20/11/2024
https://youtu.be/-iiBtwJoxjI
國立陽明交通大學 音樂研究所
25週年紀念音樂會《聲舞》
"Music in Motion,"
the 25th Anniversary Concert
of Institute of Music, National Yang Ming Chiao Tung University
「德國作曲家布拉姆斯的室內樂作品在他豐富的創作中佔了很大的比例，他以巴赫與貝多芬嚴謹的創作傳統為榜樣，並受到舒曼的影響，將室內樂這個樂種發揚光大；他的寫作風格也在室內樂中發揮到極致，成為演奏家們與室內樂愛好者的最愛。」
「布拉姆斯不但喜好創作也是一位非常傑出的鋼琴家，自幼即展現驚人的演奏能力。1850年結識匈牙利小提琴家Ede Reményi後，接下來的幾年與他共同巡迴演出。布拉姆斯就是在這些年的合作中接觸到吉普賽音樂風格，同時埋下創作匈牙利舞曲的種子。此曲完成於1861年，首演由克拉拉・舒曼擔任鋼琴手，隔年再次演出，由布拉姆斯本人演出鋼琴的部分。」
「本場音樂會演出的吉普賽風格輪旋曲出自其第一號鋼琴四重奏的最後樂章。此樂章開頭即以所有樂器齊奏出帶有強烈節奏的匈牙利舞曲風格之旋律，並搭配擊鼓般的伴奏進行 A 段內容。接著進入上行十六分音符的音階元素，旋律精神十足的勇往前進。對比此前 g 小調氛圍， B 段以關係大調（降B大調）進行，主要由鋼琴雙手奏出輕巧快速的十六音符旋律，弦樂伴以撥弦及斷奏陪襯。 樂曲進入平行調（ G大調）的 C 段後，四位演奏者如交響樂團般隆重奏出節慶主題，此樂章亦是自此開始脫離原先的急板速度。」
「D 段則利用弦樂的 E 小調重奏呈現樂曲柔情面，彷彿訴說著人間哀怨，令人聯想起吉普賽人於酒館中拉奏的小提琴旋律。第四樂章以上述四樂段進行，正如典型的輪旋曲式，多次回到 A 段旋律。然而，不尋常的是布拉姆斯在此樂章中竟加入類似即興段落的裝飾奏(Cadenza)，製造樂曲的張力與懸疑，更使用較緩慢的 素材脫離先前勇往直前的急板。曲末進入超急速度前(Molto Presto) 稍稍停留於片刻的平靜，最後再以極快速演奏炫風樂段，達到旋律的巔峰後結束全曲。」
Quote:
The chamber music compositions by the German composer Brahms constitute a crucial segment of his vast oeuvre. He maintained the rigorous compositional traditions set by Bach and Beethoven, while also finding inspiration in Schumann, turning chamber music into a grandiose genre. His writing style flourished in this format, making it a cherished selection for both performers and fans of chamber music.
Brahms was not only passionate about composing but also recognized as an exceptional pianist. His remarkable piano-playing capability was evident from a young age. In 1850, after meeting the Hungarian violinist Ede Reményi, Brahms joined him on tour in the subsequent years. During this collaboration, Brahms was introduced to the Gypsy music style, which also laid the groundwork for his Hungarian Dances. This work was completed in 1861, and its premiere featured Clara Schumann as the pianist. The following year, Brahms himself took to the piano part for another performance.
The Gypsy-style Rondo performed in this concert is from the final movement of his Piano Quartet No. 1. At the movement's outset, all instruments deliver a lively Hungarian dance melody characterized by a strong rhythm, with the A section supported by a drum-like accompaniment. This leads into a section of ascending sixteenth notes, where the melody boldly progresses. In contrast to the prior G minor atmosphere, the B section introduces different harmonic transitions in the relative major key of B flat major. Here, the piano plays a light and rapid sixteenth-note melody, while the strings provide a pizzicato and staccato accompaniment. As the music transitions into the C section in the parallel key of G major, the four musicians present a jubilant theme reminiscent of a symphony orchestra, and the movement begins to depart from the original presto tempo.
Section D employs the E minor string ensemble to convey the music's tenderness, evoking a sense of the world's sorrow and reminiscent of gypsy violin melodies played in taverns. The fourth movement follows the aforementioned four sections, resembling the traditional rondo form, as it repeatedly returns to the A melody. However, what sets this apart is Brahms' inclusion of a cadenza, akin to an improvisational segment, which introduces tension and suspense into the piece. He also integrates slower themes to contrast with the previously bold and dynamic Presto. Just before transitioning into the extremely fast tempo (Molto Presto) at the end of the piece, there is a moment of tranquility, leading into a breathtaking passage played at high speed, culminating in the peak of the melody and concluding the entire composition.
