强者独白II·李斯特巅峰作品选

强者独白II·李斯特巅峰作品音乐专辑 国际钢琴艺术家吴牧野开启“强者独白II·李斯特巅峰作品选”钢琴独奏世界巡演，并收录了与巡演同名的本张专辑——是吴牧野在琴键上与李斯特跨越时空的对话和致敬之作，也是一次新的诠释，在古典主义的丰碑前，再登“巅峰”。 吴牧野的演奏兼具想象力和爆发力，深得法国钢琴学派之精髓，技巧高超、触键细腻精准。而面对李斯特“巅峰之作”这样一套高难度之超技曲目，吴牧野一改内敛温柔优雅的风格，将高度炫技的演奏技艺与激烈的情感表现结合，音调的激昂表露与旋律的真挚浪漫相汇，火热的性格与富有诗意的幻想交织，展现其精湛的钢琴技术与纯粹的情感维度，黑白键的无限音响空间，是艺术理想的炫目外显和高调宣叙。 本张音乐专辑，吴牧野将以自己对李斯特作品的深刻理解，传承且重新诠释李斯特的巅峰乐章——九首选曲，集李斯特钢琴创作之精巧妙思，华丽炫技，丰富情感为一体，体裁纵揽奏鸣曲、狂想曲、圆舞曲、夜曲种种，以《浮士德》《梅菲斯特》《但丁》写尽文学意象，以《爱之梦》《奉献》《安慰》展现梦幻与抒情，以两首《匈牙利舞曲》达到非凡技术语言与民族素材的深层共鸣......技巧之绚烂、音响之震荡与如歌抒情交织，带来一场强烈且震撼的钢琴之夜。 就让我们在国际钢琴艺术家吴牧野的本张专辑音乐中，聆听历经210年的“钢琴之王”之不朽华彩，再度以强者之独白，向巅峰奏鸣！ 曲目介绍： 1.李斯特《B小调钢琴奏鸣曲》Piano Sonata in B Minor, S.178 《B小调奏鸣曲》鸿篇巨制，不仅为李斯特钢琴作品之最，也可列为贝多芬奏鸣曲以后最伟大的奏鸣曲。李斯特思想中存在着深刻的矛盾，他对现实不满，怀着满腔热情要求变革现实，但又时时怀疑动摇、痛苦，看不到明确的道路。最能反映这种内心矛盾的钢琴作品就是他于1852-1853年间写下的这首《B小调奏鸣曲》。 在李斯特的心目中，这种矛盾是地狱与天堂之间的斗争，是罪恶与圣洁之间的斗争。人们常把这首作品的内容与歌德的《浮士德》联系起来：音乐中表现怀疑一切、内心矛盾重重的浮士德主题、象征圣洁天堂的玛格丽特主题和代表地狱罪恶的梅菲斯特主题不断地交替出现。但是李斯特并没有用音乐来叙述情节，而是直接进入人的内心活动之中。乐曲的情感表现幅度极其广阔，既有虔诚的信仰和对光明幸福的渴望，也有对生活的否定态度和宿命论的情绪。但是音乐本身的展开却富有逻辑。作曲家成功地运用了主题变奏的手法。各个主题动机虽然短小，李斯特却在速度、节拍、音区、调性和织体诸方面进行灵活的变化，既达到细节上的丰富表现，又体现整体上的层次分明。结构上，李斯特也打破了传统的多乐章奏鸣曲曲式，采用单乐章形式结合套曲性的原则来写，这一大胆而成功的创举，实为后世所瞩目。 Piano Sonata in B Minor is a magnificent work, not only the greatest of Liszt's piano works, but also the greatest sonata since Beethoven's sonatas. There is a profound contradiction in Liszt's thinking; he was dissatisfied with reality and passionately demanded change, but at times he was shaken by doubt and pain and could not see a clear path. The piano work that best reflects this inner conflict is his Sonata in B minor, written between 1852 and 1853. In Liszt's mind, this conflict was a struggle between hell and heaven, between sin and holiness. People often associate the content of this work with Goethe's Faust: the music alternates between the Faustian theme, which expresses doubt in everything and inner conflict, the Marguerite theme, which symbolises a holy heaven, and the Mephisto theme, which represents the sinfulness of hell. But Liszt does not use the music to narrate the plot; instead, he goes straight into the inner workings of the human mind. The emotional range of the music is extremely broad, ranging from devotion and a desire for light and happiness to a negative attitude towards life and fatalistic emotions. But the music itself unfolds in a logical manner. The composer has succeeded in using variations on a theme. The motifs are short, but Liszt is flexible in terms of tempo, speed, range, tonality and texture, achieving both a richness of detail and an overall clarity. Liszt also breaks away from the traditional multi-movement sonata form and writes in a single-movement format combined with the principle of the suite, a bold and successful initiative that has been noted for generations to come. 2.