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发表于 2008-4-5 13:43:59
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04. Prelude (序曲)
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
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