大家好～我回来啦～上周答辩结束，之后应该就会恢复比较频繁的更新了～也在思考可不可以做一个mini-series~

今天分享一首Gulda的Prelude and Fugue～Prelude感觉是有点model from Bach的Prelude in C的～而Fugue真是太酷了，难度超高～分享他自己弹的版本～
#piano #jazz #fugue
https://www.youtube.com/watch?v=B5qImtIYCvM

来看肖赛直播

#chopin


https://youtu.be/YoQS1nPyAbs

好像说要回归分享但是最近还是没太分享哈哈哈～lose momentum之后再开启总是有些困难啊～

今天分享一首Max Bruch的Violin Concerto No.1 in G minor吧～估计大家都蛮熟悉的，是这位作曲家可能最出名的作品（？）以至于有一次又有人请他演出这首作品时，Bruch大怒道：
“The G-Minor Concerto again! I couldn’t bear to hear it even once more! My friends, play the Second Concerto, or the Scottish Fantasia for once!“

不过的确是很好听嘛🤣🤣🤣
#violinConcerto #bruch
https://www.youtube.com/watch?v=KDJ6Wbzgy3E

ref:
1. https://www.britannica.com/topic/Violin-Concerto-No-1-in-G-Minor-Op-26
2. https://www.laphil.com/musicdb/pieces/4499/violin-concerto-no-1-in-g-minor-op-26

分享Ching兄近日发现的一张收录Gulda和Gould作曲作品的一张专辑～
https://youtu.be/h51WMtM0E5c

分享Aaron Copland的Piano Variations，写于1930年。Bernstein很喜欢这首作品，而且用它来结束party🤣🤣🤣"empty the room, guaranteed, in two minutes"🤣🤣🤣
https://www.youtube.com/watch?v=i1-vIw_M-Qg

#copland
ref: https://en.wikipedia.org/wiki/Piano_Variations_(Copland)

昨天看《哈佛六讲》第一讲提到了估计大家都很熟的Mozart的Symphony in G minor～Bernstein说到了“the beauty of ambiguity”还挺有意思的：大概是说Mozart的作曲非常chromatic，但是在chromatic的时候往往还是由diatonic为基底，实现了一种平衡的ambiguity～另外发现这曲子后面的乐章个人都完全不熟lol分享一下讲座中的这版录音～

https://m.youtube.com/watch?v=p8bZ7vm4_6M

分享一个蛮有意思的视频，讲的是古典音乐界的“抄袭/借鉴”，里面有很多很有意思的例子！
https://www.youtube.com/watch?v=XepJPxPMdN4&list=WL&index=13&t=8s

才疏学浅的魔法师刚刚听Mahler Symphony No.1，嘿这不是两只老虎吗🐯🐯
#mahler
https://www.youtube.com/watch?v=RntbEwnb0mM

分享一首Vaughan Williams的Fantasia on a theme of Thomas Tallis～曲中Vaughan Williams化用16世纪英国文艺复兴时期作曲家Thomas Tallis的No.3 from Nine Tunes for Archbishop Parker’s Psalter, “Why fum’th in fight” (ref2). 这首作品的编制也很有趣，是double orchestra加一个string quartet～分享一个在Gloucester Cathedral的版本，这也是作品1910年首演的地方～

https://www.youtube.com/watch?v=ihx5LCF1yJY

ref:
1. https://en.wikipedia.org/wiki/Fantasia_on_a_Theme_by_Thomas_Tallis
2. https://www.kusc.org/culture/staff-blog/classical-california-ultimate-playlist/vaughan-williams-fantasia-on-a-theme-by-thomas-tallis/
3. https://www.wrti.org/post/story-behind-beloved-fantasia-theme-thomas-tallis
4. https://www.laphil.com/musicdb/pieces/1719/fantasia-on-a-theme-by-thomas-tallis

