M12OST全解構 - 經典名曲分析試聽及音樂術語解析(14.8% completed)

suet_sze

01. Beethoven - sonata for piano & cello 3 (貝多芬 - 鋼琴及大提琴的第三奏鳴曲)
02. Schubert - Ave Maria (舒伯特 - 聖母頒) by怜子
03. 名偵探柯南主題曲(戰慄版)
04. Prelude (序曲)
05. Allegretto ([意大利文] 稍快的)
06. Comical tempo1 (不肯定... comical是恢諧的意思)
07. Comical tempo2
08. Bach - The Toccata and Fugue in D minor, BWV 565 (巴哈 - D小調托卡塔和賦格曲)
09. Dolce sound ([意大利文] 柔美的音樂)
10. Baroque Elephant (巴洛克大象, 巴洛克是巴哈所在的音樂時期)
11. Hatena capritcho (HATENA隨想曲) [hatena難道是指日版的youtube!?]
12. Dissonance (不和諧音)
13. Rythmique noise (有節奏的聲音)
14. Romance rhapsody (浪漫狂想曲)
15. Mind Piano (心靈鋼琴) [難道是和soul music有關的!?]
16. 帝丹小學校歌(TRP版)
17. In Mortis1 (面對死亡1)
18. In Mortis2 (面對死亡2)
19. Forte suspense (高潮的懸疑) [forte, 意大利文, 強、響亮的]
20. Beethoven - sonata for piano & cello 3 (貝多芬 - 鋼琴及大提琴的第三奏鳴曲) [怎麼和第一首是一樣的- -]
21. Dry elegy (平淡的哀歌)
22. Amazing Grace of piano and flute (鋼琴及長笛版的奇妙救恩)
23. Decrescendo (平靜下來) [Decrescendo, 意大利文, 漸弱、漸小聲]
24. Crescendo (再攀上(高潮!?)) [Crescendo, 意大利文, 漸強、漸大聲]
25. Moduration (突轉) [Moduration, 轉調(從major到relative minor/ donminant or 從minor到relative major/ donminant)]
26. Tempo rubato (被奪的時間) [Tempo rubato, 意大利文, 彈性速度(無速度可言)]
27. Misjudge (錯判)
28. Out of Köchel (不肯定對不對, Köchel是莫札特的一個音譜編輯.)
29. Gounod - Ave Maria (古諾 - 聖母頒) by怜子 [這個2是兩個不同的作曲家.]
30. Egzamin (考驗) [Egzamin, 法文, 考試]
31. Largo suspense (莊嚴的懸疑) [Largo, 意大利文, 慢、緩慢、莊嚴的]
32. Dal segno (重來) [Dal segno, 意大利文, 縮寫為 D.S., 從segno(一個看起來有點像'S'的音樂符號)出現處重奏.]
33. Drum Attack (鼓的衝擊) [大鼓的鼓皮上有收音孔, 7吋大時, 觀眾可以感到"衝擊"(attack), 感覺好像鼓聲和耳鼓的共鳴]
34. Passage (樂句!?) [Passage可以有很多解釋的, 主要是用於音樂的分段]
35. Accelerando (節奏加快) [Accelerando, 意大利文, 加快速度、漸快]
36. Bach - Herz und Mund und Tat und Leben: Jesu bleibet meine Freude(德) (英: Heart and Mouth and Deed and Life: Jesu, Joy of Man's Desiring), BWV147 (巴哈- 心,口與行為: 耶穌，吾民仰望之喜悅！) by rara
37. 緊張的懸疑A~緊張的懸疑B
38. Handel - Messiah: He shall feed His flock like a shephard... (韓德爾 - 彌賽亞: 他將如牧羊人飼養羊群) by rara
39. In Alto Part (女低音)
40. 和你一起的心 by rara
41. 怜子 - 奇妙救恩 by 怜子
42. Arabesque touch (阿拉貝斯克接觸) [Arabesque, 一種土耳其音樂, 主要作曲家如舒曼]
43. Grave Side(!?) (墓邊) <--這個好像不對. 如果沒有濁音的話就會是 clave(拉丁音樂的一個專語)...
44. Accelerando (節奏加快) [Accelerando, 意大利文, 加快速度、漸快]
45. Allegro (活潑的歡樂) [Allegro, 意大利文, 輕快]
46. Vitali - Chaconne (維塔利 - 恰空)
47. Reich serenade (王國小夜曲) [reich, 德文, 王國; serenade, 小夜曲]
48. tonality (調性) [major/ minor/ 無調性]
49. 新一的奇妙救恩
50. fermata (延長) [fermata, 音樂符號, 延長和停留]
51. Legato epilogue (柔情的後傳) [legato, 意大利文, 圓滑的]
52. 柯南的奇妙救恩