李斯特《但丁幻想奏鸣曲》Après une lecture du Dante: Fantasia quasi Sonata, S.161 No.7 《但丁幻想奏鸣曲》是李斯特钢琴曲集《旅行岁月》（第二集）中最后且规模最大的一首，灵感来源于但丁的诗篇，直接表达李斯特读但丁《神曲》第一部《地狱篇》的印象。钢琴曲集《旅行岁月》共三集，第一集《在瑞士》、第二集《在意大利》及其续篇《威尼斯与拿波里》、第三集《在罗马》，其中第二集《在意大利》创作于1837-1839年间，是李斯特从意大利的自然与人文艺术瑰宝中得到灵感缀合而成。不仅有自然风光的篇章，如《船歌》《塔兰泰拉》，更多的是源于意大利文艺复兴时期的文学艺术巨作，如三首《彼特拉克十四行诗》以及这首《但丁幻想奏鸣曲》。 但丁《神曲》分三篇：地狱、炼狱、天堂。《但丁幻想奏鸣曲》也围绕着这三个背景，第一句以八度和弦的装饰下行，仿佛通向地狱之门。之后大量的八度及八度和弦、半音进行等手法描绘了一幅由悲叹、倨傲、**、憎恶、饥饿混杂一起的地狱惨状。李斯特运用钢琴的高超技艺，创造了千变万化的音响，着重表现内心和心理上描述的地狱场景，自身灵魂被分离的痛苦，高贵的本性在理智的理想主义与不受约束的情欲之间的强烈冲突。 Dante Fantasia quasi Sonata is the last and largest piece in Liszt's piano collection The Traveling Years (2nd collection), inspired by Dante's poetry and directly expressing Liszt's impressions from reading the first part of Dante's Divine Comedy, the Inferno. The piano collection The Traveling Years consists of three episodes: the first in Switzerland, the second in Italy, and its sequel Venice and Napoli, and the third in Rome, the second of which was composed between 1837 and 1839, and is an embellishment of Liszt's inspiration from the natural and humanistic treasures of Italian art. Not only are there chapters on nature, such as "The Boat Song" and "Tarantella", but there are also masterpieces of Italian Renaissance literature and art, such as the three Petrarchan Sonnets and this Dante Fantasia quasi Sonata. Dante's Divine Comedy is divided into three pieces: the territory, purgatory and paradise. The Dante Fantasy Sonata also revolves around these three settings, with the first line descending in an ornamented octave chord, as if leading to the gates of hell. The numerous octaves and octave chords and chromatic progressions that follow paint a tragic picture of a region of lamentation, arrogance, lasciviousness, abomination and hunger all mingled together. Liszt's mastery of the piano creates a thousand different impressions, focusing on the inner and psychological description of the regional scene, the pain of his own soul being separated, the intense conflict of his noble nature between sensible idealism and unrestrained lust. 3.李斯特《第1号梅菲斯特圆舞曲》Mephisto Waltz No.1, S.514 《梅菲斯特圆舞曲》堪称是李斯特炫技作品中的代表之作，而《第1号梅菲斯特圆舞曲》副标题为“乡村酒馆中的舞曲”。梅菲斯特是歌德剧作《浮士德》中的角色，全曲生动描绘了梅菲斯特在乡村酒店的一段舞蹈。时而激情四射，时而风情万种。所有人都沉醉在狂欢的音乐中，整个酒馆成了狂饮闹宴，梅菲斯特疯狂的笑声回荡在空气中，最后夜莺的歌声响起，梅菲斯特在黎明前的黑暗中化作一股旋风飞走了。 李斯特给演奏者提出了高难度的技术挑战。强有力的八度进行，变化莫测的旋律织体，单乐章多速度性格的结构，都呼唤着精湛的演奏处理，成熟的音乐思维和自然的表达方式。 