摘要
《如歌的行板》选自于彼得·伊里奇·柴可夫斯基于1871年创作的《D大调弦乐四重奏》,乐曲的素材来自于一首名为《凡尼亚坐在沙发上》的小亚细亚民谣。全曲由两个主题交替反复而成,其曲式结构的三部性使乐曲平缓到激昂,再到犹豫彷徨的情感淋漓尽致地表现出来,加上提琴宽广的音域以及提琴因不同形制而产生的色彩效果的差异,弦乐四重奏的编配更使得这首乐曲具有强大的情感表现力。
引文
[1]Alexandra Orlova.Tchaikovsky:a self-portrait quotes this as originating from“Diaries,211”[M].Oxford University Press,1990.
[2]魏扬.金湘创作中的“纯五度复合和声体系”探究[J].音乐研究,2013(3):68.
[3]魏扬.武满彻《诗篇幻想曲》和声排列的三维构架[J].音乐研究,2012(2):99.
[4]魏扬.鲁托斯拉夫斯基《第四交响曲》双主题群交替衍展的“透视性”结构[J].南京艺术学院学报,2013(2):31.
[5][美]塞缪尔·阿德勒.配器法教程·上册(第三版)[M].金平等译.北京:中央音乐学院出版社,2010:14-41.
[6]于润洋.西方音乐通史[M].上海:上海音乐出版社,2013:304.
[7]伏云.《如歌的行板》与俄罗斯人民的灵魂深处[J].人民音乐,1983(9):54.
(1)Catherine Steinegger,Notes to Recording of Keller Quartet(Erato,2292-45965-2)states:‘Based on a folksong which the composer had heard at Kamenka,while he was staying with his sister’;AndréLischke,notes to Recording of Quatuor du Moscou(CDM,RUS 288 101)states:“…Russian folk tune that Tchaikovsky had noted down in 1869,well before the composition of the Quartet”.
(2)Galina von Meck(with notes by Percy M Young)An Autobiography of Piotr Ilyich Tchaikovsky Letters to his Family also mentions this in the footnote to Letter 131(Alexandra Davydova,Moscow,1876)Stein&Day 1973/1981/1982.