[ 本帖最后由 suet_sze 于 2008-4-5 22:07 编辑 ]

suet_sze

Ludwig van Beethoven - Cello Sonata No. 3 in A major, Op. 69
貝多芬 - A大調第三大提琴奏鳴曲, Op. 69
(Piano & Cello Sonata No. 3) [classical/ romantic period]

3 Movements:
1. Allegro, ma non tanto
2. Scherzo
3. Adagio cantabile – Allegro vivace

in contrast of the normal sonata form fast-slow-fast.
和奏鳴曲一貫的快-慢-快風格不同, 此奏鳴曲三個樂章都是輕快的節奏.

In the early 1800s, sonatas for piano and instrument were usually advertised as piano sonatas with instrumental accompaniment. Beethoven's first violin sonatas, for instance, were published as "sonatas for piano with accompaniment by the violin." The cello sonata was especially so plagued, as it grew out of sonatas for continuo; as late as the beginning of the nineteenth century it was still common for the cello in cello sonatas to double the left hand of the piano part, with the piano right hand playing obbligato figurations and melodies. Beethoven, indeed, is credited with composing the first cello sonatas with a written-out piano part.
19世紀早期, 鋼琴加其他樂器的奏鳴曲通常會以鋼琴奏鳴曲以其他樂器伴奏作招徠. (相信和當時現代鋼琴的誕生有關). 以貝多芬的第一小提琴奏鳴曲為例, 該奏鳴曲在當時的名稱為「鋼琴奏鳴曲(小提琴伴奏)」. 這個大提琴奏鳴曲的情況如此嚴重, 以致完全成了鋼琴的低音伴奏; 一直到19世紀初以大提琴去重複鋼琴的左手部分的做法依然非常普遍, 但以鋼琴右手去彈作修飾的伴奏和主調. 事實上, 貝多芬是被稱為第一個以分開的旋律和伴奏編寫大提琴奏鳴曲的作曲家. [obbligato(意), 伴奏]

The Sonata in A Major, Op. 69, dates from Beethoven's most productive compositional period. Composed in the same year were the Violin Concerto and the two piano trios of Op. 70; the same year also saw the completion and publication of the Fifth and Sixth Symphonies. The first movement opens with the cello alone; variations of its expansive main theme and a pair of contrasting secondary ideas give much cause to contrapuntal and melodic interplay between the two players. The scherzo which follows, in the tonic minor (i.e. A minor), prominently features off-beat accents and is interspersed with a trio in the major that is heard twice. The finale is preceded by a short slow introduction.
這首A大調奏鳴曲, Op. 69, 是在貝多芬最多產的時期寫的. 在同年完成的作品有小提琴協奏曲和兩首鋼琴三重奏, Op. 70; 同一年亦可見第五及第六交響樂的完成及出版. 第一個樂章以大提琴單獨開始; 它主調的變奏和一對作對比的副主題造成了兩個樂手間的對位和主調交錯. 接下來的諧謔曲是第一樂章的主音小調 (A小調), 突出的不對拍的重音配合大調上的裝飾震音出現了兩次. 終曲是由一個短而慢的開始帶起的.

source from: wikipedia (english)
music from: wikipedia (english), mutopia project
translation by: 雪思yuriko

.OGG現場演奏試聽: (quicktime player/ windows media player)
Cello Sonata No. 3, OP.69, 1st movement.ogg (9.65 MB)
http://www.mediafire.com/?zad7uz5zotj

Cello Sonata No. 3, OP.69, 2nd and 3rd movement.ogg (8.79 MB)
http://www.mediafire.com/?uxjmdfphsjm

.PDF樂譜下載:
Cellosonata_No3_1-a4.pdf (364.57 KB)
http://www.mediafire.com/?dhb0vyxowz2