Mephisto Waltz is a masterpiece of Liszt's virtuosity, and the Mephisto Waltz No. 1 is subtitled "Dance in a Country Tavern". Mephisto is a character in Goethe's Faust, and the whole piece is a vivid depiction of Mephisto dancing in a country hotel. At times it is passionate and at other times it is full of style. Everyone is absorbed in the music, the tavern becomes a drinking frenzy, Mephisto's mad laughter echoes in the air, and finally the nightingale sings and Mephisto flies away in a whirlwind in the pre-dawn darkness. Liszt presents the performer with a highly technical challenge. The powerful octave progressions, the unpredictable melodic weaving, the multi-velocity character of the single-movement structures all call for virtuoso handling, mature musical thinking and natural expression. 4.李斯特《降D大调第3号安慰曲》Consolation No. 3 in D♭ Major, S.172/3 1849-1850年李斯特为钢琴而作的6首安慰曲，以夜曲的形式营造诗意梦幻的意境。李斯特一改当年天马行空的恢弘气势，摆脱了以往炫技的成份，由擅长的桀傲到驯服的来回摇摆走向内心的审视，写成非常精致的小品，朴素动人，犹如歌唱一般的小品，其柔情诗意绝不在肖邦之下。《降D大调安慰曲》是其中第三首，是一首安静、极富意韵的慢板。高声部旋律似贝里尼咏叹调，富有歌唱性，分解和弦音型在中低音区贯穿全曲，均匀，似暗流涌动。 Liszt's six consolations for the piano from 1849-1850 take the form of nocturnes that create a poetic and dreamy mood. In a change from the grandeur of his days, Liszt moves away from the showy elements of his past, swaying back and forth from adept brashness to tameness towards inner scrutiny, writing very delicate miniatures, simple and moving, as if singing, whose tender poetry is by no means inferior to Chopin's. The Consolation in D flat major, the third of these, is a quiet, extremely moody adagio. The melody in the upper voices resembles a Bellini aria, with a singing quality, and the decomposed chord patterns are evenly spaced throughout the middle and lower registers, like an undercurrent. 5.李斯特《升C小调第2号匈牙利狂想曲》Hungarian Rhapsody No. 2 in C# Minor, S.244/2 李斯特共创作了19首匈牙利狂想曲，1854年以前写了15首，晚年又写了4首，这套作品充分发挥了钢琴的音乐表现力，并且为狂想曲这个音乐体裁创作树立了杰出的音乐典范。匈牙利狂想曲的创作素材主要来源于匈牙利的民间舞曲“查尔达什”（Csardas）和匈牙利境内吉普赛人的流行音乐。“查尔达什”舞曲中包括匈牙利音乐特有的切分节奏以及随处插入的即兴式的华彩音型。这种舞曲一般由庄重徐缓，被称作为“拉苏”（Lassan）的部分和热情奔放、飞驰疾速、被称之为“弗利斯卡”（Friska）的部分构成。李斯特的匈牙利狂想曲深受此种舞曲风格的影响。结构精炼、乐思丰富活跃，音乐形象鲜明而质朴，展现了自然美和艺术美的完美统一。 《升C小调第2号匈牙利狂想曲》，随想曲风格的慢板，作于1847年，献给泰勒奇（Laszlo Teleky）伯爵。这是最著名的一首匈牙利狂想曲，以匈牙利民间舞曲“查尔达什”为素材，由两部分组成：前一部分“拉苏”，意为“缓慢”，是独舞的音乐。后一部分为“弗利斯卡”，意为“新鲜”，速度迅急、热烈，是双人舞的音乐。该作品采用自由曲式，不受一般乐曲形式的限制，别具风格，独树一帜，深受各国人民的喜爱。乐曲开始有一个速度缓慢，节奏自由，并带装饰音，沉着有力的引子，接着音乐进入性格豪放的“拉苏”第一部分，音乐从中音区开始，缓慢庄严的旋律，进入第一主题。这一主题在高音区变化反复之后，音乐转入一个舞曲性旋律，以轻快跳跃的旋律、匀称而规整的节奏，使舞曲变得更富于动力性。第二部分音乐速度加快，出现了狂热急板的“弗利斯卡”舞曲，描绘了民间节日欢欣起舞的场面。随着音乐速度的加快，力度的加强，音乐进入了表现万众狂欢的群舞场面。 Liszt composed 19 Hungarian rhapsodies, 15 before 1854 and four in his later years. A set that makes full use of the musical power of the piano and sets an outstanding musical example for the genre of the rhapsody. The Hungarian Rhapsody is based on the Hungarian folk dance "Csardas" and the popular music of the Hungarian gypsies. The "Csardas" include the syncopated rhythms characteristic of Hungarian music as well as improvised flamboyant