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我们经常能听到这样一句话:如果说十八、十九世纪是作曲家的时代,那么二十世纪无疑是属于指挥家与演奏(唱)家的。此话不假,当我们步入二十一世纪之后,回眸过去百年的乐坛,那些最耀眼的光芒的确都落在了数不胜数的杰出的演释者身上。而这其中,指挥家往往作为音乐的灵魂又是最为重要、最经常被人提起的,杰出的指挥不仅仅能够影响一个乐队,更可能引领一个时代的音乐潮流。正如托斯卡尼尼与NBC,富特文格勒、卡拉扬与柏林,莱纳与芝加哥,斯托科夫斯基、奥曼迪与费城,库谢维茨基、明希与波士顿等等,都曾为我们缔造出一个又一个让人至今仍在津津乐道的神话,虽
We can often hear the remark that if the eighteenth and nineteenth centuries are the era of composers, then the twentieth century undoubtedly belongs to the conductor and the performing (singing) home. It goes without saying that when we enter the twenty-first century and review the music scene of the past century, the brightest radiations really fall on the ranks of numerous outstanding performers. Among them, the conductor is often the soul of music is the most important and most often mentioned, outstanding command not only can affect a band, more likely to lead the music trend of an era. As Toscanini and NBC, Furt Wenger, Karayan and Berlin, Reina and Chicago, Stokowski, Omandy and Philadelphia, Kuesiewiczki, Mingxi and Boston, etc., Once created for us one after another people still talked about the myth, though