Beethoven and His Nine Symphonies 目前无人评价
读书笔记 第八交最短的Allegretto,第七的第一乐章 的vivace,连着第二乐章小快板(进行曲),第六的第三乐章 。


This Allegretto is the shortest of all the movements in Beethoven's Symphonies.

The Abrupt and disappointing close with the commonplace Italian cadence of tonic and dominant,instead of teh expected repeat,is obviously one of the jokes incidental to Beethoven's frame of mind,and to which one has to submit.

Oulibicheff interprets the movement as a caricature of Rossini, whose extraordinary popularity in Vienna was often a subject of remark with Beethoven,but there is no occasion for this...下面是一段Maelzel民间卡农的例子

第七交响曲的第一乐章 的vivace。就是那个爆发过后开始异常活泼的段落,与一开始的严肃确实对比巨大。

The Vivace itself, 6-8, into which the passage just alluded to leads, is a movement of wonderful fire and audacity.Berlioz, in his 'Etudes sur Beethoven,' wishes us to believe that it is a Ronde des Paynans, and would have been ao entitled if Beothoven has disclosed his intention, as he did in the "Pastoral". But this is only another instance of the strange want of accuracy (to call it by no worse name) which detracts so much from the value of Berlioz's interesting comments .

The statement in a mere invention of his own, and is entirely destitute of any autthority from the composer.The principal theme, in its character and in the frequent employment of the oboe, has no doubt a quasi-rustic air; but, whatever it may be at the outset, there is nothing rustic about the way in which it is treated and developed; on the contrary, the strains confided to it are not surpassed in distinction, variety, and richness in any of Beethoven's first movements.

If the oboe was originally a beggar-maid she has here found her King Cophetus, and long before the end of the movement has mounted the throme.Similarly "Wagner calls the whole Symphony "the Apo-theosis (ie., the deification) of the Dance; the Dance in its highest condition; the happiest realisation of the movements of the body in an ideal form.

But surely this is, to say at the least, mueh exaggerated. Few will not feel indignant at the Programme with which Rubinstein is said to have illuastrated the pace and the expression of the different sections of the Funeral Mareh in Chopin's B fat minor Sonata, which was lately received at a Piano Recital in London: 1. The procession to the grave; 2. (Trio) A hymn sung over the remains; 3. The return of the mourners. But outrageous as this is, it is hardly more outrageous than Berlion's proposal. Al great creations of the intellect, however, whether Shakespear's or Beethoven's, poems or symphonies, are liable to such vague and violent interpretations as these.

A list of nearly a dozen.of the interpretations that have been hazarded “à propos” to this is given by Brenet, and is sufficiently amusing if is do not evolk a stronger feeling of annoyance. But asurely some practical clue should be given to the grounds on which such viollent attempts are based.

After four preliminary bars the theme is thus given out by the futes, wih an extraordinary elasticity which distinguishes the entire movement——(谱例来说明弹性)

It is both difficult and presumptuous for anyone to compare masterpieces so full of beauty and strength, and differing so completely in their character, as the nine Symphonies of Beethoven; but it any one quality may be said to distinguish that now before us, besides its rhythmical construction, it is parhaps, as has already been hinted, that is in the most romantic of the nine, or, in other words, that it in full of swift unexpected changes and contrasts, exciting the imagination in the highest degree, and whirling it suddenly into new and strange regions.


Not less strongly marked or less persistent than the vivace is the march of the Allegretto,which is all built upon the following rhythm. 2-11-1-1 ,or to use the terms of metre, a dactyl and a spondee (- 00 | - - )

This theme was originally intended for the second movement of the third Rasumoffsky quartet - in C(Op.59,No. 3) -- and is to be found among the sketches for that Quartet in 1806.

Here ,again ,there is hardly a bar in the movement in which the perputual beat of the rhythm is not heard ,and yet the feeling of monotony never intrudes itself,any more thanit does in the Pastoral Symphony. This is the opening(...略去谱子)

The dashes and dots are here given as they are in the MS. at Mr. Mendelssohn's House and in the edition of Haslinger.In Breitkopf's complete edition dots are substitued for the dashes throughout. Surely this should not have been done without a note to call attention to the change. But to resume.

The movement is full of melancholy beuaties ; the vague soft chord in the wind instruments with which it both begins and ends. The incessant pulse of the rhythmical subject just spoken of the lovely second melody in accompaniment to that last quoted (viola and cello 的谱例)

which turns out to have been concealed under the first subject—a chain of notes linked in closest succession, like a string of beauties hand-in-hand, each afraid to lose her hold on her neighbours ; it begins in the violas as a mere subordinate accompaniment, but becomes after a while the principal tune of the orchestra. More striking still, perhaps,is the passage where the clarinets come in with a fresh melody (note the delicious syncopations), the music changing at the same time from A minor to A major, the violins to a light triplet figure, and the effect being *exactly like a sudden gleam of sunshine .

One of the interests of this passage is that it may have suggested a similar beautiful change (in the same key) in the Andante con moto of Mendelssohn's * Italian ' Symphony(!!!注意了!!!). At any rate, Beethoven himself anticipated the change seven years before, in the Intermezzo of the Funeral March in the Eroica,' where the oboe preaches peace and hope as touchingly as the clarinet does here, with a similar change of mode too, and a similar accompaniment in the strings.

Even this short relief, however (but thirty-seven bars),does not appear to please the composer: we seem to see him push the intruder away from him with an angry gesture of impatience and almost hear him exclaim, 'I won't have it,' as he returns to the key of A minor, and to the former melody (No. 18), given in three octaves by the flute, oboe, and bassoon, with a semiquaver accompaniment in the strings. During this, as well as during the truly heavenly melody which we have- been describing and quoting (No. 20), the bass,with a kind of 'grim repose,' keeps up inexorably the rhythm (谱例的节奏又是2-11| 2-11)


最后是第六号的第三乐章,Allegro “Peasants Festival”,有意思的我最早完全听不出是农民味的,只是步点好玩(第六的第四乐章开头之后才是完全吸引我住的东西)。

So far we have had to do with Naturel; we now turn to the human beings who people this delicate landscape; the sentiment at once completely changes,and we are carried from graceful and quiet contemplations to rule and boisterous merriment. The third movement-- answering to the usual Scherzo,though not so entitle- is a village dance or fair. The wind instruments most prominently heard are appropriately those of rustic artists ,the flute ,the oboe, and bassoon. The strings begin thus in F, leading into D minor ,but the flute and bassoons enter after a very few bars,and the oboe shortly after, There is a delightfully rustic cast about it all - the close of one portion of the melody--the false accent with which the oboe starts the second section -to the quaint accompaniment of the two fiddles(we seem to see the village players bowing away) are in exquisite keeping, and it is not too much to believe that the whole has a fundation in fact.Indeed, the very passage just quoted is sasid to be an intentional caricature of a band of musicians whom Beethoven used to hear in the country ,and the irregular halting rhytm in the basson show how drunk or how droway the player was ,while the two notes to which he is confined during this episode prove how very moderate are his powers.

《Beethoven and His Nine Symphonies》的全部笔记 1篇
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