but sensual and hedonistic, and he drank and smoked heavily.
说得不错,bi-sexual, how about tri-sexual? or quart...
这样也许更对。至于舒伯特的形象,谁都清楚,他到底内向还是外向
,总有相反的说法,我更趋向认为他内向,但在朋友圈内,乘着音乐
的翅膀,也可以外向得不可比拟。
又要说到六四,我觉得,作为平常人应该提到平常一些的东西,这样
就不会有过多无谓的争议。比如若干年前我敲高行健的《逃亡》,虽
然他没有亲历,也写得比一般文字更象经历了。
http://www.mayacafe.com/forum/topic1sp.php3?tkey=1086413566
有人过分拔高,就会导致有人过分损毁。。。我是说百姓!
Just throw in something for perspective. ;)
don't worry! 我说感性,这些就都是。
- posted on 06/08/2008
舒伯特的私生活,谈着谈着就走了题。我再跟着走一回,就是梅特涅
时代的秘密警察,一般人还是把舒伯特当作自由民主形象的,他有朋
友被逮捕,团伙失散,自己警察局也有不好的记录:
====
“自由艺术家”
一八一八年,舒柏特不顾父亲的坚决反对,抱着对艺术和生活的天真的幻想,毅然辞去了教师的职位,决心当一名“自由艺术家”。然而,他那里料想得到,象他这样出身低微的作曲家,在十九世纪初叶的维也纳,将会是多么地不自由啊!
对十九世纪初叶维也纳的社会状况,当时的一位进步作家波斯特曾这样描述过:“到处都布满了秘密警察,……每个 酒店的茶房都是领有津贴的秘密暗探,……他们在饭店和旅馆到处偷听别人的谈话。就是在王宫的图书馆里,也要提防他们。书店是常常有暗探上门的,他们的目的是侦察顾客们买了些什么书。当然,所有多少被嫌疑的信件,都要遭到检查。”维也纳官方严密地监视着社会上的书报、戏剧、演出以及一切文化生活.不允许有一丝一毫的民主空气。但是,另一方面,为了腐蚀、麻痹人民,政府却大力提倡享乐主义的文化艺术。当时,在歌剧院里,富丽堂皇的意大利歌剧不断上演;在公园里、上层社会的客厅和酒吧间里,大大小小的舞会一个接着一个,不少人们沉湎于没完没了的维也纳华尔兹舞之中。在这种表面是歌舞升平,实质上是腐朽反动的政治空气下,维也纳市民阶层中的不少人失却了对民主思想和革命理想的追求,而一种局限在个人小天地中的、眼光短浅的、苟且偷生的小市民习气日益发展起来。正如当时一位女作家所描写的:“享乐和懒惰代替了高尚的情操。……卑躬屈节的风尚抑制了任何一种比较崇高的趋向。”
但是,维也纳市民阶层中的一部分进步知识分子,却对这种政治状况深为不满。如作家波斯特就写了《奥国的真象》一书,无惰地揭露了奥国的腐败,为此,他被迫流浪到美洲。出身于平民家庭的舒柏特,对奥地利的现状也是极其不满的,他曾写下一篇名为《可悲啊!人民》的诗歌,来表达内心的积愤:
“我们时代的青春啊,已经消逝!
无数人民的力量成为浪费,没有一个人独树一帜。
尽都是随波逐流。
无限的痛苦在折磨着我,我只剩下一点力量的残余。
时代不让任何人做点大事业, 也教我大声无嗅地化为乌有。……
舒柏特既不愿依附于权贵的门下,去做他们的忠实奴仆;也不愿用自己的艺术为统治者粉饰太平,去写那些专供娱乐用的浮华、空虚的作品。他要用自己那才气横溢的音乐去倾吐出当时一部分进步知识分子内心的痛苦;唱出市民阶层所憧憬的美好希望。正因为这样,舒柏特的作品很快地受到了市民阶层的欢迎,当时一些进步的艺术家们,也就自然而然地聚集在舒柏特的周围。这些艺术家们和舒相特一起生活、不分你我,共同切磋艺术上的问题,互相交流新的创作成果,甚至私下里发表某些与当局相悖的政治见解,这就形成了有名的“舒柏特小组”。而舒柏特的很多作品,就是在小组的叙会上首次演唱、演奏的。朋友们把这种叙会,亲切地称为“舒相特晚会”。
奥地利皇帝曾经说过这么一句话:“我们不需要天才,我们只要忠于职守的臣仆”。象舒柏特这样一位艺术家,当然不是皇帝的忠诚“臣仆”,也就当然不会受到当局者的重视和欢迎。在国家警察的档案中,舒柏特被记录为是一个“鲁莽的人”;而当他的一个具有自由思想的朋友被警察逮捕时,他也因受牵连而被拘留。虽然,舒柏特的歌曲和音乐作品当时在维也纳的市民中已家喻户晓、广为流传了。但却因得不到官方的赏识而难于出版和演出。舒柏特在生前,甚至还没能听到过自己创作的交响曲的演出。一八一五年,他写出了不朽的名曲《魔王》,但是一直过了五年,出版商才勉强答应为他出版这首歌曲,其条件是不付给他稿费。他写的《流浪者》一歌出版后,只拿到两盾钱(盾Gulden:奥地利钱币名。值美金48.2分。),而出版商却从这个作品中总共赚取了二万七千盾。他逝世前病在床上没钱买药时,朋友们把他写的《冬之旅》送到出版商那里去,但出版商仅给其中的《菩提树》一歌付了一盾钱。
在出版商的残酷剥削下,靠出卖自己的作品为生的舒伯特,经常处在饥寒交迫之中,赚来的钱,往往连用来租乐器都不够。他常常住在一间不生火的屋子里。当他和穷苦朋友迈尔霍弗同住在一起时,两人只能合穿一件外衣,当迈尔霍弗出去上班时,舒柏特只得躲在家里写作。由于舒柏特太穷,他所爱的姑娘离开了他,和一个富商结了婚。后来,舒柏特想谋得一个固定的职位,使生活有所保障,但他的民主思想和爱自由的性格,却妨碍了他在政府的机构找到事做。他曾想谋取师范学校音乐教师的职位,但未能如愿。一八二七年,维也纳第二宫廷乐队队长的位置空出来了,按舒柏特的音乐才能来说,他完全有资格得到这个职位,但是皇帝和官员们却把它赏赐给了另外一个比舒相特更合他们心意的人。第二年又发生了类似的情况。
舒柏特并不是一个天性忧郁的人。他曾幻想过得到自由创作的艺术环境,温暖的生活,幸福的爱情。在他许多的作品中,也曾热情歌唱过美好的理想。但是,令人窒息的社会空气,长期遭受的物质穷困和精神折磨,加上曾给他无限温暖的友谊小组因种种社会原因而逐渐瓦解,这一切都给舒柏特以极大的痛苦,他渐渐陷入了忧伤和失望之中。他在给朋友的信中写道:“你想一想我这个人吧,灿烂的希望化为乌有,爱情和友谊也只带给我痛苦;我的安宁时代已经过去了,……我的心是痛苦的,我永远、永远也不能使它恢复了。”他也曾哀叹道:“我,一个穷音乐家将怎样呢?在我去了的时候,大概便不得不象歌德笔下的鉴琴家似地沿门挨户去乞讨实面包的钱吧!”这种忧伤、失望的情绪,也鲜明地反映在他晚期所创作的一些作品中。
一八二八年十一月十九日,年仅三十一岁的舒柏特因患病得不到充分治疗而离开了人间。亲友们按照舒柏特临终时的嘱托,把他安葬在贝多芬墓的近旁。在他的墓碑上刻着这样的字句:“死亡把丰富的宝藏,把更加美丽的希望埋葬在这里了。”
十年以后,德国音乐家舒曼在舒柏特的弟弟的家里,发现了舒相特的许多珍贵手稿。这些手稿一直来根本无人问津,更谈不上予以出版
http://www.mp4cn.com/2008/yinlezongtan/yinlegushi/2006-11-16/19268.html
- posted on 06/08/2008
舒伯特那个时代又叫毕德迈雅时代,城市化,工业化与市民化。
Biedermeier Schubertiade evening
Biedermeier(wikipedia):
In Central Europe, Biedermeier refers to work in the fields of literature, music, the visual arts and interior design in the period between the years 1815 (Vienna Congress), the end of the Napoleonic Wars, and 1848, the year of the European revolutions and contrasts with the Romantic era which preceded it.