patterns that are inserted everywhere. It is generally composed of a stately, slow section known as the "Lassan" and a spirited, fast section known as the "Friska". Liszt's Hungarian Rhapsody is heavily influenced by this style of dance. The structure is refined, the ideas are rich and lively, and the music is clear and simple, showing a perfect unity of natural and artistic beauty. The Hungarian Rhapsody No. 2 in C minor, in the adagio style, was composed in 1847 for Count Laszlo Teleky. This is one of the most famous Hungarian madrigals, based on the Hungarian folk dance "Chardash", and which consists of two parts: the first part, "Lassan", meaning "slow", is the music of a solo dance. The second part is the "Friska", meaning "fresh", which is fast and furious and is music for a duet. The piece is a free form piece, not restricted by the usual forms of music, and is a unique and distinctive piece that is loved by all people. The piece begins with a slow, free rhythmic introduction with ornamentation and a subdued, powerful introduction, and then moves into the first part of the "Lassan" with its bold character, a slow, solemn melody in the middle register, and the first theme. This theme is repeated in the soprano range before moving into a dance-like melody with a light, leaping melody and a well-proportioned, regular rhythm that makes the dance more dynamic. The second section picks up speed and features a frenzied, rapid-fire "Friska", depicting a folk festival dance. As the tempo increases and the intensity intensifies, the music moves into a massed dance scene showing the revelry of the crowd. 6.李斯特《爱之梦》Liebestraum No.3 “love dream” in A♭ Major, S.541/3 李斯特把自己的三首歌曲改写为三首钢琴曲，题作《爱之梦》，作于1845年，与《安慰》一样，都属于夜曲的体裁。这是其中第三首，歌曲来源于德国浪漫派革命者佛拉里拉特的诗集《一瞬间》中的抒情诗“爱吧！你可以爱的这样久”，用歌唱性的抒情旋律贯穿以不同的织体形态，加入李斯特特有的炫技性片段，明亮柔和的氛围中又不乏波光粼粼的色彩。大量八度和弦的运用，构成了浑厚的音响，琶音上下的起伏，又如同大海波浪的翻腾，充分展现浪漫派的情怀——对爱的执着与追求。 Liszt rewrote three of his own songs into three piano pieces, entitled Liebestraum, composed in 1845, which, like "Consolation", belong to the genre of nocturne. This is the third of these songs, which is based on the lyric "Love! You can love like this for a long time", with a singing lyrical melody running through the different weaving forms, adding Liszt's characteristic dazzling fragments and a bright, soft atmosphere without lacking in sparkling colour. The use of a large number of octave chords creates a thick sound, and the arpeggios rise and fall like the tossing of waves in the sea, fully demonstrating the Romantic sentiment - the persistence and pursuit of love. 7.李斯特《降D大调第6号匈牙利狂想曲》Hungarian Rhapsody No. 6 in D♭ Major, S.244/6 《降D大调第6号匈牙利狂想曲》，适当的速度，于1853年出版，呈献给贵族阿波尼伯爵，这是与第二首同样著名的狂想曲，由四部分组成。