Arnold Schoenberg 阿诺尔德·勋伯格
- 风格
- #现代古典
- 地区
- Austria 奥地利
艺人介绍
by Blue Gene Tyranny
Schoenberg, who taught Webern and Berg, is the well-known inventor of the 12-tone system (Josef Hauer independently invented one on separate principles about the same time). Schoenberg was, amazingly, a self-taught musician, whose Harmonienlehre (&Theory of Harmony&) is still studied for the breadth of its understanding of the deepest meaning of structure in music. For all its theoretical underpinning, Schoenberg's music is most often dramatic in a romantic way, at the same time leaping to the horizons of pitch in its melodies and, through fragmentation and &Klangfarbenmelodie& (sound-color-melody), creating an angular, &modern& sound in its rhythm and unique orchestration. Schoenberg's earlier and more romantic scores are Verklärte Nacht (&Transfigured Night&) for string sextet or orchestra; Pelleas und Melisande (no relation to Debussy's work); and Gurrelieder, which is Mahleresque in texture; all are conceived on a sweeping scale of interior emotion. The early Chamber Symphony combines this style with the angular style that would appear in Schoenberg's violin and piano concertos of the 30s. The first of Schoenberg's works in which tonality is completely absent is the song &Du lehnst wider eine Silberweide& (&You Lean against a White Willow&) from The Book of the Hanging Gardens (1907). Following this came the brilliant Five Pieces for Orchestra, op. 16 (1909), with its entirely new approach to orchestration (the suspended chords and color-melody of &Summer Morning by a Lake&); the Piano Music, opp. 11 & 19; and Pierrot Lunaire; all of which completely changed the sound of symphonic, chamber, and piano music. The later expressionistic pieces followed -- Variations for Orchestra, Quartets for Strings nos. 3-4, Von Heute auf Morgen (&From Today until Tomorrow&), and Die glückliche Hand (&The Fortunate Hand&). The culmination of these efforts was his masterpiece, the opera Moses und Aron, which shares with the early work Friede auf Erden (&Peace on Earth&) the idea of music being a vehicle for the expression of philosophy. His pleas for humanity during and following the horrors of WWII are contained in A Survivor from Warsaw and the Ode to Napoleon Bonaparte.
热门评论
- @阿特列斯：确实是所谓:"没有人能哼一段勋伯格."
- @Oscar：我发誓一定要哼一段勋伯格出来！
- @ ：练琴人的噩梦，你完全不知道自己弹对了没有
- @陈欣若：勋伯格的音乐“最好听”的是乐队编制极至庞大的古雷之歌，没有之一。之后的音乐需要比较专业的相关知识方可聆听，甚至有了相关知识也不见得能够消受得了。古典音乐史中能够自行突破传统创造新语言的作曲家凤毛翎角，所以不管受众如何，勋伯格都是非常了不起的大师。只是，过了一百年，能欣赏他的音乐的人仍然寥寥无几，有点悲剧。话说音乐摆脱了调性真的就越过人耳所能承受的极限了吗？
- @未来主义猫：理论著作 他的理论著作《和声学》（1911）、《音乐的思想与逻辑》 阿诺尔德·勋伯格相关书籍 阿诺尔德·勋伯格相关书籍 （1934—1936，未完成）、《音乐创作基础》（1948）、《配器学》（1949）和《和声的结构功能》（1937—1948）以及论文集《风格与思想》（1950）等也都具有很高的学术价值。
最新简评（共97条）
- @陀思妥耶夫(我还没想好要写什么...)：真的是随心所欲呢
- @大喵(不要自我设限.....)：⭐️⭐️⭐️
- @Aqutasy(收集灵魂的藏品)：我觉得很好听啊。
- @长青(榕树长青)：
- @Geworfenheit(购买诗集《落日飞奔术》电...)：大师
- @Arckys(None)：升华之夜，走向非知的夜，在回归自然的途中遇到神圣，在黑暗中遇到自己。这对于适应调性的耳朵来说当然是恐怖和焦虑的。
- @星星( 孤独的爵士钢琴手～)：居然忘记留言了，高中就听的
- @kvencelight：要配着康定斯基一起听
- @anavelun07：听上瘾了，一天不听难受。 听听别的就又点回来了…… 我是不是不正常了？
- @jiangjiang(这家伙很懒，没有签名)：