Literature and music
The term Biedermeier comes from the pseudonym Gottlieb Biedermaier, used by the country doctor Adolf Kussmaul and the lawyer Ludwig Eichrodt in poems, printed in the Munich Fliegende Blätter (Flying Sheets), parodying the poems of the Biedermeier era as depoliticized and petit-bourgeois. The name was constructed from the titles of two poems (Biedermanns Abendgemütlichkeit (Biedermann's Evening Comfort) and Bummelmaiers Klage (Bummelmaier's Complaint)) that Joseph Victor von Scheffel had published in 1848 in the same magazine. As a label for the epoch, the term has been used since around 1900.
Typical Biedermeier poets are Annette von Droste-Hülshoff, Adelbert von Chamisso, Eduard Mörike, and Wilhelm Müller, the last two of which have well-known musical settings by Hugo Wolf and Franz Schubert respectively.
Biedermeier can be identified with two trends in early nineteenth-century German history.
The first trend is growing urbanization and industrialization leading to a new urban middle class, and with it a new kind of audience. The early Lieder of Schubert, which could be performed at the piano without substantial musical training, illustrate the broadened reach of art in this period. Further, Biedermeier writers were themselves mainly middle-class, as opposed to the Romantics, who were mainly drawn from the nobility.
The second trend is the growing political oppression following the end of the Napoleonic Wars prompting people to concentrate on the domestic and (at least in public) the non-political. Due to the strict publication rules and censorship, writers primarily concerned themselves with non-political subjects, like historical fiction and country life. Political discussion was usually confined to the home, in the presence of close friends. This atmosphere changed by the time of the revolutions in Europe in 1848.
http://en.wikipedia.org/wiki/Biedermeier - Re: 舒伯特不应该只是一个名字posted on 06/08/2008
这个专题很好!
- Re: 舒伯特不应该只是一个名字posted on 06/08/2008
谢谢xw和我们分享...... - Re: 舒伯特不应该只是一个名字posted on 06/08/2008
我们喜欢的是舒伯特的音乐,不是他的为人,就像我们喜欢贝多芬的音乐一样,而不喜欢他的脾气。是不是? - posted on 06/09/2008
倒也未必,从诗意上来说,我一般不将之割裂。无论是贝多芬还是
舒伯特。蛋与鸡,如果只是吃蛋,是一回事,
鸡生蛋,蛋孵小鸡,又是一回事。
liaokang wrote:
我们喜欢的是舒伯特的音乐,不是他的为人,就像我们喜欢贝多芬的音乐一样,而不喜欢他的脾气。是不是?
前面Touche说舒伯特形象堪忧,当然贝多芬好不到哪里去。我离开
博物馆,特别跟那对老夫妻聊了聊,买了一盒十张的音乐盘,当然是
义助一下,也买了一张陶瓷的舒伯特的磁铁小像章,放冰箱的。因为
孩子们特别喜欢舒伯特,真有点莫名其妙。说真的,舒伯特在维也纳
的塑像很多,舒伯特大道,人民公园,图画更是数不清(也许是沾艺
术家朋友的光),不管怎么说,他的艺术形象确实不一般!
扫描不来,就贴张网上的吧。
Schubert Sterbewohnung
A-1040 Wien, Kettenbrückengasse 6
参观完了便要赶到集市附近的舒伯特去世地点,也是一处博物馆,是
维也纳博物馆连锁的。先贴一张死亡面膜:
Schubert Death Mask
这一幢房子都住满住户,馆物馆也只是两间。按门铃进去,走到二楼
,连着两间房子,这本是舒伯特兄弟的家,这是他们的钢琴:
里面展示了他最后的书信,里面说他许多天没吃没喝了,再找。试听
音乐更多是他的宗教作品,房屋很破旧,地板一踏都响。
Here -- To Schober:
I am ill. For the last eleven days I have had nothing to eat or drink. I can only
walk feebly from my armchair to my bed and back. Dr Rinna is treating me. When-
ever I take any food I cannot manage to keep it. Please be so kind and let me
have some books in this desperate plight. those of Cooper's I have read are
'The Last of the Mohicans, The Spy, the Pilot and The Pioneers. If by any chance
youj have anything else by him I beg you to leave it for me with Frau von Bogner
at the coffeehouse. My brother, who is very conscientious will be the most
reliable person to bring it to me. Or something else instead...
the date was written by Schober: 'Received 12 November 1828'.
这是第一间房子,墙角是壁炉。
Franz Schubert died aged 31 on November 19, 1828 at the apartment of his
brother Ferdinand in Vienna. By his own request, he was buried next to Ludwig
van Beethoven, whom he had adored all his life, in the Währinger cemetery.
Schubert Park in the 18th District - Währing
Ludwig van Beethoven and Franz Schubert were originally buried at the Währinger Friedhof. The Währinger Friedhof gradually fell into disrepair and in 1863 the remains of Beethoven and Schubert were exhumed, transferred to solid copper caskets, and reburied. Finally, on September 22, 1888, Beethoven and Schubert were relocated to their permanent resting places at the Zentralfriedhof. The old Währinger Friedhof was demolished in the 1890's but the composers' original gravesites were preserved. The memorials are still there and the site is now called Schubert Park.
http://www.gyrix.com/forums/showthread.php?t=2518
In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss I and Johannes Brahms.
&
When Robert Schumann came to Vienna ten years after Schubert's death,
he found at the home of Schubert's brother Ferdinand piles of manuscripts
no one had bothered to look at. In December 1839 Schumann wrote to
Clara Wieck:
Clara, I was in a state of bliss today. At the rehearsal a symphony by Franz Schubert was played. If only you had been there! It is not possible to describe it to you: all the instruments are human voices. It is gifted beyond measure, this instrumentation. Beethoven notwithstanding, and this Ninth Symphony. I was completely hpaay and wished for nothing but that you might be my wife, and that I, too, could write such symphonies.
And to his friend Ernst Adolf Becker in Freiburg, Schumann wrote the same
day, 'Schubert's symphony is the greatest instrumental music that has been
written since Beethoven, not excepting even Spohr and Mendelssohn'.
Shumann was referring to the Great C major Symphony.
To be continued...
- posted on 06/09/2008
How Schubert's compositions are listed
The indication "D" or "D." refers to "Deutsch", that is Otto Erich Deutsch, who created a catalogue of Schubert's works listed chronologically by composition date. This catalogue has been amended several times because historical research led to a new probable date of composition, leading to numbers followed by a letter: for example D.769a, formerly D.900.
The compositions of Schubert listed below are grouped generically, by type of composition. Not all thematic groups of Schubert works have a separate numbering that is generally accepted: for example the numbering of the piano sonatas proved particularly cumbersome, see below. Also for the symphonies the numbering from 1 to 10 is only "stable" insofar as no more new symphonies turn up. For most other groups of works there was no real attempt to number them, apart from the general numbering in the Deutsch catalogue.
