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

#YPC

第七期: What is a Concerto?

概要
音乐中有很多术语很容易让人望而却步，这期伯恩斯坦通过乐团示范集中火力来介绍Concerto这个概念。首先他追溯了一下词源，Concerto这个词在意大利语的本意就是concert的意思，而concert的本意是“togetherness”，在音乐中也就是乐手们一起演奏歌唱的意思。最初，音乐中的术语的使用是比较随意的，不过随着历史的发展，他们的使用越来越严格。伯恩斯坦的总结是，Sonata是任意乐器的独奏曲目，Symphony是整个交响乐团的Sonata，而Concerto是有独奏（可以是一个人，或者一群人）的symphony。接下来，伯恩斯坦用很多曲目带我们回顾了Concerto发展的历史。首先是巴洛克和早期古典主义时期的Concerto Grosso，这个曲式一般有一个大的乐团，加上一个小的soloist乐团，称为concertino。大小乐团轮流交替演奏，从而创造出变化和对比，而且也给了小的soloist乐团展现自己技术的机会。随着音乐的发展，整体趋势是大乐团的规模越来越大，然而soloist group越来越小：从Vivaldi的一首concerto grosso的soloist乐团有12个人，到Bach的勃兰登堡3个人的soloist group，到Mozart的2个人的soloist group，最终演变为我们熟悉的只有1个soloist。不过只有1个soloist的concerto有一种风险，就是可能过分夸大了soloist的炫技部分。到了20世纪，新古典主义的音乐家们再次挖掘出concerto grosso的概念，发明了concerto for orchestra，也就是乐团中每一个部分都可能是soloist，这期最后演奏了Bartok的Concerto Orchestra作为结尾。

喜欢的Quote
Whenever people come to the end of anything, they always start asking themselves big questions, like "What are we really here for? What are we trying to accomplish? Are we really accomplishing it?"--questions like that. Well, my big question is: have we been helping you to come closer to good music? Are you beginning to understand a little more about it, and learning not to be scared of it? Most of my young friends that I talk to say yes; that they are feeling closer to music--sort of friendly to it; they have begun to feel that music isn't such a hard, strange business, after all, too grownup or complicated or sissy-ish or whatever.

There are some musical words which can't be explained in a second; it takes time to learn about them; and what's more, it takes listening to the actual music they describe before you really know what they mean.

曲目
1. Vivaldi - Concerto in C Major, RV 558
2. Bach - Brandenburg Concerto No.5
3. Mozart - Sinfonia Concertante K364
4. Mendelssohn - Violin Concerto in E minor
5. Bartok - Concerto for Orchestra

https://www.bilibili.com/video/BV1fE411R7yn

#YPC

第八期：Who is Gustav Mahler

概要
这期伯恩斯坦做了一个马勒的导览。这期视频的年份1960年正好是马勒诞辰100周年，而且50年前他开始自己在纽约爱乐乐团的指挥生涯。在那期视频播出的时候，马勒应该还没有今天他在古典音乐届的地位，而且他的地位和伯恩斯坦的极力推广有很大的联系（如有不对欢迎纠正）。从伯恩斯坦的讲解中感觉可能是同为指挥加作曲家，伯恩斯坦对于马勒可能有一种特殊的惺惺相惜的感觉🤔讲座重的关键词是double man（“双面人”）。伯恩斯坦谈论了马勒的各种矛盾：指挥vs作曲家，极致的快乐vs极致的痛苦，成人的复杂vs孩童的天真，西方vs东方，传统vs现代，伯恩斯坦认为这些矛盾正是他独创性的来源。另外伯恩斯坦还提到了他作曲中的两个矛盾，一是他非常喜欢人声，交响乐歌剧化，但是没有写过歌剧；二是传统印象中他的交响乐规模都很大，但其实也有一些很像室内乐的部分，但他没有写过室内乐（看弹幕提到其实在学生时代有写，有可能是视频当时还没有被发现之类）。这期还是蛮精彩的，尤其对我这个迄今还没有连上马勒wifi的人有激发兴趣的作用～

喜欢的Quote
I am very proud to stand here on the same stage, with the same great orchestra, because Mahler was one of the greatest conductors that ever lived.

But it means something else too: It is like Mahler's own personal farewell to the old romantic kind of German music, as if he knows it's all over, and now he must begin a new kind of music, which he begins right then and there. And it comes out sounding very original. But at the same time he doesn't want to say goodbye to the old music; he loves all that Wagner and Schubert so much. So he says goodbye sadly, unwillingly, so that at the end of the piece, when the singer says the German word ewig, meaning forever, she sings it again over and over as if not wishing to let go of this beauty.