Cellosonata_No3_2-a4.pdf (256.77 KB)
http://www.mediafire.com/?c29xnt5xndd

Cellosonata_No3_3-a4.pdf (327.99 KB)
http://www.mediafire.com/?5dmyqvidgtt

.MID下載:
Cellosonata_No3_1.mid (61.08 KB)
http://www.mediafire.com/?djmifdw24mh

Cellosonata_No3_2.mid (42.28 KB)
http://www.mediafire.com/?ndbo2udij0c

Cellosonata_No3_3.mid (56.85 KB)
http://www.mediafire.com/?kxohyqxbwzd

[ 本帖最后由 suet_sze 于 2008-4-5 14:02 编辑 ]

suet_sze

Franz Schubert - Ellens dritter Gesang (Ellens Gesang III, D839, Op 52 no 6, 1825)
舒伯特 - Ellen’s third song (聖母頒)

"The Lady of the Lake" and the "Ave Maria"
「湖邊女人」和「聖母頒」
The piece is often referred to as Schubert's Ave Maria; but it was originally composed as a setting of a song from Walter Scott's popular epic poem The Lady of the Lake, in the German translation by Adam Storck, and thus forms part of Schubert's "Liederzyklus vom Fräulein vom See". In Scott's poem the character Ellen Douglas, the "Lady" of "the Lake" (Loch Katrine in the Scottish Highlands) has gone with her father to hide in the "Goblin's cave" nearby to avoid drawing the vengeance of the King on their host, the Clan-Alpine chieftain Roderick Dhu, who has been affording them shelter since the King had exiled them. She sings a prayer addressed to the Virgin Mary, calling upon her for help. Ellen is overheard by Roderick Dhu who is higher on the mountain, raising the clan for war.
雖然此曲被廣泛地稱為舒伯特的「聖母頒」, 不過此曲原本是作為沃爾特·司各特所寫的史詩「湖邊女人」的音樂的德文翻譯(by Adam Storck)而成為"Liederzyklus vom Fräulein vom See"的一部分. 在司各特的詩中的角色愛倫道格拉斯, 也就是「湖邊」(蘇格蘭高地的卡泉湖)的「女人」和她父親去了附近的"Goblin's cave"以避國王對其借住的家庭的主人(Clan-Alpine chieftain Roderick Dhu)的服仇, 因為他收容了他們. 她唱了一個對童貞聖母瑪利亞的禱文, 請求她的幫助. 而此禱文就被Roderick Dhu聽到了, 當時他正在策動戰爭.

The piece is said to have first been performed at the castle of Countess Sophie Weissenwolff in the little Austrian town Steyregg and dedicated to her, which led to her subsequently becoming known as the lady of the lake herself.
此曲被認為是首演於女伯爵Sophie Weissenwolff位於奧地利Steyregg的城堡中, 並獻給了她, 以致其後她本人也被稱為「湖邊夫人」.

The opening words and refrain of Ellen's song, namely "Ave Maria" (Latin, "Hail Mary"), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer Ave Maria. The Latin version of the Ave Maria is now so frequently used with Schubert's melody, that it has led to the misconception that he originally wrote the melody as a setting for the Ave Maria.
此曲的開段及後不斷重複的"Ave Maria"(拉丁文, 向聖母歡呼), 可能是一個其後此曲被認為是傳統羅馬天主教教會的禱文"Ave Maria"(聖母頒)的曲調的原因. 現時此曲非常普遍地用於拉丁文的聖母頒曲調, 因此不少人會誤認此曲原為聖母頒.

source from: wikipedia (english)
music from: wikipedia (english), mutopia project
translation by: 雪思yuriko

.OGG現場演奏試聽: (quicktime player/ windows media player)
Ellens dritter Gesang, OP.52 no.6.ogg (11.3 MB)
http://www.mediafire.com/?z5gzbdygddz

.PDF樂譜下載:
SchubertF-D839_AveMaria-a4.pdf (851.7 KB)
http://www.mediafire.com/?o4jzxivq0rd

.MID下載:
SchubertF-D839_AveMaria.mid (22.46 KB)
http://www.mediafire.com/?tzc9c30czzk

[ 本帖最后由 suet_sze 于 2008-4-5 15:14 编辑 ]

suet_sze

Prelude(前奏曲)