Fewer than 100 of Schubert's compositions received an Opus number during Schubert's life: about half of the Opus numbers are posthumous, and give no indication at all regarding a chronological - or any other - order, except regarding the chronological order of publication. By the end of the 19th century no new opus numbers were added; for new publications the Deutsch number was used.
The Numbering of Schubert's Symphonies
Between 1813 and 1818 Schubert wrote six symphonies, now known as Nos.1-6. In 1818 he drafted a four-movement symphony in E (now No.7) in outline but only orchestrated the start of the first movement. In 1822 he composed and orchestrated two movements of a symphony in B minor (now No.8, the ‘Unfinished’) and drafted part of a third movement; whether or not he had drafted a finale remains moot. In 1825-26 he completed a large symphony in C major (now No.9, the ‘Great’). There are in addition numerous sketches and fragments for other symphonies, and in the 1970s it was realized that these included the nearly-complete draft of a three-movement Symphony in D from the summer and autumn of 1828. A performing version of this work was orchestrated by Brian Newbould as Symphony No.10.
The first Schubert Symphony to be performed was the ‘Great’: this was designated by Schubert’s brother Ferdinand as ‘No.7’ as early as the 1830s. In the 1840s the thematic catalogue of Schubert’s works prepared by Alois Fuchs accepted this numbering and also called the drafted E major symphony ‘No.8’. The two completed movements of the B minor symphony were not performed until 1865, and it was George Grove who decided that this symphony – the ‘Unfinished’ - should be No.8, with the E major dropping to No.7 and the Great C major becoming No.9. Though this has been the preferred numbering ever since, not least because it respects the chronological order of these works, the old numbering of the Great C major as No.7 has been remarkably persistent and is still sometimes encountered. In addition to this the revised Deutsch catalogue edited by Walter Dürr and Arnold Fell has proposed that the E major Symphony should have no number, that the ‘Unfinished’ should be called ‘No.7’ and the Great C major ‘No.8’: but this view, as well as being illogical – the E major Symphony is essentially an entire work, as various completions have shown – is unlikely to prevail over current practice.
Thematic list of Schubert's compositions
This list gives some better known examples of Schubert's 1000-odd compositions.
Schubert's autograph of the Octet in F (D.803), according to some scholars a possible version of his so-called 'Gastein symphony'
Symphonies
Symphony No. 1 in D major (D.82)
Symphony No. 2 in B-flat (D.125)
Symphony No. 3 in D major (D.200)
Symphony No. 4 in C minor (D.417), the Tragic
Symphony No. 5 in B-flat (D.485)
Symphony No. 6 in C major (D.589), the Little
Symphony No. 7 in E major (D.729): Sketched in full score 1821, with part of the first movement fully orchestrated (performing versions by John Barnett, Felix Weingartner and Brian Newbould)
Symphony No. 8 in B minor (D.759), the Unfinished - sometimes counted as No. 7. Only the first two movements are completed, third movement was sketched, fourth was probably never written.
Symphony No. 9 in C major (D.944), the Great - sometimes counted as No. 7 or No. 8 (see: Curse of the ninth)
10th (or "Last") Symphony in D major (elaborated by Brian Newbould from the symphonic sketch D.936a)
in addition, there was long believed to have been a "Sketch for a Grand Symphony" made at Gastein in 1824. No score of this 'Gastein Symphony' appears to have survived, but it is often identified with the Sonata in C major for 2 pianos(D.812, Op. 140) and/or the Octet in F (D.803). Orchestrations of the Sonata, also known as the Grand Duo, were made by Joseph Joachim and others in an attempt to restore this "lost symphony" to the Schubert canon, but it is now known that the 'Grand Symphony' begun in 1824 is the same work as the "Great C major" (cf John Reed, Schubert, The Final Years (London, 1972)).
Music for chamber ensemble
Piano Quintet in A, The Trout Quintet (D.667) - see also Songs below.
Quartettsatz (quartet movement) in C minor (D.703)
Octet in F (D.803)
String Quartet in A minor, the Rosamunde Quartet (D.804)
Arpeggione Sonata (D.821), for the arpeggione, a cello-like new instrument and piano, now generally played on cello.
String Quartet in D minor, using music of the Death and the Maiden song (D.810)
String Quartet No. 15 in G (D. 887, Op. 161, 1826)
Rondeau brilliant for piano and violin (D.895, Op.70)
Fantasia for piano and violin in C (D.934)
Two Piano trios (No. 1 in B-flat, D.898 and No. 2 in E-flat, D.929), as well as the single movements for piano trio, the Sonatensatz, D.28, and the Notturno, D.897
String Quintet in C (D.956)
Wind Octet in F Major (D.72)
Lieder (songs) and songcycles
Der Hirt auf dem Felsen (D.965, published as Op. 129)
Der Taucher (D.77/111)
Gretchen am Spinnrade (D.118, published as Op. 2).
Erlkönig (D.328, published as Op. 1) - text by Goethe
Einsamkeit (D.620)
Marienbild (D.623)
Litaney
Schäfers Klagelied
Die Forelle (The trout), the theme of which was used in the Trout Quintet (see above)
Death and the Maiden (D.531 - see also Death and the Maiden Quartet).
l'Addio
Du bist die Ruh (D.776)
Die schöne Müllerin or the Müllerlieder (D.795), song-cycle - text by Wilhelm Müller
Nacht und Träume (D.827)
Ave Maria (original title: Ellens Gesang III, D.839), text based on an excerpt from Sir Walter Scott's The Lady of the Lake
Ständchen (D.889), setting of a German text based on Shakespeare's Hark! Hark! the Lark (Cymbeline, Act II, scene 3)
An Silvia (D.891), text based on Shakespeare's Who is Sylvia?
Winterreise (D.911), song-cycle
Song of Miriam
Schwanengesang or Swansong (D.957), cycle of songs, some of which are on poems by Heinrich Heine
Der Wanderer
Liturgical and Sacred compositions
Mass No. 1 in F major, D. 105
Mass No. 2 in G major, D. 167 (media)
Mass No. 3 in B flat major, D. 324
Mass No. 4 in C major, D. 452
Mass No. 5 in A flat major, D. 678
Deutsche Messe, D. 872
Kyrie in D minor, D. 31
Kyrie in B flat major, D. 45
Kyrie in D minor, D. 49
Kyrie in F major, D. 66
Salve Regina in B flat major, D. 106
Offertorium "Totus in corde", D. 136
Stabat Mater in G minor, D. 175
Offertorium "Tres sunt", D. 181
Graduale, D. 184
Offertorium "Salve regina", D. 223
Salve Regina in F major, D. 379
Stabat Mater in F major, D. 383
Salve Regina in B flat major, D. 386
Tantum ergo in C major, D. 461
Tantum ergo in C major, D. 460
Magnificat, D. 486
Auguste Jam Coelestium, D. 488
Offertorium "Salve regina", D. 676
Sechs Antiphonen zu Palmsonntag, D. 696
Psalm 23, D. 706
Tantum ergo in C major, D. 739
Tantum ergo in D major, D. 750
Salve Regina in C major, D. 811
Mass No. 6 in E flat major, D. 950
Tantum ergo in E flat major, D. 962
Psalm 92, D. 953
Offertorium, D. 963
Hymnus an den heiligen Geist, D. 964
Der 92. Psalm (93, tôw l'hôdôs, commissioned by Sulzer), D. 953
Oratorio
Lazarus (D.689)
Opera and theatre music
Der Spiegelritter (D.11)- unfinished
Des Teufels Lustschloss (D.84)
Der vierjährige Posten (D.190)
Fernando (D.220)
Claudine von Villa Bella (D.239)- Acts II and III lost
Adrast (D.137) - unfinished
Die Freunde von Salamanka (D.326) - spoken dialogue lost
Die Bürgschaft (D.435)- unfinished
Die Zwillingsbrüder (D.647)
Die Zauberharfe (D.644)
Sakuntala (D.701)- unfinished
Alfonso und Estrella(D.732)
Fierrabras (opera) (D.796), the opera that kept most notoriety after Schubert's death.