曲目
1. Mahler - Symphony No.4
2. Mahler - The Song of the Earth
3. Mahler - Symphony No.2

https://www.bilibili.com/video/BV1Ut411P72G

#YPC

今天是Glenn Gould和Shostakovich的生日～分享Glenn Gould当年做的一期电视节目: Music in the U.S.S.R，里面简要介绍了俄国音乐的发展历史和Shostakovich的音乐～节目介绍之后Glenn Gould演奏了Shostakovich的Piano Quintet，可惜目前只找到了一、二、五三个乐章🥲

https://www.youtube.com/watch?v=p0UfdmJuky0

Piano Quintet
I. Lento: https://www.youtube.com/watch?v=4gJxOQn5w94
II. Fuga. Adagio: https://www.youtube.com/watch?v=1k6a1S8FXOs
V. Finale. Allegreto: https://www.youtube.com/watch?v=TfGVJcHErn4

#gould #Shostakovich #bday

第十期：Unusual Instruments of the Past, Present, and Future

概要
这一期介绍一些很有意思的乐器～开篇先分析了一首巴西作曲家Villa-Lobos的Little Train,里面包含了一些巴西特色的打击乐，不过主体还是我们常见的交响乐团里的乐器，说明了usual的乐器也可以产生unusual的声音。接着伯恩斯坦说usual是相对的：我们现在认为usual的乐器在古时候并不是usual的乐器。节目里介绍了很多古乐器，包括了Shawm（oboe的祖先），cornetto（trumpet的祖先）, sackbuts（trombone的祖先），巴赫时代的小提琴，长笛和viola da gamba，而且很有意思的是采用了古今乐器轮换演奏的模式，更直观的感受他们声音上的区别。这里伯恩斯坦说到聆听到过去的声音是直观的感受历史的最佳方式非常认同！接着（也是整个讲座中我个人感觉瞬间deep了的地方😂），伯恩斯坦说现在真正新的乐器是electrical ones，比如我们比较熟知的Theremin（特雷门琴），还有Ondes Martenot等等，但是这中间最重要的其实是tape-recorder～录音带来了成千上万种不同的声音（比如Respighi的Pines of Rome中的鸟鸣声被认为是录音第一次在古典音乐中的使用），还有纯粹的电子的声音，并且人们还可以对声音进行各种处理（比如Glenn Gould对于录音的热情钻研和他的作品《声响学配器》）。我们也知道，录音本身也极大的改变了古典音乐本身，因为现场聆听音乐不再是唯一的方式。节目中还演奏了一首Concerto for Tape-Recorder and Orchestra，很有意思～最后伯恩斯坦话锋一转，说起了kazoo😂并演奏了一首卡祖笛的concerto让我们一睹它的风采🤣🤣🤣（特别魔性，看完很想下单一只lol

喜欢的Quote
Hearing those instruments makes you feel as if you were really living hundreds of years ago.

It gives us such a clear, idea of the difference between olden times and our own times, just by hearing the sounds that were made then and now. That's really the best and most exciting way to know history: not just by studying about dates and battles and who was king of what in which century, but by coming close to the art of history - by looking at the pictures people painted in any certain period of history, or reading the poems they wrote, and hearing the music they heard. Then we can almost put ourselves in their place, and pretend we're living in those long-ago days; then we can really understand history - which is not just a dull subject in school, but an exciting way of knowing about what happened in our world before we were living in it.

I remember that when I was a small kid I had no interest in how the world was before I was in it, and I think that's true of most kids. But suddenly there comes a moment - maybe when you're 11 or 14 or 17 when you suddenly realize that there had been a big and interesting world going on for thousands of years before you were in it from the minute you realize this, and begin to want to know what this world was like, from that minute on, you're on your way to becoming a thinking person, a really educated person.

曲目
1. Villa-Lobos: The Little Train
2. De La Torre - Alta
3. Gabrieli: Canzone for Eight Instruments
4. Bach: Brandenburg Concerto No.4
5. Luening-Ussachevsky - Concerto for Tape-Recorder and Orchestra
6. Bucci - Concerto for a Singing Instrument

https://www.bilibili.com/video/BV1CT4y177rf

#YPC

第十二期：Overtures and Preludes

概要
这一期也是比较轻松愉快的，讲的是Overtures和Preludes～伯恩斯坦提到小时候他刚接触古典音乐的时候最爱听的就是各种overtures，的确overtures和prelude篇幅较短（其中提到prelude篇幅一般更短，而且和overtures不同的是一般只有一个部分而且速度变化不多），又在很短的时间里有很大的情绪起伏，”麻雀虽小，五脏俱全“，而且形式多种多样，又激动人心。尤其对于小孩子来说，听一个四个乐章的交响曲估计很难有耐性，大概overtures更符合attention span～这期视频以让大家听音乐感受为主，演了Rossini的Overture to "Semiramide"，Beethoven的Third Leonore Overture，Debussy的Prelude to the Afternoon of a Faun和Bernstein自己的Overture to Candide，分别是一首意大利的，一首德国的，一首法国的，一首美国的，同时也是两首歌剧的overture（其中Beethoven的Third Leonore Overture有时作为Fidelio最后一幕的prelude），一首concert program的prelude和一首音乐剧的overture～

