20、21世纪中巴洛克音乐的表演风格——以J.S.巴赫的录音为依据
|
摘要
18世纪早期欧洲音乐,特别是在J.S.巴赫的作品中的表演风格惯例当中,涵盖的范畴包括音乐美学、乐器特性、乐团配置和表演风格特征,例如速度、音色、节奏、分句等方面。如何在复古风格的基础上阅读以及诠释乐谱以及乐谱中记号的含义,是理解巴洛克音乐表演风格的关键所在。
This paper provides an overview of the specific performing conventions that were typical during the early eighteenth century at European courts and musical establishments. From broader issues like musical aesthetics and the characteristics of instruments to the nature and size of ensembles,the paper proceeds to discuss specific performance features including tempo choices,tone production,and the role of rhythm,articulation and phrasing in creating compelling and stylish performances. The issue of how to read and interpret scores according to period conventions is discussed.
This paper provides an overview of the specific performing conventions that were typical during the early eighteenth century at European courts and musical establishments. From broader issues like musical aesthetics and the characteristics of instruments to the nature and size of ensembles,the paper proceeds to discuss specific performance features including tempo choices,tone production,and the role of rhythm,articulation and phrasing in creating compelling and stylish performances. The issue of how to read and interpret scores according to period conventions is discussed.
引文
(1)相关文献请参阅:Colin Lawson and Robin Stowell,Historical Performance:An Introduction,Cambridge:Cambridge University Press,1999;Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993;George Houle,Meter and Music,1600-1800,Bloomington:Indiana University Press,1987;John Butt,Bach Interpretation:Articulation Marks in Primary Sources,Cambridge:Cambridge University Press,1990;Bruce Haynes,The End of Early Music,New York:Oxford University Press,2007,等等。
(2)其中最著名的是Arnold Dolmetsch,The Interpretation of the Music of the 17th&18th Centuries,London:Novello,1949/1915[1969年重新出版];Robert Donington,The Interpretation of Early Music,London:Faber,1963(第二版:1965年;重新出版:1974年,重新出版包含更正:1975年,1977年,重新出版:1989年,1990年);Putnam Aldrich,Ornamentation in Bach's Organ Works,New York:Coleman-Ross,1950;Frederick Neumann,Ornamentation in Baroque and Post-Baroque Music,Princeton:Princeton University Press,1978。
(3)例如Frederick Neumann,Essays in Performance Practice,Ann Arbor,Mich:UMI Research Press,1982。这是他自20世纪60年代中期以来首次发表的论文集。该主题的最后一个概述之一出自Stephen Hefling,Rhythmic Alteration in Seventeenth-and Eighteenth-Century Music,New York:Schirmer,1993。
(4)例如,琉特琴演奏家保拉(Paula Chateauneuf)的文献或一些部门保存的文献(Division Lobby),还有克里斯托夫(Christopher Suckling)关于数字低音大提琴声部的装饰音的博士论文(Guildhall and City University,London)。
(5)F.Geminiani,The Art of Playing on the Violin,London,1751,1952再版,p.1。
(6)Colin Lawson and Robin Stowell,Historical Performance:An Introduction,Cambridge:Cambridge University Press,1999,p.32.
(7)J.J.Quantz,Versucheiner Anweisung die Fl9te traversiere zu spielen,Berlin,1752,3/1789/1952再版,英译版London,1966,p.119(引自Lawson and Stowell,p.32)。
(8)转引自G.Houle:Meter in Music 1600-1800:Performance,Perception,and Notation,Bloomington,1986,p.49。
(9)S.Hefling,Rhythmic Alteration in Seventeenth-and Eighteenth-Century Music,New York,1993.
(10)D.Fabian and E.Schuber,t“A new perspective on the performance of dotted rhythms,”Early Music,38:585-588.