Die Verschworenen (D.787), comic opera
Rosamunde (D.797) (incidental music to a play; see also Entr'acte and Schubert's Piano impromptu in B flat, Op. Posth. 142 No. 3 (D.935/3) above)
Der Graf von Gleichen (D.918)- unfinished
- posted on 06/09/2008
Piano solo
The table below concentrates on piano sonatas and other well-known piano pieces that are still regularly heard today. Other piano music by Schubert includes a host of short pieces, most of them German dances, minuets, marches and the like.
There is also a considerable number of piano pieces for four hands by Schubert, the Military March being one of the most famous of these. Others are the Grand Duo and the Fantasy in F minor.
Legend to the table:
A, B and C: three different numberings of Schubert's piano sonatas: A is the oldest (referring to the 1888 first "integral" edition of Schubert's sonatas by Breitkopf and Härtel, not making reference to the Deutsch catalogue this edition of Schubert sonatas is reprinted from 1970 on by Dover Publications). As more pieces turned up that could be labelled as Sonata, the numbering extended, also re-numbering some of the pieces that had already been published. Note that in Schubert's lifetime "Fantasie" (Phantasy) and "Sonate" (Sonata) had a somewhat overlapping meaning: by convention the Wanderer Fantasy was never numbered as a sonata, while D. 894 always was.
U: unfinished work
numbers 1., 2., etc...: individual movements of the compositions.
Opus: "(p)" or "posth." indicates a posthumous publication.
A B C Name Key U Date Opus Deutsch 1. 2. 3. 4. 5. 6.
Fantasie C Minor 2e (?)
Andante C Major 29 Andante
1st part of a sonata E Major u 154 Allegro
10 Variations F Major 156
1 1 1 Sonate E Major Feb. 1815 157 Allegro ma non troppo Andante MENUETTO, Allegro vivace - Trio
Adagio G Major 178 Adagio
2 2 2 Sonate C Major Sep. 1815 279 Allegro moderato Andante MENUETTO, Allegro vivace - Trio [Allegretto]
Allegretto (fragment) C Major u 346
Allegro moderato (fragment) C Major u 347
Andantino (fragment) C Major u 348
Adagio (fragment) C Major u 349
3 3 Fünf Klavierstücke E Major Aug. 1816 459 Allegro moderato SCHERZO, Allegro Adagio SCHERZO CON TRIO Allegro patetico
Adagio D-flat 505 Adagio
(Adagio and) Rondo E Major (p) 145 506 (Adagio) RONDO, Allegretto moto
6 4 4 Sonate A Minor 1817 (p) 164 537 Allegro ma non troppo Allegretto quasi Andantino Allegro vivace
3 5 5 Sonate A-flat Major May 1817 557 Allegro moderato Andante Allegro
4 6 6 Sonate E Minor June 1817 566 Moderato Allegretto SCHERZO, Allegro vivace - Trio RONDO, Allegretto
7 7 Sonate (older version of D.568) D-flat Major u 567
7 8 Sonate E-flat Major 1817 (p) 122 568 Allegro moderato Andante molto MENUETTO, allegretto - Trio Allegro moderato
Sonate F-sharp Minor u 1817 570571 Allegro SCHERZO, Allegro vivace Allegro moderato
5 8 9 Sonate B Major Aug. 1817 (p) 147 575 Allegro ma non troppo Andante SCHERZO, Allegretto - Trio Allegro giusto
13 Variations on a theme by Hüttenbrenner 576
Scherzo B-flat Major 593 #1 Allegretto
Scherzo D-flat Major 593 #2 Allegro moderato
Andante A Major 604 Andante
Fantasia (fragment) C Major u 605
Marche E Major 606 Allegro con brio
Trio (of an unidentified menuet, maybe D.600) E Major 610
Adagio E Major 612 Adagio
9 10 Sonate C Major u Apr. 1818 613 Moderato (?)
10 11 Sonate F Minor u Sep. 1818 625 Allegro SCHERZO, allegretto Allegro
12 Sonata movement C-sharp Minor u 655 Allegro
10 11 13 Sonate A Major 1819-1825 (p) 120 664 Allegro moderato Andante Allegro
Variation on a waltz by Diabelli C minor 718
Wanderer Fantasie C Major Nov. 1822 15 760 Allegro con fuoco ma non troppo Adagio SCHERZO, Presto Allegro
Sonate (fragment, formerly D.994) E minor 769a Allegro
34 Valses Sentimentales 50 779
Moment Musical I1 C Major 1823 94 7801 Moderato
Moment Musical I2 A-flat Major 1823 94 7802 Andantino
8 12 14 Sonate A Minor Feb. 1823 (p) 143 784 Allegro giusto Andante Allegro vivace
Moment Musical I3 "Air Russe" F Minor Dec. 1823 94 7803 Allegretto moderato
Hungarian melody B minor 1824 817 (?)
Moment Musical II6 "Plainte d'un Troubadour" A-flat Major Dec. 1824 94 7806 Allegretto
13 15 Sonate "Reliquie" C Major u 1825 840 Moderato Andante
Moment Musical II4 C-sharp Minor 1823-1828 94 7804 Moderato
Moment Musical II5 F Minor 1823-1828 94 7805 Allegro vivace
9 14 16 Sonate A Minor 1825 42 845 Moderato Andante poco moto SCHERZO, Allegro vivace - Trio, Un poco più lento RONDO: Allegro vivace
11 15 17 Sonate "Gasteiner" D Major 1825 53 850 Allegro vivace Con moto SCHERZO, Allegro vivace - Trio RONDO: Allegro moderato
12 16 18 Sonate (Fantaisie) G Major Oct. 1826 78 894 Molto moderato e cantabile Andante MENUETTO, Allegro moderato - Trio Allegretto
Impromptu I1 C Minor 1827 90 8991 Allegro molto moderato
Impromptu I2 E-flat Major 1827 90 8992 Allegro
Impromptu I3 G-flat Major 1827 90 8993 Andante
Impromptu I4 A-flat Major 1827 90 8994 Allegretto
Allegretto (fragment) C Minor u 900
Allegretto C Minor (1827) 915 Allegretto
12 Valses Nobles 1827 77 969
Impromptu II1 F Minor 1827 (p) 142 9351 Allegro moderato
Impromptu II2 A-flat Major 1827 (p) 142 9352 Allegretto
Impromptu II3 "Rosamunde" B-flat Major Dec. 1827 (p) 142 9353 Andante Var. I Var. II Var. III Var. IV Var. V
Impromptu II4 F Minor 1827 (p) 142 9354 Allegro vivace
Klavierstück (Impromptu) E-flat Minor May 1828 946 #1 Allegro assai - Andante - Andantino
Klavierstück (Impromptu) E-flat Major May 1828 946 #2 Allegretto
Klavierstück (Impromptu) C Major May 1828 946 #3 Allegro
13 17 19 Sonate C Minor Sep. 1828 958 Allegro Adagio MENUETTO, Allegro - Trio Allegro
14 18 20 Sonate A Major Sep. 1828 959 Allegro Andantino SCHERZO, Allegro vivace - Trio, Un poco più lento RONDO, Allegretto
15 19 21 Sonate B-flat Major Sep. 1828 posth. 960 Molto moderato
- posted on 06/09/2008
Der Doppelgänger from Schubert's Schwanengesang
Franz Schubert sings 'Der Doppelgänger'...
