贝多芬钢琴奏鸣曲全集
Marilyn_Hathaway路德维希·凡·贝多芬 （Ludwig van Beethoven， 1770年12月16日或17日—1827年3月26日），出生于神圣罗马帝国-科隆选侯国的波恩，维也纳古典乐派代表人物之一，欧洲古典主义时期作曲家。 贝多芬在父亲严厉苛刻的教育下度过了童年，造就了他倔强、敏感激动的性格。22岁开始终生定居于维也纳，创作于1803年至1804年间的《第三交响曲》标志着其创作进入成熟阶段。此后20余年间，他数量众多的音乐作品通过强烈的艺术感染力和宏伟气魄，将古典主义音乐推向高峰，并预示了19世纪浪漫主义音乐的到来。1827年3月26日，贝多芬于维也纳逝世，享年57岁 。 贝多芬一生创作题材广泛，重要作品包括9部交响曲、1部歌剧、32首钢琴奏鸣曲、5首钢琴协奏曲、多首管弦乐序曲及小提琴、大提琴奏鸣曲等。因其对古典音乐的重大贡献，对奏鸣曲式和交响曲套曲结构的发展和创新，而被后世尊称为“乐圣”、“交响... more
| Publishes | Daily | Episodes | 104 | Founded | 2 years ago |
|---|---|---|---|---|---|
| Language |  ZH-CN | Categories | MusicMusic Commentary | ||
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第三乐章：“缓慢而希望地”，小序曲。 一开始主题弥漫着柔和的愁绪，但渐渐变得明亮，希望和激情隐隐含在娓娓的述说之中。 一个休止后，出现琶音华彩句，第一乐章第一主题动机出现，似乎在回顾那份清新自在。 但是紧接着快速下降音阶后出现颤音乐句，作为引子直接带到欢快果断的第四乐章。
第二乐章：“活泼的进行曲”，三段曲式。 第一段，在一声呼唤之后出现刚毅明朗的进行曲主题，就像立即开始行动，跳动的节奏和饱满的精神显露出崭新的面貌。主题反复一次后，高低两个声部对主题动机作各种模仿，在力度上也有轻重对比。 第二段风格变为恬淡，高低声部重奏出卡农结构，在精巧之中产生光彩。 第三段简要重现第一段进行曲后结束。
《A大调第二十八钢琴奏鸣曲》作品101完成于1816年，属于贝多芬的晚期作品。这首奏鸣曲富含浓厚的幻想风格，缥缈的憧憬、感慨的回忆、刚强坚韧以及民间欢乐场景等诸要素构成了作品的内容。末乐章采用了辉煌的赋格曲，以此向伟大的音乐大师巴赫致敬。自此贝多芬的钢琴奏鸣曲开始出现深刻的、哲理性的沉思特点，曲风更加宁静温柔，流露出更多的细腻感人的情感。 全曲共分四个乐章： more
第二乐章：“不太快地，充分歌唱似的”，回旋奏鸣曲式，结构为ABACABA。呈示部主题A旋律极为甜美柔和，富于幻想般的色彩。强弱交错的断音过渡段引出明快轻捷的主题B，在高音区漂浮如闪烁的阳光倾污下来。经过一个宽广的缓冲音调后，主题A第一次重现。展开部C段先以激昂的情绪发展主题A的动机，然后缓冲音调几次呈现显出庄重之感。在回归主题A乐思之后转至再现部。 再现部变化重现呈示部内容，两个主题的性格均十分优雅从容。主题A第三次作为结论重现，灵动的装饰音符使其生机盎然。 尾声主题A动... more
1814年，贝多芬在约有五个年头没有过问钢琴音乐的创作之后，写下了《e小调第二十七钢琴奏鸣曲》作品90。这首作品是向晚期创作的过渡，内容着力表达了斗争与和平这两大矛盾，展露出理想和现实的冲突，最终达到了一种和解。曲风朴实而简洁，含有了感慨释怀的音色、歌领憧憬的旋律。对于作品的两个乐章，贝多芬曾指出第一乐章是 理性与感性之争”，第二乐章是“与情人的对话”全曲共分两个乐章： 第一乐章：“稍快，始终充满感情与表情地”，奏鸣曲式。呈示部第一主题以震撼的强奏开始，先声夺人。随后以缓和对应，出现... more
第三乐章 是1806年夏天写的，贝多芬和他的学生利斯在散步的路上，口中一直哼着一个曲调。他说：“这是我想到的一首奏鸣曲的最后快板乐章的主题。”走进屋后，贝多芬连帽子也来不及脱，就奔向钢琴弹奏这个崭新的乐章达一小时以上。最后他对利斯说：“今天我不能给你上课了，我还需要工作。”具有超凡脱俗气质的《热情奏鸣曲》最后乐章就这诞生出来了。这里显示了沸腾的斗争意志，百折不挠的气势，号角般的引子，暴风雨般的第一主题和顽强反抗、挣扎的第二主题。虽然以悲剧式的和弦收场，但是在终曲的尾声却出现了群众舞曲... more
第二乐章 与第一乐章的热情形成鲜明的对比：在苦难坎坷的生活历程中，心灵仍充满活力，陶醉在美妙的理想境界中。这里用了淳朴的赞歌式主题，三个变奏之后，节奏逐渐活跃，暗示英雄的意志通过沉思又坚强起来，继续向苦难进行顽强的搏斗。
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