也是太不容易了

https://m.youtube.com/watch?v=2LNcyMGUY4o

刚刚看了个视频，讲的是Messiaen音乐中的色彩～Messiaen有连觉技能，听到音乐可以想到颜色，这在他的创作中发挥了很大作用，他也在他的书Traité de rythme, de couleurs, et d’ornithologie (vol. 7)中详细描述了各种音阶和和弦和颜色的对应关系。除了颜色之外他其实还可以想到一些材质，诸如水晶，立方体等等～挪威音乐家Håkon Austbø和Messiaen合作(ref 1)，对他的这种连觉进行了可视化，开发了一种可以触法可视化的midi键盘，可以在现场演奏中制造对应的画面～
#messiaen

https://www.youtube.com/watch?v=uFt2szkRiGI

ref:
1. Visualizing Visions

分享一个上面提到的可视化project的片段
https://player.vimeo.com/video/115276091

昨天Emerson String Quartet发布声明说他们2023年准备解散。分享他们的一张专辑, Bach的Art of Fugue～四重奏的rearrangement使声部格外清晰～
#bach #string
https://www.youtube.com/watch?v=3A8iR7cGHHQ&list=PLO6zBTEo45Qiwg_YBTj9PK4xnKxFmjheU

新闻：https://www.nytimes.com/2021/08/26/arts/music/emerson-string-quartet.html

分享一首Kabalevsky的preludes. Kabalevsky这套prelude 套曲跟chopin 啊， scriabin一样，也是二十四首，对应二十四个大小调。 历史上有很多音乐家都写过24个大小调的套曲。这里面有个有意思的点，就是同样是24个调，在套曲中的排列会不太一样。比如Bach 的 Well tempered clavier, 是按照“同名大小调”排列的，所以C major-后面接 c minor, 然后是C# major, C # minor. 不过历史中接着Bach这么干的是少数。多数作曲家是用“关系大小调”的顺序排列的, 比如Busoni, Chopin, Scriabin, Shostakovich, 还有我们一会要听的Kabalevsky 的prelude, 他们的排列都是，C major 后面接 a minor, 然后上升五度到G major -e minor。当然也有不按套路出牌的，比如Rachmaninoff。人家老人家的Prelude二十四首大概是抛着随机数写出来的。完全没有规律。 闲言少叙，我们听一下Horowitz的版本https://www.youtube.com/watch?v=qwDEsDp3qf8

今天开始开启一个Young People’s Concert分享计划～欢迎感兴趣的朋友一起观看交流指教🙏

第一期：What Does Music Mean?
概要
第一期伯恩斯坦介绍了音乐的意义。他先从“故事性”入手，通过给《堂吉诃德》和贝多芬的《田园交响曲》配以和作曲家本意不同的故事，说明音乐的意义并不是描述故事，对于有故事的作品，故事只是附加的。接下来他论述了音乐的“图画性”，举例为Picture at an Exhibition，图画性和故事性一样，也不是音乐意义之所在。最后谈到了音乐带来的情感，先从柴可夫斯基的第四和第五交响曲入手，展现音乐可以创造出的不同情感，后又用Webern的作品，说明音乐给人带来的情感因人而异，各有不同。最后的结论是，音乐是一种运动 (music is a movement)， 在这种运动中蕴含了音乐的意义，即带给人情感。最后他提出建议，我们在欣赏音乐时只需要放松，仔细聆听音符和感受音乐的流动即可，不需要关注所谓的“故事”或者“图画”。

喜欢的quote
1. there is no limit to the different kinds of feelings music can make you have. And some of those feelings are so special and so deep they can’t even be described in words… every once in a while we have feelings so deep and so special that we have no words for them and that’s where music is so marvelous; because music names them for us, only in notes instead of in words
2. the meaning of music is in the music, in its melodies, and in the rhythms, and the harmonies, and the way it’s orchestrated, and most important of all, in the way it develops itself.
3. sit back and relax, and enjoy it, listen to the notes, and feel them move around

