张爱玲在《倾城之恋》中写道：“香港的陷落成全了她。但是在这不可理喻的世界里，谁知道什么是因，什么是果？谁知道呢，也许就因为要成全她，一个大都市倾覆了。成千上万的人死去，成千上万的人痛苦着，跟着是惊天动地的大改革……”我们渺小的凡人，在时代变革的大背景上，都只是影影绰绰的蚂蚁。我们或者努力让自己活得情感粗糙些，甚至残忍些，努力亦步亦趋地跟上时代的发展、变革，当一个踌躇满志者、志得意满者；或者无法改变自己情感的细腻、敏感、多愁善感，时不时徘徊于各种“tobe or not to be” 的两难困境中，在nostalgia（我想，精神方面的怀旧、思乡病，并非对应着某个具体地方，而是对应着自己的精神家园）情怀中不时沉溺、沉沦，磕磕绊绊地不时跌落于时代的接缝里，有着灵魂无所归依的边缘化感觉，悲凉地不时体会、品味人生永恒的空虚、无常、孤寂本质，再也无法真正陶醉于、满足于琐碎的日常生活那点点滴滴的快乐，再也无法真正在功名利禄中昏睡、麻醉，于是成为一个漂泊无依的精神流浪者，或曰人生失意者（哪怕表面上很成功，风光无比）。除此之外，我们似乎别无选择。我们也的确别无选择，如果我们天性善良、良知未泯的话。唉，“前不见古人后不见来者”的感叹，岂独属陈子昂乎？在任何时代，一切重视心灵空间超过物质空间的人，都是“不得不爱”者（不爱点什么，就无所寄托，就会生不如死），都是走着荆棘路的朝圣者，都是孤寂无边的自我放逐者。
《死神与少女》有四个乐章：
There are four movements: （四个乐章）
1. Allegro, in D minor （1. 快板，D小调）
2. Andante con moto, in G minor （2. 流畅的行板，G小调）
3. Scherzo: Allegro molto, in D minor （3. 谐谑曲，很快的快板，D小调）
4. Presto, in D minor （4. 急板，D小调）
Schubert - String Quartet No. 14 in D minor, 'Death and the Maiden'
Second movement: Andante con moto：
第二乐章：流畅的行板
The second movement is a theme and five variations, based on the theme from the Schubert Lied（钢琴伴奏的德国独唱歌曲）. The theme is like a death march in G minor, ending on a G major chord. Throughout the movement, Schubert does not deviate from the basic harmonic and sentence structure of the 24-measure theme. But each variation expresses a profoundly different emotion.
（The theme of the 2nd movement: Start from the beginning） Heavy Heavy feeling: serious, solemn and meditative love
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In the first variation, a lilting（轻快的）violin descant（多声部音乐中的上方声部，乐曲的高音部）floats above the theme, played in pulsing triplets in the second violin and viola that recall the triplets of the first movement.
( first variation：Start from 02:15 ) Soaring Flying heart, flying upwards, finite infinity
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In the second variation, the cello carries the theme, with the first violin playing the pulsating （有节奏地跳动）role – this time in sixteenth notes.
( Second variation：Start from 04:15 ) affectionate Deep and lingering love and attachment……
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After two relaxed variations, the third variation returns to the SturmundDrang （德国的狂飙突进运动）character of the overall piece: a galloping（飞驰的） fortissimo（强音） figure breaks off suddenly into piano（轻奏乐段）; the violin plays a variant of the theme in a high register（表达，感情流露）, while the inner voices continue the gallop（疾驰，飞奔）.
( Third variation : Start from 06:30 ) passionate Various passions of impacting and advancing
The fourth variation is again lyrical, with the viola carrying the melody under a long violin line in triplets. This is the only variation in a major key– G major.
（Fourth variation: Start from 08:22） attached Attachment of Innumerable twists and turns
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In the fifth variation, the second violin takes up the theme, while the first violin plays a sixteenth-note arpeggiated motif (琶音的主题), with the cello playing the triplets in the bass. The variation grows from pianissimo（极弱音） to fortissimo（最强音）, then again fades and slows in pace, finally returning to a restatement of the theme – this time in G major.
( Fifth variation : Start from 11:05 ) mixed feelings Mixed feelings of various emotions, dreamy and sighing
Phil Rey - Dance With Death（Phil Rey的专辑《Age Of The Fallen》上次我在论坛发过了，在轻博客我连着发了其中三首曲，上次我在论坛发过其中一首A Bridge To Cross下面的文字，这次补上另外两首以及文字）：
Dance with death：
2020.2.8 21:56
Dance with death.
