论文部分内容阅读
当拉威尔在1899年宣称,他的《献给一位死去的公主的孔雀舞》并非源自他对委拉士凯兹的公主肖像画的喜爱时,他的狂热拥戴者们并不愿对他的这番声明加以注意。这件作品的惊人成功,让大多数听众都热切地追问是哪一幅精妙的委拉士凯兹的画,哪一位年幼的公主唤醒了作曲家心中的音乐形象,其情形正如贝多芬的《C小调钢琴奏鸣曲作品14号》被出版商命名为“月光”之后,大多数听众都想在第一乐章的Adagio sostenuto中去努力听出月光的颜色与阴影一样。拉威尔对他的听众的热情不以为然,他
When Ravel proclaimed in 1899 that his “Peacock Dance for a Dead Princess” did not originate from his love for the princess portrait of Velazquez, his fanatical fans were unwilling He paid attention to this statement. The amazing success of this work has led most listeners to eagerly question which of the exquisite Veracruz paintings and which young princess awakened the music image of the composer’s mind, just as Beethoven After the publisher named “Moonlight,” the 14th Piano Sonata No 14 was intended by the majority of listeners to try hard to hear the color of the moon’s shadow in the Adagio sostenuto of the first movement. Ravel’s displeasure with his audience, he