提到的曲目 （感谢夏日小灰的b站评论😝）
1. William Tell Overture Rossini
2. Chopin - Nocturne Op. 15 No. 2 in F-Sharp Major
3. Beethoven - Piano Sonata No. 21 in C major, Op. 53 Waldstein, Opening
4. The Blue Danube
5. Tales from the Vienna Woods
6. Don Quixote Richard Staruss（大战羊群/骑木马）
7. 6th Symphony （Pastorale） Beethoven
1. 1st mvmt Awakening of cheerful feelings on arriving in the country
2. 2nd mvmt By the brook
8. Pictures at an exhibition Mussorgsky 图画展览会 穆索尔斯基（钢琴） 拉威尔（配器）
1. 第三幅画：《杜伊勒里宫的花园The Tuileries Gardens》。穆索尔斯基为此曲加的副标题是孩子们游戏后的争吵。
2. 第五幅画：《鸟雏的舞蹈Ballet of the Chickens in their Shells》
3. 第十幅画：《基辅大门The Great Gate of Kiev》
9. Fourth Symphony Tchaikovsky
10. Fifth Symphony (beginning and end contrast) Tchaikovsky
11. Six Pieces - Webern
12. Schuman/Rozsa - Dragnet Theme
13. La Valse Ravel 拉威尔 圆舞曲


https://www.bilibili.com/video/BV1tJ411r7gh?spm_id_from=333.999.0.0

#YPC

第二期：What is American Music?
概要
这期为大家梳理了美国音乐的历史和特点。美国作为一个年轻的移民国家，和拥有悠久历史的欧洲，阿拉伯等其他地区拥有延续了很久的nationalistic music不同。伯恩斯坦将美国音乐的发展历史大致分为以下几个阶段：1）幼儿园阶段，模仿欧洲古典音乐传统；2）文法学校阶段，以化用（或“杜撰”）原住民和非裔民间音乐为特色，该风潮由捷克作曲家德沃夏克引发，但由于美国的移民和原住民、非裔其实并不分享相同的文化根基，这股风潮还是显得很刻意；3）高中阶段，开始引入爵士元素，不过此时还是比较“机械、刻意”地引入；4）大学阶段，爵士元素已被吸收，成为一种习惯。在这个主线之外，伯恩斯坦还提到了美国音乐的一些其他特质，包括了年轻，乐观，粗犷，孤独，如赞美诗般的简单，如某些流行乐般的满怀柔情的等等，在这一大堆的“报菜名”后得出结论：美国音乐是极其多元的，这也与它大熔炉般的人口构成有关。节目最后请来了Copland亲自指挥他的Symphony No.3，该作品包含了爵士，赞美诗，乐观等等众多美国元素。

喜欢的quote
Because you can't just decide to be American; you can't just sit down and say, "I'm going to write American music, if it kills me." You can't be nationalistic on purpose.

There are as many sides to American music as there are to the American people—our great, varied, many-sided democracy. Maybe that's the main quality of all — our many-sidedness.

曲目
1. Gershwin: An American in Paris
2. Chopin: Mazurka No.5 in B Flat, Op.7 No.1
3. Tarantella from Italy
4. Ireland: Washerwoman
5. Ravel: Spanish Rhapsody
6. Brahms: Hungarian No.5
7. Tchaikovsky: Symphony No.4 (fourth movement "The noscript birch tree")
8. George Chadwick Melpomene
9. Dvorak: Symphony No.9
10. Edward MacDowell: Indian Suite
11. Henry F. Gilbert: Dance in Place Congo
12. Aaron Copland: Music for The Theater
13. Gershwin: Rhapsody in blue
14. Roger Sessions: Chorale Prelude
15. Beethoven:Symphony No.3
16. Morton Gould: Interplay
17. William Schuman: American Festival Overture
18. Roy Harris: Symphony No.3
19. Copland: Billy the Kid
20. Virgil Thomson: The Mother of us all
21. Randall Thompson: Symphony No.2
22. Aaron Copland Symphony No.3

https://www.bilibili.com/video/BV1Ht411E7rB

#YPC

第三期：What is Orchestration?