The very first preludes were lute compositions of the Renaissance era. They were free improvisations and served as brief introductions to larger pieces of music or particular larger and more complex movements; lutenists also used them to test the instrument or the acoustics of the room before performing. Keyboard preludes started appearing in the 17th century in France: unmeasured preludes, in which the duration of each note is left to the performer, were used as introductory movements in harpsichord suites. Louis Couperin (c.1626-1661) was the first composer to embrace the genre, and harpsichord preludes were used until the first half of the 18th century by numerous composers including Jean-Henri d'Anglebert (1629-1691), Élisabeth Jacquet de la Guerre (1665-1729), François Couperin (1668-1733) and Jean-Philippe Rameau (1683-1764), whose very first printed piece (1706) was in this form. The last unmeasured preludes for harpsichord date from the 1710s.
前奏曲的原型是文藝復興時期的魯特琴(有點類似現代的結他, 屬撥弦樂器) 音樂. 它們屬於一種即興創作和是作為一些較長的樂曲的引子的; 魯特琴演奏者也會用它來為其他樂器調音或者吸引房內聽眾的注意. 至於鍵盤上的前奏曲, 就在17世紀於法國萌起: 無調性的前奏曲, 而其中每個音符的長度都可以由表演者自行發揮(可說是完全自由曲式), 曾被用於古鍵琴(現代鋼琴的前身) 組曲的前奏. 庫普蘭(Louis Couperin, 1626-1661) 是第一個接受和推動此曲式的作曲家, 而古鍵琴的前奏曲一直被普遍使用至18世紀前半時期, 主要作曲家包括當格勒貝爾(Jean-Henri d'Anglebert, 1629-1691), 賈蓋(Élisabeth-Claude Jacquet de la Guerre, 1665-1729), 大庫普蘭(François Couperin, 1668-1733) 和讓-菲臘·拉莫(Jean-Philippe Rameau, 1683-1764), 而拉莫的第一首發表作已經是這種曲式. 最後一批無調性古鍵琴前奏曲發表於18世紀10年代.

The development of the prelude in 17th century Germany led to a sectional form similar to keyboard toccatas by Johann Jakob Froberger or Girolamo Frescobaldi. Preludes by northern German composers such as Dieterich Buxtehude (c.1637–1707) and Nikolaus Bruhns (c.1665-1697) combined sections of free improvised passages with parts in strict contrapuntal writing (usually brief fugues). Outside Germany, Abraham van den Kerckhoven (c.1618-c.1701), one of the most important Dutch composers of the period, used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint.
17世紀德國的前奏曲發展引起到後來的鍵盤托卡塔(表現技巧的即興曲), 主要作曲家有弗羅柏格(Johann Jakob Froberger, 1616-1667) 和符雷斯可巴帝(Girolamo Frescobaldi, 1583-1643). 至於德國北部的作曲家如布克斯泰烏德(Dieterich Buxtehude, 1637-1707) 和布魯恩斯(Nikolaus Bruhns, 1665-1697)則以自由即興創作和嚴格對位的樂章(通常是賦格曲)組合成前奏曲. 德國以外, 柯克霍溫(Abraham van den Kerckhoven, 1618-1701), 其中一個當時最具影響力的荷蘭作曲家, 就用此方法撰寫一部分前奏曲. 不過, 德國南部和中部的作曲家並沒有跟隨此曲式, 他們的前奏曲繼續維持即興曲式和自由拍子.

During the second half of the 17th century, German composers started pairing preludes (or sometimes toccatas) with fugues in the same key; Johann Pachelbel (c.1653-1706) was one of the first to do so, although Johann Sebastian Bach's (1685-1750) "prelude and fugue" pieces are much more numerous and well-known today. Bach's organ preludes are quite diverse, drawing on both southern and northern German influences.
17世紀後半期, 德國的作曲家開始把一對對同一主調的前奏曲(或有時候和托卡塔)串起來; 帕赫貝爾(Johann Pachelbel, 1653-1706)是第一個如此做的作曲家, 不過巴哈(Johann Sebastian Bach, 1685-1750)的「前奏曲和賦格曲」則更為大型和為現代人稱道. 巴哈的管風琴前奏曲頗為多元化, 是為同時受到德國南部和北部作曲家的影響.