The title "Der Doppelgänger" is Schubert's; in Heine's Buch der Lieder the poem is untitled, and arguably it is slightly spoiled by declaring at the outset what is intended to be a shock near the end.
Still ist die Nacht, es ruhen die Gassen,
In diesem Hause wohnte mein Schatz;
Sie hat schon längst die Stadt verlassen,
Doch steht noch das Haus auf demselben Platz.
Da steht auch ein Mensch und starrt in die Höhe,
Und ringt die Hände, vor Schmerzensgewalt;
Mir graust es, wenn ich sein Antlitz sehe -
Der Mond zeigt mir meine eig'ne Gestalt.
Du Doppelgänger! Du bleicher Geselle!
Was äffst du nach mein Liebesleid,
Das mich gequält auf dieser Stelle,
So manche Nacht, in alter Zeit?
English Interpretation
The following is an English interpretation by Leon Malinofsky:
Still is the night, it quiets the streets down
In that window my love would appear
She's long since gone away from this town
But this house where she lived still remains here.
A man stands here too, staring up into space
And wrings his hands with the strength of his pain
It chills me, when I behold his pale face
For the moon shows me my own features again!
You spirit double, you specter with my face
Why do you mock my love-pain so
That tortured me here, here in this place
So many nights, so long ago?
http://en.wikipedia.org/wiki/Der_Doppelg%C3%A4nger
Comments:
After Vogl died his widow, perhaps trying to get attention, quoted her husband:
'Vogl believed that Schubert was in a somnambulistic state whenever he wrote misic. This explains how, in this visionary condition, the scarcely educated boy could see into the secrete of life, have the emotions, the knowledge.'
Scholars thought this was totally nonsense.
====
试听一首Der Doppelgänger,天鹅之歌的,网上找到一部电影。
Notturno, Franz Schubert, Love Has Lied (Part 1), Winter Journey (Part 2)
http://movies.nytimes.com/movie/130930/Notturno/overview - posted on 06/10/2008
昨晚网上搜了搜,终于没发现有卖。不过,Tube里有些片断:
Franz Schubert composing his Andantino...
http://www.youtube.com/watch?v=zUGV072C_cw&feature=related
Franz Schubert playing for an audience...
http://www.youtube.com/watch?v=qqDiZTJvIis
A day out with Franz Schubert...
http://www.youtube.com/watch?v=BENPecrB7ow&feature=related
Franz Schubert visiting his father...
http://www.youtube.com/watch?v=DQ4Ih1MvVPo&feature=related
thanks 'lovethepiano' in youtube for all those:
http://www.youtube.com/profile_videos?user=lovethepiano - posted on 06/10/2008
FRIENDS, ALWAYS FRIENDS:
Schubert with his friends Hüttenbrenner and Jenger
SCHUBERTIADEN
Perhaps the closest of Schuberts’ friends was Franz von Schober, one year older, born in Sweden of a German father and an Austrian mother; he had met Schubert through Spaun, He was a wealthy dilettante, the first who offered Schubert a place to stay. When he was in Vienna – he was restless and moved around a lot – Schubert could always count on staying with him. Schober later became private secretary to Franz Liszt, Legationsrat in Weimar, married when he was sixty and died in 1882 in Dresden. Strangely enough, Schober is the only one of Schubert’s close frieds who did not wirte a set of reminiscences about him.
Joseph von Spaun, nine years older than Schubert, studied law, went as a civil servant to Lemberg, Galicia and in 1841 became director of the Austrian State Lottery. After Schubert’s death he wrote to Bauernfeld that ‘Schubert should be treated as a song composer by his biographers. We shall never make a Mozart or Haydn out of him in instrumental and church composition whereas in song he is unsurpassed.’ Spaun inherited from Wilhelm Witteczek – another Schubertian who copied and saved many of Schubert’s songs – his collection of printed and written copies and bequeathed it to the Gesellschaft der Misikfreunde.
And there was Johann Mayrhofer from Steyr, Upper Austria, amateur poet and law student in Vienna, a passionate believer in freedom, who paradoxically became a censor. Deutsch describes him as ‘taciturn, sarcastic, and a misogynist’. Schubert was fond of him, stayed with him on several occasions and set some of Mayrhofer’s poems to music. Mayrhofer died soon after Schubert: in 1836 he jumped from an upper window of his office.
A musical evening, showing Schubert, Bauernfeld, Kupelwieser,
the Frölich sisters, Moritz von Schwind, Josef von SPaun, Vogl, Grillparzer.
Moritz von Schwind(1796-1882) joined the Schubertians after 1820. He later became a noted painter, liked musical subjects, and decorated the lunettes of the loggias in the foyer of the Vienna Opera with poetically conceived reproductions of scenes from Die Zauberflöte. (The foyer was the only part of the opera house that survived the bombs and the fire at the end of the Second World War; Schwind’s decorations are still there.) Seven years after Schubert’s death Schwind planned to paint a ‘Schubert room’, with each wall dedicated to an important poet of Schubert’s Lieder, but the plan was not executed. In 1868 he did a sepia drawing Ein Schubert Abend bei Ritter von Spaun (A Schubert Evening at Ritter von Spaun) which now belongs to the City of Vienna. ‘It shows my excellent friend Franz Schubert at the piano with a circle of listeners, old Vogl singing, and the whole company, men and women around.’
(应该就是上面那幅Biedermeier Schubertiade evening.)
Johann Michael Vogl(1768-1840), older than Schubert, became an important member of the circle. He too was from Steyr, a professional singer who in 1794 became a member of the Vienna Court Opera. He retired in 1822, but continued to sing privately. Vogl met Schubert through Schober in 1817. At the beginning of their relationship the celebrated singer treated the unknown composer with some condescension. Spaun remembers that Vogl once told Schubert, ‘there is something in you but you are too little of a comedian, too little of a charlatan, you squander your fine thoughts without making the best of them’. A Cartoon, probably drawn by Schober, shows the singer walking in front, proud and arrogant, and little Schubert three steps behind him, with some music under his arm and some in his back pocket.
To be continued…
Schubert Memoirs By His Friends (1958)
http://ia331331.us.archive.org/3/items/schubertmemoirsb017777mbp/schubertmemoirsb017777mbp_djvu.txt
(According to O.E. Deutsch 74 letters that Schubert wrote have survived. He wrote seven poems, one allegorical story, two fragmentary diaries,
thirty-five characteristic dedications and personal notes on his manuscripts.