概要
这期关于管弦乐配器可真是太精彩了！Bernstein对于配器的精妙比喻是，配器就如给音符穿上衣服，好的配器不只是为了保暖的穿衣，而是穿对了衣服；而不好配器就像“穿着毛衣去游泳”一样😄这期里最棒的就是各种demonstration了。首先Bernstein拿Rimsky-Korsakov的Capriccio Espagnol的开头部分为例，具体剖析了作曲家是如何把他的四个idea分配在不同的乐器上的。他还提供了一些“错误配器案例”，比如用小号演奏德彪西Prelude a l'apres midi d'un faun开头的flute部分，用viola演奏Rhapsody in Blue前奏的单簧管部分，用铜管们演奏巴赫的Brandenberg Concerto等等，非常直观。接下来，Bernstein介绍了两类配器方式，一类是family way，主要是针对一个家族内的乐器，并顺带具体介绍了各个家族（木管，弦乐，铜管，打击乐）的乐器；另一类是social way，就是把各个家族融合起来。他再一次提供了很多案例，从乐器的选择（他不断强调选择乐器本身，即使是为一个旋律选择，也是一种配器），到乐器本身如何使用（这里使用了小提琴做例子，诸如弓的使用，在哪根弦上演奏等等），到两个乐器，四个乐器，五个乐器……直到整个管弦乐团——以一场精妙Ravel Bolero解说作为结尾（虽然好像演出本身略微有一点……😅）。看这期的时候整个就是🤩表情，内容太丰富了，展现也是非常生动，强烈推荐～

喜欢的quote
After all, notes can't wander around naked - they have to dress up in orchestration. But good orchestration means not only clothes that you put the music into, the way you wear a dress or a suit to keep yourself warm. It's got to be the right orchestration for that particular piece of music, like wearing the right suit or the right dress. Bad orchestration would be something like putting on a sweater to go swimming. It's just ridiculous. It's wrong.

An important part of a composer's job is to choose his instruments and to choose them right, because it is those instruments which have to carry his music to your ears.

曲目
1. Rimsky-Korsakov: Capriccio espagnol
2. Debussy: prelude a l'apres midi d'un faun
3. Gershwin Rhapsody in Blue
4. Bach: Brandenburg Concerto #3
5. Peter and the Wolf
6. Hindemith: kleine Kammermusik
7. Mozart: serenade for 13 instruments
8. Stravinsky: symphony for wind instruments
9. Ward America the Beautiful
10. Beethoven quartet: opus 131
11. Schubert: quintet in C, opus 163
12. Vaughan Williams: Fantasia on a Theme of Tallis
13. William Schumman: symphony for strings
14. Gabrieli: Sonata per oct toni
15. Saul Goodman - canon for percussion
16. Schubert: arpeggione sonata
17. Ravel: Introduction and Allegro
18. Stravinsky: L'histoire du soldat
19. Ravel: Bolero

https://www.bilibili.com/video/BV1b4411k7Tw

#YPC

第四期：What makes music symphonic?
概要
这场的问题是“什么让音乐具有交响性？”(What makes music symphonic?)，答案简单的说就是发展(development)。音乐的发展一词对于各位来说想必不陌生，不过个人还是非常喜欢伯恩斯坦的比喻：音乐的发展就和生命的发展一样，如种子发芽开花结果，或是从婴儿长大成人。伯恩斯坦把development分为了三个阶段，先是birth of idea，再是growth，最后是change。虽然不是每首音乐都是具有交响性的 (symphonic)，但是每首音乐都有着development，而最简单的方式就是重复 (repetition)，在很多流行音乐中很常见（这里他给了一个特别损的例子，如果把音乐的development比作说服别人的话，很多流行音乐就是通过一直的重复自己的观点把人说服😅，而复杂的音乐会提供各个方面的论据😂）。Development越精妙，重复和模仿越少，音乐便越具有交响性。接下来伯恩斯坦利用非常多的例子介绍了development常见的方式，包括了变奏（variation），模进（sequences，把旋律在不同的音高重复），模仿（Imitation，也就是卡农和赋格的基础）, 增值（Augmentation，把音符的时值拉长）等等。和上一级一样，伯恩斯坦不仅讲解的非常清晰，各种比喻特别贴切，乐团的demonstration是极大的亮点。这一期的最后详细地分析了勃拉姆斯Symphony No. 2开篇部分的各种development，带我们感受乐句间在紧密联系的同时又幻化出新的风景，着实惊艳。

喜欢的quote
Development is really the main thing in life, just as it is in music; because development means change, growing, blossoming out; and these things are life itself.