聲舞-所展影片系列-布拉姆斯
🎬 https://www.youtube.com/watch?v=-iiBtwJoxjI&ab_channel=MIVENUE
G小調第一號鋼琴四重奏，op. 25
IV. 吉普賽風格的輪旋曲：急板 Rondo alla Zingarese: Presto
作曲家 布拉姆斯（J. Brahms，1833-1897）
演出人員 李俊穎（小提琴）Chun-Ying Lee
潘世洵（中提琴）Shih-Hsun Pan
陳昱翰（大提琴）Yu-Han Chen
辛幸純（鋼 琴）Hsing-Chwen Giselle Hsin
創作年份 1861
德國作曲家布拉姆斯的室內樂作品在他豐富的創作中佔了很大的比例，他以巴赫與貝多芬嚴謹的創作傳統為榜樣，並受到舒曼的影響，將室內樂這個樂種發揚光大；他的寫作風格也在室內樂中發揮到極致，成為演奏家們與室內樂愛好者的最愛。布拉姆斯不但喜好創作也是一位非常傑出的鋼琴家，自幼即展現驚人的演奏能力。1850年結識匈牙利小提琴家Ede Reményi後，接下來的幾年與他共同巡迴演出。布拉姆斯就是在這些年的合作中接觸到吉普賽音樂風格，同時埋下創作匈牙利舞曲的種子。此曲完成於1861年，首演由克拉拉・舒曼擔任鋼琴手，隔年再次演出，由布拉姆斯本人演出鋼琴的部分。
本場音樂會演出的吉普賽風格輪旋曲出自其第一號鋼琴四重奏的最後樂章。此樂章開頭即以所有樂器齊奏出帶有強烈節奏的匈牙利舞曲風格之旋律，並搭配擊鼓般的伴奏進行 A 段內容。接著進入上行十六分音符的音階元素，旋律精神十足的勇往前進。對比此前 g 小調氛圍， B 段以關係大調（降B大調）進行，主要由鋼琴雙手奏出輕巧快速的十六音符旋律，弦樂伴以撥弦及斷奏陪襯。 樂曲進入平行調（ G大調）的 C 段後，四位演奏者如交響樂團般隆重奏出節慶主題，此樂章亦是自此開始脫離原先的急板速度。D 段則利用弦樂的 E 小調重奏呈現樂曲柔情面，彷彿訴說著人間哀怨，令人聯想起吉普賽人於酒館中拉奏的小提琴旋律。第四樂章以上述四樂段進行，正如典型的輪旋曲式，多次回到 A 段旋律。然而，不尋常的是布拉姆斯在此樂章中竟加入類似即興段落的裝飾奏(Cadenza)，製造樂曲的張力與懸疑，更使用較緩慢的 素材脫離先前勇往直前的急板。曲末進入超急速度前(Molto Presto) 稍稍停留於片刻的平靜，最後再以極快速演奏炫風樂段，達到旋律的巔峰後結束全曲。
The chamber music compositions by the German composer Brahms constitute a crucial segment of his vast oeuvre. He maintained the rigorous compositional traditions set by Bach and Beethoven, while also finding inspiration in Schumann, turning chamber music into a grandiose genre. His writing style flourished in this format, making it a cherished selection for both performers and fans of chamber music.
Brahms was not only passionate about composing but also recognized as an exceptional pianist. His remarkable piano-playing capability was evident from a young age. In 1850, after meeting the Hungarian violinist Ede Reményi, Brahms joined him on tour in the subsequent years. During this collaboration, Brahms was introduced to the Gypsy music style, which also laid the groundwork for his Hungarian Dances. This work was completed in 1861, and its premiere featured Clara Schumann as the pianist. The following year, Brahms himself took to the piano part for another performance.
The Gypsy-style Rondo performed in this concert is from the final movement of his Piano Quartet No. 1. At the movement's outset, all instruments deliver a lively Hungarian dance melody characterized by a strong rhythm, with the A section supported by a drum-like accompaniment. This leads into a section of ascending sixteenth notes, where the melody boldly progresses. In contrast to the prior G minor atmosphere, the B section introduces different harmonic transitions in the relative major key of B flat major. Here, the piano plays a light and rapid sixteenth-note melody, while the strings provide a pizzicato and staccato accompaniment. As the music transitions into the C section in the parallel key of G major, the four musicians present a jubilant theme reminiscent of a symphony orchestra, and the movement begins to depart from the original presto tempo.
Section D employs the E minor string ensemble to convey the music's tenderness, evoking a sense of the world's sorrow and reminiscent of gypsy violin melodies played in taverns. The fourth movement follows the aforementioned four sections, resembling the traditional rondo form, as it repeatedly returns to the A melody. However, what sets this apart is Brahms' inclusion of a cadenza, akin to an improvisational segment, which introduces tension and suspense into the piece. He also integrates slower themes to contrast with the previously bold and dynamic Presto. Just before transitioning into the extremely fast tempo (Molto Presto) at the end of the piece, there is a moment of tranquility, leading into a breathtaking passage played at high speed, culminating in the peak of the melody and concluding the entire composition.
Weekly 5 Minutes 