第一部分类似雄壮的进行曲，堂皇而又崇高。第二部分飞快、短小、舞蹈性的节奏。第三部分类似散板，宣叙调的风格，有如民间游吟诗人的吟唱，诉说往事。第四部分又是狂欢般的民间舞蹈，它的主题一听就觉耳熟，这个主题经过一系列变奏，达到狂热后结束全曲。 The Hungarian Rhapsody No. 6 in D flat major, appropriately tempo, published in 1853 and presented to the noble Count Appony, is an equally famous rhapsody in four parts as the second one. The first part resembles a majestic march, grand and sublime. The second part is fast, short and danceable in tempo. The third part resembles a scattered, declamatory style, like the chanting of a folk troubadour, telling of the past. The fourth part is again a carnival-like folk dance, with a theme that is instantly familiar, a theme that ends in a series of variations and reaches a frenzy. 8.李斯特《奉献》Widmung (Dedication) from "Myrthen" Op.25 (Robert Schumann) , S.566 《奉献》是李斯特的一首改编曲，改编自罗伯特·舒曼一首拥有着独特魅力的艺术歌曲《献词》，歌词中写到：“你是我心，我的全部，你是我的喜乐，也是我的悲伤，你是我的世界，让我悠游其中，我的天空，让我自由翱翔，我的安息之所，让我在那儿放下悲伤。你是平和，你是安详，你是上天所赐予的，由于你爱我，使我尊敬自己，你的目光，使我平静，你帮助我超越自己，成为更善良、优美的我！”李斯特的改编，运用大量的和弦、八度、琶音，渲染气氛、烘托情感，展现钢琴浓厚的和声效果。 "Dedication" is an adaptation by Liszt from Robert Schumann's "Dedication", an uniquely charming art song with the following lyrics: "You are my heart, my all, you are my music and my sorrow, you are my world, let me wander in it, my sky, let me soar free, my resting place, let me let go of my sorrow there. You are peace, you are tranquillity, you are a gift from above, and because you love me and make me honour myself, your gaze, calms me, you help me to transcend myself and become a kinder, more beautiful me!" Liszt's adaptation uses a large number of chords, octaves and arpeggios to render the atmosphere, set the emotion, and showcase the piano's strong harmonic effect. 9.李斯特《浮士德圆舞曲》Valse de l'opéra Faust de Ch.Gounod, S.407 李斯特有诸多歌德《浮士德》主题作品，如钢琴《梅菲斯特圆舞曲》、管弦乐《浮士德交响曲》，以及这一首《浮士德圆舞曲》。改编自法国作曲家古诺的歌剧《浮士德》，源于歌剧第二幕结尾时群舞场面的舞曲音乐。原曲背景为：浮士德要求梅菲斯特·费利斯让他重见可爱的少女玛格丽特。这时，人们涌上了街头，随着圆舞曲节奏跳起了欢乐的舞蹈。浮士德在人群中找到了玛格丽特，并向她表白了自己诚挚的爱情。合唱曲的歌词大意为：“大家跳起轻盈的舞蹈，像田野上的阵阵微风。”乐曲洋溢着明朗的青春气息，优美精巧，美不胜收。 Liszt has numerous works on the theme of Goethe's Faust, such as the Mephisto Waltz No.1 for piano, the Faust Symphony for orchestra and this one, the Valse de l'opéra Faust. Adapted from the French composer Gounod's opera Faust, from the dance music for the group dance scene at the end of Act II of the opera. The original setting is: Faust asks Mephistopheles to let him see his lovely maiden Marguerite again. At this point, people flood the streets and dance joyfully to the rhythm of the circle dance. Faust finds Margaret in the crowd and confesses his sincere love to her. The words of the chorus are to the effect: "Everyone dances lightly, like a gust of breeze in the fields." The music is full of bright youthfulness, beautiful and refined。