Great pieces of music have a lifetime of their own from the beginning to the end of any piece; and in that period all the themes and melodies and musical ideas the composer had, no matter how small they are, grow and develop into full-grown works, just as babies grow into big, grown-up people.

The trick is not just to use all these different ways of developing music, but to use them when it's right to use them, at the moment so that the music always makes sense as musical expression, as feeling, as emotion.

That you'll be able to hear the symphonic wonders of it, the growth of it, the miracle of life that runs like blood through its veins and connects every note to every other note, and makes it the great piece of music that it is.

曲目
1. Mozart Jupiter Symphony
2. Beethoven Symphony No.5
3. Sibelius Symphony No.5
4. Tchaikovsky Symphony No.4
5. 布基上校进行曲
6. Beethoven Symphony No.3 Eroica, last movement, theme and variations
7. Tchaikovsky Romeo and Juliet
8. Gershiwin Rhapsody in Blue
9. Brahms Symphony No.2

https://www.bilibili.com/video/BV1Gt411g7Yv

#YPC

第五期：What is Classical Music?
概要
这期的题目有点大，不过最后的答案可能略微有些“投机取巧”（？）首先伯恩斯坦说到，Classical Music这个词通常被用来形容非爵士、流行、民间音乐，而人们使用这个词可能只是因为没有找到更好的别的词来形容（后面他讨论了诸如serious, high-bow, art, symphony, long-hair等选词可能性）。不过抛开选词本身，最重要的还是区分各种音乐的区别。伯恩斯坦认为Classical Music的最大特点是“作曲家意志为大“：作曲家写下音符，什么乐器演奏，怎么演奏等等，而演奏者的任务就是精确还原作曲家的意志。不过和演奏者个性不同，对作曲家意志的理解可能有所不同，也就产生了不同演奏版本的不同，不过他们精确还原作曲家想要的音乐的目的是相同的，而这和流行音乐等音乐不同。接下来，伯恩斯坦又讨论了狭义的Classical Music，即在Classical Period(1700-1800左右)时期的音乐。这个时期的音乐最大特点是有很多的rules和regulation，以求完美（这点上和classcial的建筑、绘画等艺术是一样的）。伯恩斯坦回溯了这段时间的音乐史：前五十年主要是确定发展这些规则的阶段（以Bach为代表），后五十年以莫扎特、海顿为代表，他们认为Bach的很多东西太古板了，于是追求一种稍简单的规则系统，以创造很优雅愉快的音乐作品。虽然风格差距很大，但是他们还是以规则为基础，追求“古典美”。狭义的Classical Music以贝多芬为结束，作为一个承上启下者，伯恩斯坦形容他为"a classicist who went too far"。

片中还有几个讨论个人觉得也很有意思。第一个是狭义Classical Music受到诸多规则的制约，有人可能会问，那情感表达在哪里？伯恩斯坦回答虽然有这些规则的制约，激发人的情感还是这段时期的音乐最重要的部分，也是它们（可能也是所有好音乐）得以流传的原因。第二个是伯恩斯坦用海顿的Symphony No. 102简要的介绍了音乐中的幽默。不过《年轻人的音乐会》系列下一期就是专门讲音乐幽默的，现在就不赘述啦～

喜欢的Quote
People use this word to describe music that isn't jazz or popular songs or folk music, just because there isn't any other word that seems to describe it better.

The real difference is that when a composer writes a piece of what's usually called classical music, he puts down the exact notes that he wants, the exact instruments or voices that he wants to play or sing those notes -even the exact number of instruments or voices; and he also writes down as many directions as he can think of, to tell the players or singers as carefully as he can everything they need to know about how fast or slow it should go, how loud or soft it should be, and millions of other things to help the performers to give an exact performance of those notes he thought up.

