莫扎特歌剧《费加罗的婚礼》中凯鲁比诺咏叹调的创作特征及演唱风格研究
摘要
沃尔夫冈·阿玛德乌斯·莫扎特(Wolfgang Amadeus Mozart,1756～1791),一名音乐伟人,一位旷世奇才,他的名字大家耳熟能详,他的作品人们有口皆碑。他的创作几乎涉及所有音乐体裁,而他每一种体裁的作品都被认为是时代影响力的典范,特别是他呕心创作的22部歌剧作品,提炼了德奥的歌剧精华,添置了高超的歌剧技巧,安排了妥帖的歌剧布局,呼出了时代变革的歌剧精神,将他的艺术事业推向了顶峰。如果说音乐的执着开拓了他勇攀高峰的视野,那么挑战的精神则成就了他永垂不朽的乐绩,他为后人树立了歌剧创作的楷模,同时也吸引着人们沿着他的艺术人生道路去探究歌剧艺术的奥秘。
Wolfgang Amadeus Mozart is well-known all over the world as one of the music genius, whose works are widely transmitted. All music types can be seen in his creations, every of which is considered as the model of music having great influence on the development of opera. Mozart had composed 22 opera works with his utmost effort embodying the elite of German and Austria Opera, containing perfect opera techniques with proper arrangement, exerting opera spirit of reform era, which represents the top of his career. His persistence for music creates his perspective of music pursuit and his challenge spirit makes him achieved immortal works. Mozart, as the model of opera creation, inspires other artists to explore the opera art following his art steps.
Wolfgang Amadeus Mozart is well-known all over the world as one of the music genius, whose works are widely transmitted. All music types can be seen in his creations, every of which is considered as the model of music having great influence on the development of opera. Mozart had composed 22 opera works with his utmost effort embodying the elite of German and Austria Opera, containing perfect opera techniques with proper arrangement, exerting opera spirit of reform era, which represents the top of his career. His persistence for music creates his perspective of music pursuit and his challenge spirit makes him achieved immortal works. Mozart, as the model of opera creation, inspires other artists to explore the opera art following his art steps.
引文
[1]麦克尔·肯尼迪,乔伊斯·布尔恩.牛津简明音乐辞典[M].北京:人民音乐出版社,2002.788.
[3][4][5]韩鸿鹰.莫扎特[M].北京:东方出版社,1997.3-53.
[6]刘小枫.论莫扎特[M].上海:华东师范大学出版社,2006.77.
[7][11][15]张洪岛.欧洲音乐史[M].北京:人民音乐出版社,2003.129-138.
[8]瓦格纳.瓦格纳论音乐[M].廖辅叔,译.上海:上海音乐出版社,2002.108.
[9]罗曼·罗兰.音乐散文集[M].冷杉,代红,译.北京:中国文联出版公司,1999.2.
[10]唐纳德·杰·格劳特,克劳德·柏利斯卡.西方音乐史[M].北京:人民音乐出版社,1996.1.
[12][17]尚家骧.欧洲音乐发展史[M].上海:华东音乐出版社,2003.114.115.
[13]赵鑫珊,周玉明.莫扎特之魂[M].上海:上海音乐出版社,1996.88.
[2][14]马克思,恩格斯.马克思恩格斯全集第5卷[M].北京:人民出版社,2001.307-433.
[16]王次火召.古典音乐大师莫扎特[M].北京:人民音乐出版社,1998.33.
[18]秦子超,白楠.莫扎特[M].北京:新世界出版社,1998.20.
[19]周枫,朱小强.外国歌剧曲选集[M].上海:上海音乐出版社,2004.81-421.
[20]王沛伦.歌剧辞典[M].北京:国际文化出版公司,1999.1-856.
[21]钱苑,林华.歌剧概论[M].上海:上海音乐出版社,2003 .297-298.
[22]D·J·Grout.A History of Western Music[Z].New York,1988.326-368.
[23]J·Kerman.Opera as Drama [Z].London,1980.58-169.
[24]朱振山.外国歌剧曲选[M].北京:人民音乐出版社,1997.15-112.
[25]莫扎特.外国歌剧—费加罗的婚姻[M].北京:人民音乐出版社,1995.1-42.
[26]钱仁康.歌剧“费加罗的结婚”选曲[M].上海:上海音乐出版社,1957.5-75.
[27]吴祖强.曲式与作品分析[M].北京:人民音乐出版社,1981.216.
[28]杨燕迪.莫扎特歌剧重唱中音乐与动作的关系[J].音乐艺术,1992(二):4-8.
[29]蒋一民.音乐美学[M].北京:人民出版社,1991.20-98.
[30]唯民.莫扎特论[J].音乐研究,1991(三):2-10.
[31]Nobert Elias.Mozart,Zur Soziologie eines Genies [M]. Frakfurt am Main,1993.27.
[32]Jacques Chailley.Musique et esoterisme[M].Paris,1968.76.
[33]Maynard Solomon.Mozart.Alife[M].New York,1955.85.
[34]Dorothea Leonhart.Mozart.Eine Biographie[M].Zurich,1994.243.