(11)校译者注:louré一词参见《外国音乐表演用语词典》,北京:人民音乐出版社,2012,第183页,“portato”(2):“在弦乐演奏中称波弓。弦乐器弓法之一,当一弓奏出数音时在每一音的末尾略为放松运弓的压力,使各个音之间被不甚明显的停顿分开。”
(12)最初发表于D.Fabian,Bach Performance Practice 1945-1975:Comprehensive Review of Sound Recordings and Literature,Aldershot,2003,pp.198-199。
(13)J.Lester,Bach's Works for Solo Violin:Style,Structure,Performance,New York,1999.
(14)转引自Donington,The Interpretation of Early Music,London,1989,p.472。
(15)Colin Lawson and Robin Stowell,Historical Performance:An Introduction,Cambridge:Cambridge University Press,1999,p.32.
(16)D.Fabian,Bach Perfomance Practice 1945-1975:A Comprehensive Review of Sound Recordings and Literature,Aldershot,2003.
(17)R.Kirkpatrick(ed.),Preface,Bach:Goldberg Variations,New York,1938,p.xxii.
(2)其中最著名的是Arnold Dolmetsch,The Interpretation of the Music of the 17th&18th Centuries,London:Novello,1949/1915[1969年重新出版];Robert Donington,The Interpretation of Early Music,London:Faber,1963(第二版:1965年;重新出版:1974年,重新出版包含更正:1975年,1977年,重新出版:1989年,1990年);Putnam Aldrich,Ornamentation in Bach's Organ Works,New York:Coleman-Ross,1950;Frederick Neumann,Ornamentation in Baroque and Post-Baroque Music,Princeton:Princeton University Press,1978。
(3)例如Frederick Neumann,Essays in Performance Practice,Ann Arbor,Mich:UMI Research Press,1982。这是他自20世纪60年代中期以来首次发表的论文集。该主题的最后一个概述之一出自Stephen Hefling,Rhythmic Alteration in Seventeenth-and Eighteenth-Century Music,New York:Schirmer,1993。
(4)例如,琉特琴演奏家保拉(Paula Chateauneuf)的文献或一些部门保存的文献(Division Lobby),还有克里斯托夫(Christopher Suckling)关于数字低音大提琴声部的装饰音的博士论文(Guildhall and City University,London)。
(5)F.Geminiani,The Art of Playing on the Violin,London,1751,1952再版,p.1。
(6)Colin Lawson and Robin Stowell,Historical Performance:An Introduction,Cambridge:Cambridge University Press,1999,p.32.
(7)J.J.Quantz,Versucheiner Anweisung die Fl9te traversiere zu spielen,Berlin,1752,3/1789/1952再版,英译版London,1966,p.119(引自Lawson and Stowell,p.32)。
(8)转引自G.Houle:Meter in Music 1600-1800:Performance,Perception,and Notation,Bloomington,1986,p.49。
(9)S.Hefling,Rhythmic Alteration in Seventeenth-and Eighteenth-Century Music,New York,1993.
(10)D.Fabian and E.Schuber,t“A new perspective on the performance of dotted rhythms,”Early Music,38:585-588.
(11)校译者注:louré一词参见《外国音乐表演用语词典》,北京:人民音乐出版社,2012,第183页,“portato”(2):“在弦乐演奏中称波弓。弦乐器弓法之一,当一弓奏出数音时在每一音的末尾略为放松运弓的压力,使各个音之间被不甚明显的停顿分开。”
(12)最初发表于D.Fabian,Bach Performance Practice 1945-1975:Comprehensive Review of Sound Recordings and Literature,Aldershot,2003,pp.198-199。
(13)J.Lester,Bach's Works for Solo Violin:Style,Structure,Performance,New York,1999.
(14)转引自Donington,The Interpretation of Early Music,London,1989,p.472。
(15)Colin Lawson and Robin Stowell,Historical Performance:An Introduction,Cambridge:Cambridge University Press,1999,p.32.
(16)D.Fabian,Bach Perfomance Practice 1945-1975:A Comprehensive Review of Sound Recordings and Literature,Aldershot,2003.
(17)R.Kirkpatrick(ed.),Preface,Bach:Goldberg Variations,New York,1938,p.xxii.