喜欢的Quote
I'm sure that part of the excitement about an overture comes from the fact that it is part of the theatre — it combines the wonders of music with the thrill of the theatre.

Great artists are that way, they're very hard to satisfy, especially by their own work; and Beethoven was one of the greatest, and therefore one of the hardest to satisfy, and the one who most of all kept changing and improving all the time, all through his life to make his music better.

曲目
1. Rossini - Overture to "Semiramide"
2. Beethoven - Third Leonore Overture
3. Debussy - Prelude to the Afternoon of a Faun
4. Bernstein - Overture to Candide

https://www.bilibili.com/video/BV1gK4y1D7Wd

#YPC

第十三期：Copland's Birthday Party

概要
今天又是一期愉快的“报菜名”节目——Aaron Copland的六十岁生日派对～伯恩斯坦把Copland的音乐形容成花园，花园里有各种各样的花，有很清新坦诚的作品(An Outdoor Overture), 有很教条式的作品(Statement)， 有包含爵士元素的，描绘美国大城市的作品(Music For the Theatre），有描绘美国乡村恬静生活的作品(Music For Movies, "Our Town"），有民间音乐的改编(I Bought Me a Cat, The Boatman's dance)，有西部风格的作品(Billy the Kid）。这种多样的风格正好迎合了第二期What is American Music中提到的多样性～节目中有一个印象深刻的片段是伯恩斯坦拆解Copland的Statement中一个很现代的一个乐句，通过调整他们的音高，配上传统的和声，之前感觉很扎耳的现代音乐立刻回归传统色彩，个人觉得是一个给现代音乐祛魅的很好的demonstration～节目最后Copland亲自上场指挥了自己的El Salon Mexico，老爷子玩得好开心好有感染力～

喜欢的Quote
Today, we're going to have a 60th birthday party for another composer, our own loved and admired Aaron Copland, and this time we're going to meet him in person later in the program. When you do meet him, I think the first thing about him that will strike you is his youthfulness — not only the youthfulness of his face, but also of his smile, of his conducting vigor, of his almost boyish personality, and especially of his spirit.

After all, don't forget that this is modern music, music of our time; and we are living in some pretty rocky times. Besides, music changes and grows all through history, like all ideas; and what used to be considered right and normal is very different from what's right and normal these days.

曲目
1. Copland - An Outdoor Overture
2. Copland - Statement
3. Copland - Music For the Theatre, "Dance"
4. Copland - Music For Movies, "Our Town"
5. Copland - Rodeo, Hoe-Down
6. Copland - The Boatman's Dance
7. Copland - I Bought Me a Cat
8. Copland - El Salon Mexico

https://www.bilibili.com/video/BV1uU4y187Ds

#YPC

疫情后第一次去了BSO（9.30才终于开门了！）今天是免费的非常欢脱的community concert～开场演了一首贝多芬的The Consecration of the House Overture，program note上说这是BSO历史上演的第一首曲子（1881年）～这也是疫情期间BSO的线上平台BSO now每个视频的片头曲目～再次听到live有点感动～～～

https://m.youtube.com/watch?v=HhzOmL8EX0E

#BSO #beethoven

最近生活发生了新变化，又疏于更新了😳今天继续YPC的分享～

第十五期：Folk Music in the Concert Hall

概要
这一期讲民间音乐的很有意思～首先伯恩斯坦说了Folk Music和语言的关系，他认为各民族语言的特点（尤其是诗歌）都反映在当地的Folk Music中，他列举了很多例子，比如匈牙利语每个单词的重音都在第一个音节，而他们的音乐也有这样的特点；法国的音乐没有强烈的重音，所以他们的音乐听起来比较smooth；西班牙语以辅音的声音为主，他们的音乐听起来就很清脆，富有节奏性等等。另外伯恩斯坦论述了Folk Music给concert music带来的影响，一种是按照民间音乐的特点写作出的“类民间音乐”（举例了Mozart Symphony in E-flat的一个选段），使用了民间音乐节奏和音符的西班牙作曲家Chavez的Sinfonia India，还有采风真的民间音乐的进行新的arrangement的法国作曲家Canteloube的几首歌曲，最后以汇集了上述所有方法写作而成的Charles Ives的Second Symphony作为收尾～Folk Music虽然比起这些交响乐室内乐来说是比较原始的，但这些复杂恢弘的作品无疑是从这些原始、简单的音乐中生发而来～

喜欢的Quote
But most important of all, folk-songs reflect the rhythms and accents and speeds of the way a people talk, a particular people talks: in other words, their language — especially the language of their poetry — sort of grows into musical sounds.