Johann Caspar Ferdinand Fischer was one of the first German composers to bring the late 17th century French style to German harpsichord music, replacing the standard French overture with an unmeasured prelude. Fischer's Ariadne musica is cycle of keyboard music which consists of pairs of preludes and fugues; the preludes are quite varied and do not conform to any particular model. Ariadne musica served as a precursor to Johann Sebastian Bach's Well-Tempered Clavier, two books of 24 "prelude and fugue" pairs each. Bach's preludes were also varied, some akin to Baroque dances, others being two- and three-part contrapuntal works not unlike his inventions and sinfonias. Bach also composed preludes to introduce each of his English Suites.
費雪(Johann Caspar Ferdinand Fischer, ?-1746)是第一批把17世紀後期的法式古鍵琴音樂帶到德國的作曲家, 把法式的序曲改為無調性的前奏曲. 費雪的「新風琴音樂的阿里阿德涅」(Ariadne musica, 1702) 恍惚成了其後巴哈的「十二平均律鋼琴曲集」(Well-Tempered Clavier, 1722, 1744)的先兆, 該兩冊各有24對「前奏曲和賦格曲」. 巴哈的前奏曲亦被變奏, 有些成了巴洛克時期的舞曲, 有些則成了兩部或三部對位曲和他的創意曲及交響樂相似. 巴哈亦為他的每一首英語組曲撰寫了前奏曲.

Bach's Well-Tempered Clavier influenced almost all major composers of the next centuries, and many often wrote preludes in sets of 12 or 24, sometimes with the intention of utilizing all 24 major and minor keys as Bach had done. Frédéric Chopin (1810-1849) wrote a set of 24 preludes, Op. 28, which liberated the prelude from its original introductory purpose and allowed it to serve as an independent concert piece. Numerous composers after him wrote preludes with a similar purpose, such as Claude Debussy (1862-1918) and his two books of impressionistic piano preludes, which influenced many later composers.
巴哈的「十二平均律鋼琴曲集」幾乎對所有下一世紀的主要作曲家都造成重大影響, 其中大部分人寫前奏曲都以12或24首為單位, 有時創作曲也會利用24個大調和小調, 就如巴哈所做的. 蕭邦(Frédéric Chopin, 1810-1849)寫了一套24首前奏曲, Op. 28, 把前奏曲從原本的前奏用途解放出來, 而成為了一種獨立的演奏曲式. 在他以後的很多作曲家都寫了類似的前奏曲, 以德彪西(Claude Debussy, 1862-1918)為首. 他的兩本印象主義鋼琴前奏曲, 影響後世甚深.

Preludes were also used by some 20th century composers when writing Baroque-inspired "suites". Such works include Ravel's Le Tombeau de Couperin (1914/17) and Schoenberg's Suite for piano, Op. 25 (1921/23), both of which begin with an introductory prelude.
前奏曲也被一些20世紀作曲家利用作為巴洛克主義的「組曲」. 其中一些作品如拉威爾(Joseph-Maurice Ravel, 1875-1937) 的「拉威爾:庫普蘭之墓」(Le Tombeau de Couperin , 1914/17) 和勛伯格(Arnold Schoenberg, 1874-1951) 的「鋼琴組曲, Op. 25」(Suite for piano, Op. 25, 1921/23) 都是以前奏曲為開端.

source from: wikipedia (english)
music from: mutopia project
translation by: 雪思yuriko

代表作: 巴哈 - C大調前奏曲 (J. S. Bach - Prelude to Suite in C Major)
.PDF樂譜下載:
Bach_Preludio_BWV997-a4.pdf (81.5 KB)
http://www.mediafire.com/?3nv1nz2zkbh

.MID下載:
Bach_Preludio_BWV997.mid (7.88 KB)
http://www.mediafire.com/?2hwdcz2umbt

[ 本帖最后由 suet_sze 于 2008-4-5 21:52 编辑 ]

suet_sze

Allegretto — moderately fast (but less so than allegro)
小快板


Moderately fast, lively. Faster than Andante, slower than allegro
溫和的快板, 生動的. 比行板快, 比快板慢.


source from: contracosta.cc.ca.us
music from: wikipedia (english), mutopia project
translation by: 雪思yuriko

代表作: 貝多芬 - A大調第七交響樂(第二樂章: 小快板) (L. V. Beethoven - Symphony No. 7 in A Major (2nd Movement: Allegretto))
.OGG現場演奏試聽: (quicktime player/ windows media player)
Symphony No. 7, OP. 92, 2nd movement (Allegretto).ogg (783.5 KB)
http://www.mediafire.com/?motxd3ymwwx

.PDF樂譜下載:
Symphony7_2-a4.pdf (427.25 KB)
http://www.mediafire.com/?2dxtuxkfvmx

.MID下載:
Symphony7_2.mid (59.01 KB)
http://www.mediafire.com/?0myxh3mlt0v




[ 本帖最后由 suet_sze 于 2008-4-5 22:07 编辑 ]

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