There are fifty letters written to Schubert, and 230 letter quotations and 300 diary quotations about him. At least three diaries written by friends, Anselm Hüttenbrenner, Leopold von Sonnleithner, and Johann Baptist Jenger were destroyed, perhaps wilfully.) - posted on 06/12/2008
liaokang wrote:
我们喜欢的是舒伯特的音乐,不是他的为人,就像我们喜欢贝多芬的音乐一样,而不喜欢他的脾气。是不是?
xw wrote:
倒也未必,从诗意上来说,我一般不将之割裂。无论是贝多芬还是舒伯特。蛋与鸡,如果只是吃蛋,是一回事,
我觉得xw和liaokang两人说的是两个问题.一个说的是认识音乐(包括通过认识音乐家达到认识), 另一个说的是被音乐感动. 认识音乐只是理性的认识, 被音乐感动是身心的审美体验,是最终目的. 很早以前我有个错误的看法. 只有真正认识了音乐, 才能真正被音乐打动.后来我意识到了其实不是这样的. 被打动不必先要认识. 就象看见陌生的姑娘一见钟情一样. 被打动后往往有可能愿意去认识. 现在, 我认为这个后来的想法还不对. 其实, 我还是应该认识在先. 但是, 这种认识不是在你的意识当中的认识, 是存在在你的潜意识里的认识. 是否钟情,全看你在这一层次的意识上有没有那个女孩子的眼睛, 她的脸庞, 她的微笑…是否被舒伯特的音乐感动, 也全看在这个层次的意识上你有没有东西等待被舒伯特的音乐唤起. 美感来自潜意识.
xw此线想要说的是帮助了解舒伯特作为音乐家的地位, 也算是对舒伯特的音乐的一种认识. 以前和他提过这个问题.xw给我的舒的歌曲我也听了几次. 关于地位问题,我不知道.我觉得舒的地位与他的歌曲有关的程度相比, 也许他后期作品和作为浪漫主义第一人的因素更大. 不过这个问题实在说不好. 主要还是听的少. 我把这个问题的话语权交给专家.
对舒伯特的一点认识. 我觉得舒伯特很象帕瓦罗蒂, 一个天生的天才. 从天份上讲, 也很象莫扎特.但是莫既有诗意也有技巧. 巴, 贝, 勃的天份不如舒. 帕瓦罗蒂不是很懂乐理, 也不刻苦训练, 但是他嘴巴一张就是绝响. 舒伯特的作曲没什么技巧, 临死之前几个星期才开始学双重对位和赋格等当时还是比较有用的和声技巧. 但是, 如果这种朴实的作曲技巧能写出被认为是伟大的音乐, 反而说明了他是真正的天才. 有好的音乐语言不一定有好的音乐作品. 就象有好的文字语言不一定就有好诗一样. 好诗首先在于诗人的诗意. 如果这诗意是用朴实文字写出来的,不是用精心雕刻文字写出来的, 更说明诗人的一种天才性. 所以好象有人说, 舒伯特的音乐(后期的几部作品)是未加修饰直接从上帝那里流下来的.
话说回来, 对这种超级天才, 我们再怎么去认识也总会感到不可思议的, 无法理解的. 比如, 他哪里来的那么多旋律? 考虑到他只有短短的一生, 经历也很有限. 这不是指他那些歌曲的旋律, 他的一些器乐作品,连伴奏也都有旋律味. 他那临终前说的著名的话: 我脑子里还有很多好听的旋律,只是我没有时间了.肯定是他心里话. 所以, liaokang说的对. 这种超级天才的东西, 更要靠听. 我还没有一张他的专门CD.
- posted on 06/12/2008
我想,对不同的音乐(艺术品),有不同的情况。喜欢一个东西的过程,也是多种多样的。
我觉得xw和liaokang两人说的是两个问题.一个说的是认识音乐(包括通过认识音乐家达到认识), 另一个说的是被音乐感动. 认识音乐只是理性的认识, 被音乐感动是身心的审美体验,是最终目的. 很早以前我有个错误的看法. 只有真正认识了音乐, 才能真正被音乐打动.后来我意识到了其实不是这样的. 被打动不必先要认识. 就象看见陌生的姑娘一见钟情一样. 被打动后往往有可能愿意去认识. 现在, 我认为这个后来的想法还不对. 其实, 我还是应该认识在先. 但是, 这种认识不是在你意识当中的认识, 是存在在你的潜意识里.是否钟情,全看你在这一层次的意识上有没有那个女孩子的眼睛, 她的脸庞, 她的微笑…是否被舒伯特的音乐感动, 也全看在这个层次的意识上你有没有东西等待被舒伯特的音乐唤起. 美感来自潜意识.
- Re: 舒伯特不应该只是一个名字posted on 06/12/2008
. 所以, liaokang说的对. 这种超级天才的东西, 更要靠听. 我还没有一张他的专门CD.
呵呵,其他都同意老圣。
这个问题我的看法相反。真正超级天才的东西往往比较容易听,因为实在是才华横溢。盖都盖不住。别的不好说,他的鳟鱼五重奏我认为是重奏作品里最容易抓人的。甚至比莫扎特的好些作品还有亲和力。实在是优美之极。
不过我现在很少听舒伯特了,前段时间搞了一张鲁普演奏的他的钢琴奏鸣曲,听了一段时间,现在没有留下任何印象。 - Re: 舒伯特不应该只是一个名字posted on 06/12/2008
超级天才的东西,也有很多很难听(读)的。容易和难,跟风格有关。
呵呵,其他都同意老圣。
这个问题我的看法相反。真正超级天才的东西往往比较容易听,因为实在是才华横溢。盖都盖不住。别的不好说,他的鳟鱼五重奏我认为是重奏作品里最容易抓人的。甚至比莫扎特的好些作品还有亲和力。实在是优美之极。
不过我现在很少听舒伯特了,前段时间搞了一张鲁普演奏的他的钢琴奏鸣曲,听了一段时间,现在没有留下任何印象。 - posted on 06/12/2008
音乐(器乐)是半个哑巴,不会说话。大家怎么说都行。
但说到舒伯特,舒伯特还是个歌手,就象约翰*斯特劳斯是舞曲大王
,这就不仅要动口,有时还要动手动脚。音乐纯粹只被动欣赏,我不
太同意,比如说舒伯特,要真能进去,很不容易。
昨天翻巴赫作品,巴赫从BMW1-BMW518都是Cantata,Motet,
Chorale等。还有BMW651-668,Geistliche Lieder。
老巴赫也动口,动口就语言。巴赫是圣经,舒伯特是诗歌,这些不是
天才就能领会,肯定要下一番功夫。
我昨晚把舒伯特的三个声乐套曲重听,那美丽的磨妨女,让我澄释所
谓gay的说法,冬之旅,舒伯特肯定内向的,天鹅之歌,我还不能领
略。。。今天找空再把舒伯特的宗教信仰谈谈。
谢谢诸位回馈,我这人有点驴。
昨晚在后院听舒伯特,听得入迷。蚊口穿衣而入,叮我的膝盖,我感
到什么,也不忍心破坏了“美丽的磨坊女”,忍痛,无意还是把蚊虫
驱开,好大的蚊虫与口器!其实蚊虫也入了迷,说是母蚊虫至少要叮
一口动物的血才能繁殖,这个我不太信。但蚊虫绕着我不去,她也是
叮血叮出了滋味?这让我不舒服,挥之三下都不去,只好将她拍死掉
了,,,这时我才发现,蚊子还没有吸我一点血。
蚊子嗜血入迷,丢了性命。我嗜舒伯特入迷,挨了蚊子一口。本来想
写诗一首,象多恩。唉,还是念一声佛号省心:
阿弥陀佛!
- Re: 舒伯特不应该只是一个名字posted on 06/13/2008
mahuiyuan wrote:
超级天才的东西,也有很多很难听(读)的。容易和难,跟风格有关。
有道理。 - posted on 06/16/2008
我想,对不同的音乐(艺术品),有不同的情况。喜欢一个东西的过程,也是多种多样的。
可能我没有说清楚.
是不同. 但是, 欣赏音乐的过程和对音乐欣赏的现象的认识过程是两回事. 前者是你说的这种情况, 确实是和不同的作品有关. 对同一作品(对不同人)的欣赏过程也不一样. 我的本意是后者--是对音乐欣赏的现象的思考. 现象只有两种情况: 对音乐一见钟情和多见钟情(无动于衷包括在多见钟情里, 假设多次和音乐见面后最终被音乐打动).
