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勃拉姆斯-D大调小提琴协奏曲(Op.77)(26)(含CD)
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4分

勃拉姆斯-D大调小提琴协奏曲(Op.77)(26)(含CD)

1星价 ¥10.9 (3.2折)
2星价¥10.5 定价¥34.0

温馨提示:5折以下图书主要为出版社尾货,大部分为全新(有塑封/无塑封),个别图书品相8-9成新、切口有划线标记、光盘等附件不全详细品相说明>>

商品评论(2条)
***(二星用户)

也是开本太小了,音符甚至比这个出版社的另两本小谱子更小,拿着读不错,视奏的话整个人看起来像在吃书( ´_ゝ`)

2020-09-20 16:04:41
0 0
ztw***(三星用户)

乐谱后附有光盘

这套乐谱后附有光盘,可以边读边听。

2020-08-23 17:04:07
0 0
图文详情
  • ISBN:9787540439989
  • 装帧:暂无
  • 册数:暂无
  • 重量:暂无
  • 开本:16开
  • 页数:107
  • 出版时间:2008-01-01
  • 条形码:9787540439989 ; 978-7-5404-3998-9

本书特色

看得越多,听得越多
奥伊伦堡的“cD+总谱”系列收录了选自巴洛克、古典和浪漫作品中
的乐队经典作品。50卷中的每一卷均包括印制精美的权威总谱、详细
介绍作曲家生平和作品创作背景的前言,以及包含该作品完整录音的
一张Naxos公司CD。
奥伊伦堡的“cD+总谱”是聆听、阅读和理解音乐的全新途径。