And so here is the whole Minuet now, real high-brow concert-music by Mozart, which could never have been written if the simple Austrian folk music hadn't come first.

曲目
1. Mozart - Minuet in Symphony in E-flat
2. Bartok - Music for Strings, and Percussion and Celeste
3. Ravel - Daphnis and Chloe
4. Carlos Chavez - Sinfonia India (rhythm)
5. Canteloube - Chansons d'Auvergne L'antoueno
6. Canteloube - Chansons d'Auvergne Lo fiolaire
7. Canteloube - Chansons d'Auvergne Malurous qu'o uno fenno
8. Charles Ives - Second Symphony

https://www.bilibili.com/video/BV1ay4y1z7Wu

#YPC

第十六期：What is Impressionism

概要
这期介绍的是印象派音乐。开篇伯恩斯坦说，印象派的关键在于suggestion，并给出这个特别形象的比喻：如果贝多芬第五交响曲的theme就如爸爸命令孩子去睡觉的话，印象派就如爸爸通过描述温暖的被窝，甜蜜的梦乡suggest该睡觉了🥱印象派的音乐和印象派的绘画密不可分，于是伯恩斯坦接下来展示了莫奈的印象派画作和现实照片的区别。音乐和绘画相比是更为抽象的，不过音乐内部也有相对的“现实”——即“清晰”的和声和旋律，和相对的“印象”。接下来伯恩斯坦简要地介绍了印象派音乐家通过什么来创造这样的“印象”，包括了whole tone scale，新的和声，bitonality，和遥远地方的联系的等等。整期节目以德彪西的La Mer作为例子，并且包含很详细的对音乐的分析。这期的最后还提了一嘴Ravel，并用他的Daphne and Chloe选段作为结尾。

喜欢的Quote
And as you know, the power of suggestion is often much stronger than a straight order. That's because it's deeper, it's more subtle; those hints can creep into a deeper part of your mind than a simple command can.

Or music can have a straight-forward clear theme like, let's take this one of Beethoven, which you all know (Fifth Symphony theme) That's clear, direct; that's like your father saying: go to bed! But it can, music can also suggest with fuzzy little wisps of melody the way Debussy does like this (Debussy - Preludes Bk 1: Voiles) which is like hinting at pleasant dreams.

It's funny how many of the great men of music seem to go in pairs, like ham and eggs: Bach and Handel, Mozart and Haydn, Mahler and Bruckner—and Debussy and Ravel.

曲目
1. Debussy - La Mer
2. Debussy - Preludes Book 1: Voiles
3. Debussy - Images Set II - Poison d'or
4. Debussy - Preludes Book 2: Puerto del vino
5. Ravel - Daphnis and Chloe

https://www.bilibili.com/video/BV1qJ41147oF

#YPC

第十七期：Road to Paris

概要
这一集很好的承接上一集关于Impressionism的主题，介绍了三位作曲家是如何受到Impressionism的影响。三位作曲家分别是美国的George Gershwin，国籍背景复杂但是犹太背景很浓的Ernest Bloch和西班牙的Manuel de Falla～Bernstein通过实例展示了虽然这些作曲家有着非常浓烈的，和个人背景息息相关的个人风格，但无一不受到法国的影响，作品中有很多的Impressionism的元素：诸如whole tone，bitonality，印象派的harmony和orchestration等等。介绍的三首作品都很喜欢，尤其喜欢Bloch的Schelomo！

喜欢的Quote
We have seen that in the first third or so of our century the road to Paris was a heavily traveled one by composers of all nations and races—and not only composers with Spanish or Hebrew or American roots, but many others like Villa-Lobos from Brazil, Chavez from Mexico, Prokofieff and Stravinsky from Russia, Malipiero from Italy, and so on and on. They all went to Paris because its French spirit has been very contagious in our century, and thank goodness it has; because it's greatly enriched our whole musical life.

曲目
1. George Gershwin - An American in Paris
2. Ernest Bloch - Schelomo
3. Manuel de Falla - The Three-Cornered Hat

https://www.bilibili.com/video/BV1Ci4y1c7Tr

#YPC