如果用理性认识来解释这两种现象, 理性认识只能解释多见钟情--通过不断地见(认识)达到钟情. 可是解释不了没有见过经验的一见钟情的现象. 所以, 不是最好的解释. 潜意识能够把对二者的结实统一起来.
事实上, 正是你所说的, 欣赏音乐的过程因人而异, 因曲而异, 也就是对100个作品的欣赏可能有100种情况, 对同一部音乐100个人欣赏又可能有100种情况. 这种无法把握的事实说明人的意识无法解释和定论这些现象. 音乐欣赏(也包括音乐创作)存在着一种超意识的艺术直觉. 我认为这种直觉来自神秘的潜意识. 正因为自己对音乐欣赏现象有这种切身体会. 我特别认同书本华的这个观点(对他的音乐观点倒不是全都认同), 音乐是人类无意识的形而上学活动(music is the unconscious exercise in metaphysics). 你, XW 还有古典对这句话怎么看?
mahuiyuan wrote:
我想,对不同的音乐(艺术品),有不同的情况。喜欢一个东西的过程,也是多种多样的。 - posted on 06/17/2008
今天才把Dietrich Fischer-Diskau/Gerald Moore的传奇录音,二十一
张盘全听一遍。中间听到没耐心,先跳到最后三张,三部声乐套曲。
今天最后一首是:Abschied von der Erde, D829(1825/26)
Leb wohl, du schöne Erde!
Kann dich erst jetzt versth’n,
Wo Freude und wo Kummer
An uns vorüberweh’n.
Fare well, you fair earth,
Can but now understand you,
When joy and when sadness
Fly past us so fast...
钢琴伴奏的独白,网上找不到,我这里找到Fischer-Diskau的演出会的最
后一首,Abschied(告别)
http://www.youtube.com/watch?v=OHG5LEdoTzw
这演出会的两盘VHS也在林肯中心借到了,上盘是Fischer-Diskau
的演艺生平,下盘是演出会,都是些不常听到的歌。
http://www.amazon.com/Dietrich-Fischer-Dieskau-Journey-Schubert-Nuremberg/dp/B000P6R70U/ref=pd_bbs_sr_2?ie=UTF8&s=music&qid=1213727651&sr=8-2
在歌德学院借到了Fischer-Diskau谈舒伯特艺术歌曲的书:
Franz Schubert und seine Lieder(英译)
共四六三首歌,今天的新感觉:舒伯特艺术歌曲很原创,抒情真接且
结构完备,有激情,不为形式且成就规模,其中许多歌曲可以为声乐
创作提供第一手的原料,就是写渔夫,写猎户,僧侣,深秋,十字军
,或者战争中逃生兵的酒歌,都是难得的原料,亦词亦曲。
&
前回说谈舒伯特的信仰,看来还得慢来,先上一首Ave Maria:
Barbara Bonney
Ave Maria, Storck's translation --
from Walter Scott's "The Lady of the Lake"
Ave Maria! Jungfrau mild,
Erhöre einer Jungfrau Flehen,
Aus diesem Felsen starr und wild
Soll mein Gebet zu dir hinwehen.
Wir schlafen sicher bis zum Morgen,
Ob Menschen noch so grausam sind.
O Jungfrau, sieh der Jungfrau Sorgen,
O Mutter, hör ein bittend Kind!
Ave Maria!
(Ave Maria! maiden mild!
Listen to a maiden's prayer!
Thou canst hear though from the wild,
Thou canst save amid despair.
Safe may we sleep beneath thy care,
Though banish'd, outcast and reviled -
Maiden! hear a maiden's prayer;
Mother, hear a suppliant child!
Ave Maria!)
Ave Maria! Unbefleckt!
Wenn wir auf diesen Fels hinsinken
Zum Schlaf, und uns dein Schutz bedeckt
Wird weich der harte Fels uns dünken.
Du lächelst, Rosendüfte wehen
In dieser dumpfen Felsenkluft,
O Mutter, höre Kindes Flehen,
O Jungfrau, eine Jungfrau ruft!
Ave Maria!
(Ave Maria! undefiled!
The flinty couch we now must share
Shall seem this down of eider piled,
If thy protection hover there.
The murky cavern's heavy air
Shall breathe of balm if thou hast smiled;
Then, Maiden! hear a maiden's prayer;
Mother, list a suppliant child!
Ave Maria!)
Ave Maria! Reine Magd!
Der Erde und der Luft Dämonen,
Von deines Auges Huld verjagt,
Sie können hier nicht bei uns wohnen,
Wir woll'n uns still dem Schicksal beugen,
Da uns dein heil'ger Trost anweht;
Der Jungfrau wolle hold dich neigen,
Dem Kind, das für den Vater fleht.
Ave Maria!
(Ave Maria! stainless styled!
Foul demons of the earth and air,
From this their wonted haunt exiled,
Shall flee before thy presence fair.
We bow us to our lot of care,
Beneath thy guidance reconciled;
Hear for a maid a maiden's prayer,
And for a father hear a child!
Ave Maria!)
http://www.origenmusic.com/ave-maria-lyrics.html - posted on 06/23/2008
Schubert was and remained a nonconformist. He was deeply religious – only such a man
Could have written the great Masses in A flat major and E flat major, the finest works of this kind since Beethoven, that were later followed by Bruckner’s D minor and F minor Masses – but he had no use for the hierarchy of the Roman Catholic Church. ‘Schubert,’
Wrote Anselm Huttenbrenner, ‘had a cevout nature and believed firmly in God and the immortality of the soul; his religion is clearly expressed in many of his songs.’
Schubert’s problem was to conceal his deep-set dislike of Austrian clericalism. He had frequent quarrels with his father, an orthodox believer. He sided with his oldest brother, Ignaz, a freethinker who referred to priests as the Bonzen, the big shots. During his first summer in Hungary Schubert had angry letters from Ignaz who complained about the ‘fat-headed Bonzen’, and that ‘the pupils no longer dare laugh when I tell them a funny story about superstitions in the Scripture calss’. In a postscript to his letter Ignaz warned his brother not to mention any religious matter in his replies to him or to their father. Schubert ignored the warning. ‘You, Ignaz,’ he wrote admiringly, ‘are still quite the old man of iron. Your implacable hatred of the whole tribe of Bonzen does you credit. You have no idea what a gang the priesthood is here…’
In the 1820s Catholic societies and religious orders, with the active support of Metternich’s reactionary government, made an effort to win back some of the influence they had lost during the enlightened regime of Emperor Joseph II. A generation before the Church had worried about the influence of the Feemason. (Mozart had joined this body of men.) But when Schubert grew up there were more effective outlets against clericalism: romantic poetry; love of Nature; Goethe’s pantheistic influence. Schubert even saw a Christmas tree in the house of his friend, Moritz von Schwind. Though Schwind had been educated by Benedictine teachers at the Schotten School in Vienna he was, and remained, a fierce anti-cleric. He quarreled with the orthodox beliefs of his fiancée and at one point told her to go and fall in love with the Pope. He wrote this in a letter to Bauernfeld, who liked the remark so well that he used it later in a comedy. Eventually the engagement was called off.
Schubert’s real feelings are apparent in his beautiful church music. ‘Schubert did omit the words Et unam Sanctam catholicam et apostolicam ecclesiam from his Masses but of course not the Credo proper,’ O.E. Deutsch comments. In their sctrictest meaning Schubert’s masses were not intended for liturgical use. But they are sung in many churches because of their sheer beauty.