Do composers just go to a convention, like the Republicans in Chicago, and decide by voting to change the style of music? Well, not at all; it happens by itself; because as times change, and history changes, people change with it; and composers are people too; so it stands to reason that their music is also going to change.

Because the truth is that any great composer, writing music in any period, classical or not classical, will make you feel deep emotions, because he's great - because he has something to say, because he has something to tell you in his music. And because of this, a great composer's music will always last and last, maybe forever, because people keep on feeling emotions whenever they hear it.

曲目
1. Handel - Water Music
2. Beethoven - Symphony No.5
3. McHugh & Fields - I Can't Give You Anything but Love, Baby
4. Rimsky-Korsakov - Scheherezade
5. Mozart - Piano Concerto No.21 in C major
6. Bach - Brandenberg Concerto No.4 in G Major
7. Mozart - Overture to The Marriage of Figaro
8. Haydn - Symphony in B flat, No.102
9. Chopin - Fantasy in F minor
10. Schumann - Symphony No.2
11. Beethoven - Egmont Overture

https://www.bilibili.com/video/BV1JE411V7KA

#YPC

第六期：Humor in Music
概要
这一期承接上期海顿的Symphony No.104介绍的是音乐中的幽默。首先伯恩斯坦说到音乐中的幽默是基于音乐本身的，它可以表现关于自己的笑话，或是别的音乐作品的笑话，但是不能表现日常生活中语言类的或其他的笑话（对于其他的笑话，伯恩斯坦认为他们不是musical joke）。伯恩斯坦提到幽默的一个重要特质是“不协调的”(incongruous)，从而创造一种surprise，使人发笑，在音乐中常有的形式是使用错误的音符或节奏，或者把大家耳熟能详的快乐的曲调变得悲伤等等。接下来，伯恩斯坦谈论了不同“等级“的幽默，包括了imitation（比如Rameau模仿母鸡的作品），wit（Haydn的Symphony No.88），satire（不是只是为了逗趣的幽默，而是有自己想表达的东西，举例了Prokofiev的Classical Symphony）等。最后，伯恩斯坦提到了幽默最重要的特质：幽默是以摧毁什么东西为代价的，可以是一个人（比如看到人因为香蕉皮滑倒而发笑），可以是一个词，一个观念，或者是逻辑本身，在音乐中也是一样，错音或者错误的节奏打破了音乐写作的规则（即音乐的逻辑），而像Prokofiev的Classical Symphony那样的作品挑战了传统的音乐。

喜欢的Quote
Here we come to the central point of all humor: that all jokes have to be at the expense of something or someone; something has to be hurt or even destroyed to make you laugh — a man's dignity, or an idea, or a word, or logic itself.

The only thing that makes it a scherzo is that it is the third movement, it is playful, full of energy, it's — as all scherzos should be — full of good humor. Which only goes to prove that there are all kinds of humor in the world, as well as in music; and that all humor doesn't have to be a joke, or make you laugh.

曲目
1. Walter Piston - The Incredible Flutist
2. Paul White - Mosquito Dance
3. Gershwin - An American in Paris
4. Kodaly - Hary Janos Suite
5. Rameau - Le Poulet
6. Gilbert & Sullivan - Pirates of Penzance
7. Haydn - Symphony No. 88
8. Prokofiev - Classical Symphony
9. Mahler - Symphony No.1
10. Gilbert & Sullivan - Mikado Recitative to "Oh Living I"
11. Richard Strauss - Der Rosenkavlier (Parody of Tristan)
12. Wagner - Tristan and Isolde
13. Mozart - Musical Joke
14. Shostakovich - Polka from "The Golden Age"
15. Aaron Copland - Music for the Theater, Burlesque
16. Dukas - The Sorcerer's Apprentice
17. Brahms - Symphony No.4 in F minor Scherzo

https://www.bilibili.com/video/BV17J411Q7wP

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