节选

bsp; Preface
Composed: 1874, Vienna; 1877-78, Portschach
First performance: 1 January 1879 in Leipzig with Joseph Joachim as soloist
and Johannes Brahms as conductor
Original publisher: Simrock, Berlin, 1879
Instrumentation: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons -
4 Horns, 2 Trumpets - Timpani - Strings
Duration: ca. 40 minutes
The genesis of Brahms's Violin Concerto in D major Op. 77 is in many ways inseparable from
the name of its dedicatee, Joseph Joachim (1831-1907). Brahms first heard Joachim in March
1848, when the violinist, not yet 17 years old but destined to become arguably the most cele-
brated violin virtuoso of the second half of the 19th century, had played the Beethoven con-
certo. 'Time and again', the composer later wrote to Joachim, 'the [Beethoven] concerto
reminds me of our first encounter, of which you, of course, know nothing. You played it in
Hamburg, [...] and ! was undoubtedly your most enthusiastic listener'. But it was not until
the end of May 1853 that the two men first met in Hannover, where Joachim was principal
violinist to the house of Hannover. Their mutual sympathy and profound respect for each
other as musicians soon matured into a lasting friendship, in the course of which Joachim
introduced Brahms to numerous violin concertos, including Giovanni Battista Viotti's Violin
Concerto No. 22 in A minor, a work that Brahms particularly admired. And Brahms in turn
appears to have advised Joachim when he came to write his own Violin Concerto 'in the
Hungarian style'. It was a friendship, finally, in which - to quote the composer's biographer,
Max Kalbeck - Brahms 'very soon conceived the idea of writing a really beautiful work for
the royal instrument of his beloved Jussuf [Joseph], a work that would be both great and
demanding and entirely worthy of that instrument'.
In the event it was not until the summer of 1878, when Brahms was staying at P6rtschach on
the Worthersee, that this idea was finally realised. Brahms had spent the previous summer,
too, in this delightful corner of rural Carinthia, working on his Second Symphony, and on
that occasion he had described the region in a letter to his friend Eduard Hanslick as 'virginal
territory, melodies fly through the air here and you must be careful not to tread on them'.
Twelve years later he recalled his time in Portschach: 'Beautiful summer days come to mind
and, involuntarily, so too do many of the works that I took with me on my walks - the D
major Symphony, the Violin Concerto, the G major Sonata, the Rhapsodies and the like. And
"is the old man still alive"? I mean the old priest, that frivolous old joker. His laughter could
be heard (literally) across the lake, his extremely bad jokes even as far away as Vienna.' The
 absence of relevant sources makes it impossible for us to know if Brahms wrote down his
Violin Concerto in the summer of 1878 on the basis of existing sketches and drafts or whether
he in fact composed it in its entirety in Potschach in 1878. By the same token, we can only
speculate on the reasons why Brahms waited until the summer of 1878 to write such a work:
after all, he had first met Joachim a quarter of a century earlier. Perhaps it was the worldwide
success of his Second Symphony, which had received its first performance in Vienna on 30
December 1877 and which, confirming its composer's now incontrovertible reputation,
helped to overcome the lacerating self-doubts characteristic of his career until now, that
gave him the confidence to return to the concerto as a genre after his successful engagement
with the symphony. After all, the first performance of his Piano Concerto No. 1 in D minor
Op. 15 in Hannover on 22 January 1859 had been the greatest artistic debacle of his life. It is
ultimately also impossible to know whether it was not only his friendship with Joachim that
persuaded him to choose the violin as a solo instrument but also - as Kalbeck suggests - the
playing of the Spanish virtuoso Pablo de Sarasate, whom Brahms heard in Baden-Baden in
the autumn of 1877 rehearsing Max Bruch's Violin Concerto No. 2 in D minor Op. 44.
By contrast, the final phase in the concerto's genesis is rather more fully documented, and
here we know that Joachim played an active role. On 22 August 1878 Brahms sent him a
parcel containing the solo part of the opening movement and a letter couched in the ironic
and witty language that the composer - a pianist, rather than a violinist by training - often
adopted in his correspondence: 'I'll be satisfied if you say the odd word and perhaps write
your comments into it [i.e., into the violin part]: difficult, awkward, impossible, that sort of
thing. The whole thing has four movements, I'm writing the beginning of the last one so that
the awkward passages are forbidden me right away!' Joachim lost no time in responding to
Brahms's request, writing his suggested changes into the solo part and spelling them out in
greater detail at two subsequent meetings that he held with the composer, the first in
Po3rtschach at the end of August 1878, the second in Hamburg at the end of September 1878.
No doubt he additionally demonstrated them on his violin. He also wrote the opening move-
ment's solo cadenza.
There was no question in Brahms's mind that Joachim should give the first performance, and
yet he seems to have been disconcerted by the haste with which the violinist insisted on bring-
ing forward the date of that performance. As early as the middle of October 1878 Joachim
was already writing to announce that he was thinking of playing it at the traditional New Year
concert in Leipzig and therefore needed it in its entirety very soon, prompting Brahms to
' write back to say that he 'did not like to be rushed when writing and performing' his music,
especially because in the present case he was now revising what had been planned as a four-
movement work and turning it into a traditional three-movement concerto. Brahms must
have been working on these revisions as late as November, for in a letter to Joachim we find
him reporting that 'The middle movements have fallen in battle - needless to add, they were
the best! But I'll have a poor Adagio [the second movement of the finished work] written for
it.' It was the middle of December by the time that Joachim received the new solo part of
what was now a three-movement work. Yet, in spite of the pressure of time, it was still not too
late for the concerto to be premiered at the Leipzig New Year concert on 1 January 1879 with
the Gewandhaus Orchestra under Brahms's direction. Joachim was the soloist.
 'In sum', wrote Alfred Dorffel in the Leipziger Nachrichten, reporting on the initial reaction to
the concerto, 'the first movement prevented its audience from noticing what was novel about
the work, but the second movement left a very real impression; and the final movement gave
rise to much cheering.' Both in Leipzig and at the work's first performance in Vienna on 14
January 1879, the critics agreed that this 'may be described as the most important concerto to
have appeared since those of Beethoven and Mendelssohn'. It was above all the symphonic
dimension of the work that contributed to this sense of importance. The solo instrument does
not dominate, and the soloist's abilities are not privileged in any way. Rather, violin and
orchestra merge in the sense of a higher musical unity. In spite of this, the writing for the solo
violin is extremely virtuosic with its multiple stopping, rapid changes of position and passage-
work. Yet none of these are an end in themselves. Instead, they are fully integrated into a
structure in which the themes are symphonically presented, reworked and developed with all
the expressive variety of the musical language of the Po3rtschach Brahms: the writing is by
turns brooding, serenade-like, pastoral and what Hanslick termed 'garden music'. Passages of
great seriousness appear alongside others that are playful and witty, most notably in the third
movement, an Allegro giocoso. Like the Second Symphony that Brahms had written in
Po3rtschach the previous summer, the work as a whole is imbued with a sense of carefree
amiability that in Simrock's words is 'full of sunshine'.
Klaus Do3ge
Translation: Stewart Spencer



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