In 1825 he wrote to his father that his new songs from Walter Scott’s Lady of the Lake had much success in Gmunden.
“They wondered greatly at my piety which I expressed in a hymn to the Holy Virgin and which, it appears, grips every soul and turns it to devotion. I think it is due to the fact that I have never forced devotion in myself and never compose hymn or prayers of that kind unless it overcomes me unawares. But then it is usually the right and true devotion.”
The Hymn ot the Holy Virgin, well known as Ave Maria.
- posted on 07/29/2008
上周才看到舒伯特的又一部Documentary,Klassix-13, Schubert
,两位英语人在舒伯特生死之地来回穿梭,以弄清舒伯特音乐创作的
灵感之源。
片中的主题音乐很绝望,很死亡,是“冬之旅”(Winterreise)最
后一首歌钢琴主题(动机),很难忘的。我把歌贴在这里:
24. Der Leiermann (The Organ Grinder)
Drüben Hinterm Dorfe Steht Ein Leiermann,
Und Mit Starren Fingern Dreht Er, Was Er Kann.
Barfuss Auf Dem Eise Wankt Er Hin Und Her,
Und Sein Kleiner Teller Bleibt Ihm Immer Leer.
Wunderlicher Alter, Soll Ich Mit Dir Gehen?
Willst Zu Meinen Liedern Deine Leier Drehen? (X 2)
Keiner Mag Ihn Hören, Keiner Sieht Ihn An,
Und Die Hunde Knurren Um Den Alten Mann.
Unde Er Lässt Es Gehen A Lles, Wie Es Will,
Dreht, Und Seine Leier Steht Ihm Nimmer Still.
Wunderlicher Alter, Soll Ich Mit Dir Gehen?
Willst Zu Meinen Liedern Deine Leier Drehen? (X 7)
At the end of the village he finds the old barefooted hurdy-gurdy man, winding away his tunes, but no-one has given him a penny, or listens, and even the dogs growl at him. But he just carries on playing, and the poet thinks he will cast in his lot with him. The parallel with the singer singing his sad songs in the ice and the slow, unresolved melody of the hurdy-gurdy concludes the cycle with an eerily unfinished feel perfectly in character with the lonely wandering of the singer.
天鹅之歌最后是Der Doppelgänger,引过的。
晚上听了别害怕就是喽:-) - posted on 06/10/2009
昨晚抽时间看了舒伯特的歌剧Fierrabras,中译“费拉布拉斯”,是
中世纪的传奇,查理曼,当然有罗兰的影子,但重角戏不是罗兰,我
个人不喜欢罗兰。费拉布拉斯倒是位摩尔人王子,最后效力查理曼。
有点后宫诱逃的和平慈悲,但是是中世纪骑士战争的背景。那骑士看
似凶蛮,背后还真讲些义气、爱与人格的尊严的。
舒伯特的音乐极好,但戏剧性不够,也许跟舒没经历太多大场面有关
,但舒的这部歌剧可以融汇他的音乐,对德语歌剧,以至对瓦格纳的
歌剧肯定是影响。剧中一直有个形象,很象舒伯特本人的。
这里是剧情简介:
Act 1
Emma, the daughter of King Karl (Charlemagne, from the German name for Charlemagne, Karl der Große), is in love with Eginhard. Their love must be kept secret since Karl does not approve. Karl's knights, led by Roland, have defeated the Moors and captured Fierrabras, the son of the Moorish prince Boland. Karl does not imprison Fierrabras. When they are brought to Karl's castle, Fierrabras spies Emma, and recognizes her as someone he fell in love with in Rome. Eginhard and Emma meet in the garden at night, but are interrupted by Fierrabras. The lovers plead with Fierrabras to protect Eginhard from Karl. Fierrabras agrees, and Eginhard makes his escape. The king approaches, and, thinking Fierrabras is trying to kidnap Emma, has him thrown in chains. As the act ends, Eginhard and the knights are preparing to leave.
Act 2
Eginhard (without clarify the matter concerning Emma and Fierrabras) has been sent to Boland with Roland and Karl's other knights for peace talks. The Moors surprise Eginhard, capture him, and bring him to the Moorish castle, where Boland and his daughter Florinda are concerned over Fierrabras' fate. Eginhard informs them of Fierrabras' imprisonment. The rest of Karl's knights arrive for the peace talks. Boland, upset over Fierrabras' imprisonment, takes them prisoner and condemns them to death. His daughter Florinda recognizes Roland (who she fell in love with while in Rome) among the knights, and decides to try to help them. She manages to free Eginhard, and, after a brief interlude with Roland, frees the knights from the castle prison. The knights, after battle in which Roland is captured, are returned to the prison, where Boland is upset over Florinda's behavior.
Act 3
Emma, who is waiting for Eginhard's return, confesses to her father that Fierrabras is innocent, and that she and Eginhard are in love. Karl frees Fierrabras, and they leave with Eginhard to go to the Moorish castle to free the imprisoned knights. The knights are being led to the execution pyre. Florinda pleads with Boland to spare Roland. In anger, Boland says that if she loves Roland, she can die with him. Karl, Eginhard, and Fierrabras arrive just in time to stop the executions, and convince Boland to release the knights. Karl and Boland make peace, allow Roland and Florinda to join, as well as Eginhard and Emma. Fierrabras joins Karl's knights.
我看的是Zurich Opera House版,一式两份DVD:
http://www.amazon.com/Schubert-Fierrabras-Jonas-Kaufmann/dp/B000UINP1S/ref=sr_1_1?ie=UTF8&s=dvd&qid=1244644150&sr=8-1
Schubert - Fierrabras ~ Jonas Kaufmann, Juliane Banse, Christoph
Strehl, and Laszlo Polgar (DVD - Nov 6, 2007)
市场上还有一部舒的歌剧Alfonso und Estrella,得找来看。
- posted on 06/13/2009
前回讨论舒伯特的形象,其实不用中国式的唯一作标准,我以为是很
上镜的。曾经看过一个大师系列的资料片,就有他舞蹈的角色,死神
与少女四重奏吧。这部歌剧中有全剧的舒伯特形象穿插,使得这部本
来估计不成功的歌剧无论舞台设计还是剧情设计都高妙无比。
今天下午与孩子再看一遍,一百七十七分钟啊,美妙的音乐,唱腔与
对白。查里曼,罗兰,Eginhard,Fierrabras,Emma,,我便抽出
书架上的罗兰之歌,又想起查里曼说的:
Ego sum Rex Romana et super gramaticam.
孩子不理解为什么在歌剧中舒伯特的形象与查理曼大帝比肩,还惧怕
穿盔甲的骑士,我说,
Nothing is real, and nothing is worry about。
然后解释音乐家在歌剧中的地位等同皇帝。比如,舒伯特把Emma判给
了Eginhard,Fierrabras不气死。当然Eginhard长得跟列侬一样酷:
Schubert: Fierrabras, Jonas Kaufmann
这Fierrabras不仅撕谱,还揍一顿舒伯特呢。看舒这形象多解救剧场!
这就是所谓现代主义的歌剧排演吧?再作一记。
- Re: Fierrabras(opera)posted on 06/15/2009
xw好笔记,以前没读到,看时间是去年六月回国其间的帖子。
舒伯特的主要问题,在于他是一个纯作曲,亦即用旋律来写诗的穷诗人,除去卖乐谱外再无其他收入。当时的同行基本需要做家庭教师、宫廷演奏、乐队指挥来维持生计,但舒伯特lack of instrumental virtuosity, 缺了拿手的硬本领,只凭一只鹅毛笔来发挥想象,所以一辈子穷得响叮当;)
- posted on 06/16/2009
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