如何诠释与演奏巴赫器乐作品中的装饰音
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摘要
装饰音在巴洛克音乐的演奏中发挥着重要角色,巴洛克音乐中有许多惯用的装饰音种类及其演奏惯例,研究巴洛克音乐装饰音的重要历史文献,为我们认识这一时期,特别是巴赫器乐作品中的装饰音并恰当地在演奏旋律时添加及运用各种装饰音提供了有力的支持。用作案例的作品包括科雷利的小提琴奏鸣曲、巴赫的无伴奏小提琴奏鸣曲与组曲、《英国组曲》以及《戈德堡变奏曲》。
引文
(1)Christoph Wolff,ed.,The Bach Reader:A Life of Johann Sebastian Bach in Letters and Documents,New York and London:Norton,1998,pp.338-347.
(2)标记出来的小音符装饰音(通过在重音倚音的音符尾巴上打斜线来表示)可以在乐谱中找到,但这些符号并不一定是18世纪晚期的装饰音符号。
(3)Arnold Dolmetsch,The Interpretation of the Music of the Seventeenth and Eighteenth Centuries,London:Novello,1949(1969),p.153.
(4)Pier Francesco Tosi,“Opinioni de cantori antichi sopra il canto figurato”,from Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.521.
(5)Johann-Joachim Quantz,On Playing the Flute[Versuch],trans.E.R.Reilly,New York:Schirmer,1975/1752,chapter18,par.58.
(6)同注(4),p.521。
(7)同注(4),p.538。
(8)Christoph Wolff,ed.,The Bach Reader—A Life of Johann Sebastian Bach in Letters and Documents,New York and London:Norton,1998,pp.338-347.
(9)Johann-Joachim Quantz,“Versuch,”from Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.536.
(10)Robert Donington,Interpretation of Early Music,W.W.Norton&Company,1992,p.216.
(11)纽曼指出,德国演奏家一向理所当然地把主音上的颤音和它倒置的颤音连成一对,变成多重波音(multiple mordent)。这些装饰音,包括trill ascendens,mordent descendens都可以被统称为tremulus。它们都是在主音上开始和结束的。Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,pp.464-465。
(12)Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.538.
(2)标记出来的小音符装饰音(通过在重音倚音的音符尾巴上打斜线来表示)可以在乐谱中找到,但这些符号并不一定是18世纪晚期的装饰音符号。
(3)Arnold Dolmetsch,The Interpretation of the Music of the Seventeenth and Eighteenth Centuries,London:Novello,1949(1969),p.153.
(4)Pier Francesco Tosi,“Opinioni de cantori antichi sopra il canto figurato”,from Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.521.
(5)Johann-Joachim Quantz,On Playing the Flute[Versuch],trans.E.R.Reilly,New York:Schirmer,1975/1752,chapter18,par.58.
(6)同注(4),p.521。
(7)同注(4),p.538。
(8)Christoph Wolff,ed.,The Bach Reader—A Life of Johann Sebastian Bach in Letters and Documents,New York and London:Norton,1998,pp.338-347.
(9)Johann-Joachim Quantz,“Versuch,”from Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.536.
(10)Robert Donington,Interpretation of Early Music,W.W.Norton&Company,1992,p.216.
(11)纽曼指出,德国演奏家一向理所当然地把主音上的颤音和它倒置的颤音连成一对,变成多重波音(multiple mordent)。这些装饰音,包括trill ascendens,mordent descendens都可以被统称为tremulus。它们都是在主音上开始和结束的。Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,pp.464-465。
(12)Frederick Neumann,Performance Practices of the Seventeenth and Eighteenth Centuries,New York:Schirmer,1993,p.538.