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Raised from the ashes：
2020.2.8 22:16
Raised from the ashes.
“Dance with death”，有宏大的群体力量感。而这首，则是个体力量感的演绎。他（她）从一次次的疼痛破碎、烈火焚心中，挣扎着站起来的努力、不屈、拼搏……所谓“一次次死去活来”，所谓“浴火重生”，所谓“凤凰涅槃”，可能就是这样吧——Raised from the ashes. 女声部分，有种来自上苍的悲悯感……这时我心里回响的依然是泰戈尔那句诗—— I trust thy love.
Camerata Salzburg - Serenade No. 13 in G Major, K. 525 ＂Eine kleine Nachtmusik＂： I. Allegro
Camerata Salzburg - Serenade No. 13 in G Major, K. 525 ＂Eine kleine Nachtmusik＂： II. Romanze
Camerata Salzburg - Serenade No. 13 in G Major, K. 525 ＂Eine kleine Nachtmusik＂： III. Menuetto
Camerata Salzburg - Serenade No. 13 in G Major, K. 525 ＂Eine kleine Nachtmusik＂： IV. Rondo. Allegro
G大调弦乐小夜曲是奥地利作曲家莫扎特于1787 年8月24日在维也纳完成，并以最时髦的德文用语Eine Kleine Nachtmusik（一首小夜曲）命名。该曲是十八世纪中叶器乐小夜曲的典范。该曲最早为弦乐合奏，后被改编为弦乐五重奏和弦乐四重奏，尤以弦乐四重奏最为流行，是莫扎特所作十多首组曲型小夜曲中最受欢迎的一首。
Sigiswald Kuijken,La Petite Bande - Violin Concerto No.1 in A minor, BWV1041： I. Allegro
Sigiswald Kuijken,La Petite Bande - Violin Concerto No.1 in A minor, BWV1041： II. Andante
Sigiswald Kuijken,La Petite Bande - Violin Concerto No.1 in A minor, BWV1041： III. Allegro assai
2019.8.6 10:20
Johann SebastianBach: Violin Concerto in A minor, BWV 1041 -1. Allegro 巴赫A小调小提琴协奏曲第一乐章，快板
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Bach: Violin Concerto in A minor, BWV 1041
Overview
The Violin Concerto in A minor, BWV 1041,was composed by Johann Sebastian Bach. While it is "generally thought tohave been composed at Köthen in 1717–23".
Introduction
The ViolinConcerto in A minor, BWV 1041,was composed by Johann Sebastian Bach. While it is "generally thought tohave been composed at Köthen in 1717–23", Christoph Wolff has argued that the work mayhave been written in Leipzig during Bach's time as director of the CollegiumMusicum; John Butt also believes that Bach wrote it "probably soon aftertaking over the Leipzig Collegium Musicum in 1729". In any event, the onlyautographsource to survive are parts Bach copied out (along with othercopyists) in Leipzig circa 1730 from a now lost score or draft.
Structure andAnalysis
The piece has three movements:
1. Allegro Moderato, in A minor, 2/4 meter;
The opening movement is in ritornelloform. This means that there is a main section that comes back in fragments inboth the solo violin and orchestral parts. This 'ritornello' can be found inthe first movement up until bar 24. The motifs of the theme appear in changingcombinations and are separated and intensified throughout the movement.
2. Andante, in C major, 4/4 meter;
In the Andante second movement, Bachuses an insistent pattern in the ostinato bass part that is repeated constantlyin the movement. He focuses the variation in the harmonic relations. Butt notesthat "Bach seems to have associated "the ostinato scheme"particularly with violin concertos.".
3. Allegro assai, in A minor 9/8 meter.
In the final movement Bach relies onbariolage figures to generate striking acoustic effects. The meter and rhythmare those of a gigue. Butt describes it as "perhaps Bach's most animatedand carefree movement in the minor mode.".
巴赫——把痛苦升华
周惠娟
很多人谈论巴赫（Johann Sebastian Bach）必然想到他的音乐结构，巴赫的音乐织体和对位有精密的数学比例，对配器的发挥，亦是给演奏者加深难度。
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楼主
发表于 2020-9-1 11:10:53
