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广为乐迷熟悉的艳丽音诗《查拉图斯特拉如是说》的作者理查·施特劳斯(1864-1949)被视为瓦格纳恢宏乐风的继承人。这对于评价他创作的歌剧《贡特拉姆》(1894)、《莎乐美》(1905)等早期作品的确恰如其分,《玫瑰骑士》(1911)带有洛可可的色彩,被视为他创作风格的转折,后期的作品更倾向于和悦精炼、返朴归真。最后一部歌剧《随想曲》(1942)是以十八世纪为背景的精致作品,表现出施特劳斯独特的纯净与富有灵感的技艺。本文介绍的这两首管乐小奏鸣曲是他的晚年作品,精练的配器充分发挥管乐器各自独特的音色魅力,同时又天衣无缝地使它们交织起来。情绪隐含忧愁
Richard Strauss (1864-1949), the author of the widely acclaimed poem “Zarathustra said”, is regarded as the successor to Wagner’s grand style of music. This is exactly the same for evaluating early works such as his opera “Guntrams” (1894), “Salome” (1905), etc. The “Rose Knight” (1911) is rococo colored and regarded as his creation Style of the turning point, the late works are more inclined to refine and return to simplicity. The final opera, “Capriccio” (1942), is an elaborate 18th-century work that shows Strauss’s unique purity and inspirational skills. The two cappella Sonatas presented in this article are his later works, and the scrumptious adapters give full play to the unique musical sound of the wind instruments while seamlessly blending them together. Emotion implied sadness