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艺术家：赫伯特·舒赫
作品名称：《对贝多芬的思考》
发行年份：2020年
厂牌：CAvi-music唱片公司
音乐类型：古典音乐
音质：FLAC（分轨）/ 24比特-96千赫兹 FLAC（分轨+小册子）
总时长：01:21:07
总大小：196兆字节 / 1.21吉字节
网站：专辑预览
曲目列表
01. C小调第八钢琴奏鸣曲，作品13号“悲怆”：第一乐章. 庄板. 很快的快板且充满活力（9分13秒）
02. C小调第八钢琴奏鸣曲，作品13号“悲怆”：第二乐章. 如歌的柔板（5分23秒）
03. C小调第八钢琴奏鸣曲，作品13号“悲怆”：第三乐章. 回旋曲. 快板（5分20秒）
04. 《悲怆变奏曲》，为钢琴而作（4分13秒）
05. 《回声中的骰子掷点》，为钢琴而作（3分07秒）
06. G大调第十六钢琴奏鸣曲，作品31号之1：第一乐章. 活泼的快板（6分58秒）
07. G大调第十六钢琴奏鸣曲，作品31号之1：第二乐章. 优雅的柔板（11分37秒）
08. G大调第十六钢琴奏鸣曲，作品31号之1：第三乐章. 回旋曲. 小快板（6分55秒）
09. D小调第十七钢琴奏鸣曲，作品31号之2“暴风雨”：第一乐章. 广板. 快板（9分34秒）
10. D小调第十七钢琴奏鸣曲，作品31号之2“暴风雨”：第二乐章. 柔板（9分30秒）
11. D小调第十七钢琴奏鸣曲，作品31号之2“暴风雨”：第三乐章. 小快板（7分06秒）
12. D小调奏鸣曲（第二版）（2分20秒）
舒赫先生，您在2020年庆祝贝多芬诞辰周年，同时又超越了他的音乐遗产。这位作曲家对您来说意味着什么？
贝多芬被归入过许多不同的类别。有时他被视为伟大的巨人，有时又被看作理想主义者；后来的一些解读偶尔试图让他的音乐“淡化情感”。他只是拥有一种令人难以置信的能力，能展现出多种特质，但他的音乐从来都不是冷漠无情的。贝多芬的音乐甚至可能听起来情感过于充沛，然后又展现出一种冷幽默！我认为他处于音乐历史的一个十字路口，在那个时期他偶尔仍被允许创作直白、简单的音乐，而我觉得这非常感人。
您在演奏三首贝多芬奏鸣曲之前，都先演奏了一首20世纪末或21世纪初的钢琴作品。这种演奏方式背后的理念是什么？
我一直在寻找跨越几个世纪的音乐联系。作曲家们有意或无意地相互关联着。例如，无意识的关联：
亨利·普瑟在创作时根本没有想到贝多芬的G大调奏鸣曲。我13岁的时候，在欧洲青年音乐比赛中演奏了普瑟的作品，那是一首规定曲目，我还因此获得了一个特别奖。这是我演奏曲目中的第一首真正的“现代”作品，它要求的一些技巧我当时完全没有准备好。比如说，在乐曲开头，双手同时有六种不同的力度层次相互重叠。我觉得这些挑战很令人兴奋：经历了这样的体验后，就当代音乐而言，我算是“尝到了甜头”。
在这首作品的中间部分，有一段基于既定音乐素材的即兴演奏：我把我的版本写了下来，现在也按照这样录制了。
在乐曲一开始，双手之间有一个十六分音符的错位，这种错位一直持续到各乐段再次汇合。这总是让我想起贝多芬G大调奏鸣曲的第一乐章。贝多芬肯定是最早发现这种小的节奏位移能够产生一种参差不齐但向前推进的能量的人之一，而且他以一种冷静、不带感情的方式呈现了这种能量……
Artist: Herbert Schuch
Title: Reflecting Beethoven
Year Of Release: 2020
Label: CAvi-music
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 01:21:07
Total Size: 196 MB / 1.21 GB
WebSite: Album Preview
Tracklist:
01. Piano Sonata No. 8 in C Minor, Op. 13 "Pathétique": I. Grave. Allegro di molto e con brio (9:13)
02. Piano Sonata No. 8 in C Minor, Op. 13 "Pathétique": II. Adagio cantabile (5:23)
03. Piano Sonata No. 8 in C Minor, Op. 13 "Pathétique": III. Rondo. Allegro (5:20)
04. Pathétique variations, for piano (4:13)
05. Coups de Des en Echos, pour piano (3:07)
06. Piano Sonata No. 16 in G Major, Op. 31 No. 1: I. Allegro vivace (6:58)
07. Piano Sonata No. 16 in G Major, Op. 31 No. 1: II. Adagio grazioso (11:37)
08. Piano Sonata No. 16 in G Major, Op. 31 No. 1: III. Rondo. Allegretto (6:55)
09. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "Tempest": I. Largo. Allegro (9:34)
10. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "Tempest": II. Adagio (9:30)
11. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "Tempest": III. Allegretto (7:06)
12. Sonata in D Minor (2nd version) (2:20)
Mr Schuch, you are celebrating Beethoven’s anniversary year in 2020 and, at the same time, going beyond his legacy. What does this composer mean to you?
Beethoven has been pressed into many categories. At times he was seen as the great Titan, at others as an idealist; later approaches occasionally attempted to “de-emotionalize” his music. He simply had an incredible ability to be many things, but his music was never dispassionate. Beethoven could even sound overemotional, and then display dry wit! I see him at a crossroads in music history where he was occasionally still allowed to write plain, simple music, and I find that thoroughly moving.
You introduce each of the three Beethoven sonatas with a piano piece from the late 20th or early 21st century. What is the idea behind this approach?
I’m always searching for connections across the centuries. Composers relate to one another, consciously or unconsciously. For instance, unconsciously:
Henri Pousseur wasn’t thinking at all about Beethoven’s G Major Sonata. When I was thirteen years old, I performed the Pousseur piece at the European Youth Music Competition: it was a compulsory piece, and I won a special prize. It was the first truly “modern” piece in my repertoire, and required things I wasn’t prepared for at all. At the beginning, for example, six different dynamic shadings are overlapping simultaneously in both hands. I found those challenges exciting: after having gone through such an experience, I had “tasted blood” as far as contemporary music was concerned.
In the middle of the piece, there is an improvisation on predetermined musical material: I wrote my version down, and have recorded it that way now.
At the onset, the piece features a displacement of one semiquaver between the two hands, which is maintained until the phases come together again. This always reminded me of the first movement of Beethoven’s G Major Sonata. Beethoven was surely one of the first to discover how such small shifts can generate a kind of jagged, forward-moving energy, and he presents it in a dry, unemotional manner……
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发表于 2025-5-10 07:58:43