[35]GeorgKnepler.Wolfgang.AmadeMozart.Annaherungen[M].Berlin,1991.276-281.
[36]Ulrich Konrad.Mozarts Schaffenscoeise[M].Gottingen,1992.69.
[37]Alfred Einstein.Mozart Sein Charaktersein Werk[M].Frankfurt am Main,1968.251.
[38]范晓峰.声乐美学导论[M].上海音乐出版社,2004.85-130.
[39]余笃刚.声乐艺术美学[M].人民音乐出版社,2005.58-80.
[40]贝贝特音乐馆.你不能不知道的100部歌剧[M].广西师范大学出版社,2004.9-14.
[41]林伯杰.一夜变成歌剧通[M].人民音乐出版社,2001.48-51.
[42]张旋.歌剧名作解说[M].人民音乐出版社,1992.57-68.
[43]陈复君,张旋.世界著名歌剧故事集[M].北京出版社,1988.158.
[44]居其宏.歌剧美学论纲[M].安徽文艺出版社,2002.67-70.
[45]刘庆.音乐戏剧艺术—歌剧[M].敦煌艺术出版社,2000.87-90.
[3][4][5]韩鸿鹰.莫扎特[M].北京:东方出版社,1997.3-53.
[6]刘小枫.论莫扎特[M].上海:华东师范大学出版社,2006.77.
[7][11][15]张洪岛.欧洲音乐史[M].北京:人民音乐出版社,2003.129-138.
[8]瓦格纳.瓦格纳论音乐[M].廖辅叔,译.上海:上海音乐出版社,2002.108.
[9]罗曼·罗兰.音乐散文集[M].冷杉,代红,译.北京:中国文联出版公司,1999.2.
[10]唐纳德·杰·格劳特,克劳德·柏利斯卡.西方音乐史[M].北京:人民音乐出版社,1996.1.
[12][17]尚家骧.欧洲音乐发展史[M].上海:华东音乐出版社,2003.114.115.
[13]赵鑫珊,周玉明.莫扎特之魂[M].上海:上海音乐出版社,1996.88.
[2][14]马克思,恩格斯.马克思恩格斯全集第5卷[M].北京:人民出版社,2001.307-433.
[16]王次火召.古典音乐大师莫扎特[M].北京:人民音乐出版社,1998.33.
[18]秦子超,白楠.莫扎特[M].北京:新世界出版社,1998.20.
[19]周枫,朱小强.外国歌剧曲选集[M].上海:上海音乐出版社,2004.81-421.
[20]王沛伦.歌剧辞典[M].北京:国际文化出版公司,1999.1-856.
[21]钱苑,林华.歌剧概论[M].上海:上海音乐出版社,2003 .297-298.
[22]D·J·Grout.A History of Western Music[Z].New York,1988.326-368.
[23]J·Kerman.Opera as Drama [Z].London,1980.58-169.
[24]朱振山.外国歌剧曲选[M].北京:人民音乐出版社,1997.15-112.
[25]莫扎特.外国歌剧—费加罗的婚姻[M].北京:人民音乐出版社,1995.1-42.
[26]钱仁康.歌剧“费加罗的结婚”选曲[M].上海:上海音乐出版社,1957.5-75.
[27]吴祖强.曲式与作品分析[M].北京:人民音乐出版社,1981.216.
[28]杨燕迪.莫扎特歌剧重唱中音乐与动作的关系[J].音乐艺术,1992(二):4-8.
[29]蒋一民.音乐美学[M].北京:人民出版社,1991.20-98.
[30]唯民.莫扎特论[J].音乐研究,1991(三):2-10.
[31]Nobert Elias.Mozart,Zur Soziologie eines Genies [M]. Frakfurt am Main,1993.27.
[32]Jacques Chailley.Musique et esoterisme[M].Paris,1968.76.
[33]Maynard Solomon.Mozart.Alife[M].New York,1955.85.
[34]Dorothea Leonhart.Mozart.Eine Biographie[M].Zurich,1994.243.
[35]GeorgKnepler.Wolfgang.AmadeMozart.Annaherungen[M].Berlin,1991.276-281.
[36]Ulrich Konrad.Mozarts Schaffenscoeise[M].Gottingen,1992.69.
[37]Alfred Einstein.Mozart Sein Charaktersein Werk[M].Frankfurt am Main,1968.251.
[38]范晓峰.声乐美学导论[M].上海音乐出版社,2004.85-130.
[39]余笃刚.声乐艺术美学[M].人民音乐出版社,2005.58-80.
[40]贝贝特音乐馆.你不能不知道的100部歌剧[M].广西师范大学出版社,2004.9-14.
[41]林伯杰.一夜变成歌剧通[M].人民音乐出版社,2001.48-51.
[42]张旋.歌剧名作解说[M].人民音乐出版社,1992.57-68.
[43]陈复君,张旋.世界著名歌剧故事集[M].北京出版社,1988.158.
[44]居其宏.歌剧美学论纲[M].安徽文艺出版社,2002.67-70.
[45]刘庆.音乐戏剧艺术—歌剧[M].敦煌艺术出版社,2000.87-90.