【钢琴】李斯特 - 6首帕格尼尼超凡技巧练习曲 S.140

Parts

Description

Liszt: Études d'exécution transcendante d'après Paganini, S140
Performer: Goran Filipec

As it happened, the foremost virtuoso of the age was not Liszt; in fact, he was not a pianist at all, but a violinist. Already during his own lifetime, Paganini had become a legend: he was the supreme artist who could do anything and his virtuosity was such that in order to account for it all, people supposed him to be in league with the Devil. Everywhere his works were regarded as unplayable, until Paganini turned up and played them; a particular speciality of his was to play an entire piece on one string alone, with which he would bring the house down. He guarded his secrets jealously: whenever he rehearsed a concerto he would never allow the orchestral players a chance to observe what he did during the cadenza, for he would play his cadenzas once, and once only, and that was at the performance; these were moments of supreme virtuosity, when the man and his violin became one, and the hushed audience would witness such marvels of execution that it seemed, indeed, as if the very Devil had taken possession of him. 
In April 1832, the great violinist would give a benefit concert in the Paris Opera House for the victims of cholera, with Liszt present in the audience. In the lives of most great men there sometimes comes a blinding flash of revelation when they see their future destiny clearly marked out before them, and Liszt's "blinding flash" occurred right there in response to hearing Paganini play. Liszt was so entranced by the unfettered expressiveness of his playing, and the Italian wizard's ability to turn to utterly musical account a technique of legendary transcendence, that he experienced an artistic awakening and the young composer immediately declared his intention of achieving upon the piano an equivalent new technical mastery, something he would achieve with much toil (according to his own testimony 10 or 12 hours practice a day.)

Comments

Hau-Hao 2020-09-04

碰巧，这个时代最重要的大师不是李斯特，也不是钢琴家，而是小提琴家。在他自己的生前，帕格尼尼就已经成为了一个传奇：他是无所不能的至尊艺术家，他的演奏技巧非常高超，为了解释这一切，人们认为他与魔鬼结盟。无论在哪里，他的作品都被认为是无法演奏的，直到帕格尼尼出现并演奏它们；他的一个特别之处是仅用一根弦就能演奏一整首曲子，他的演奏会让全场哗然。他对自己的秘密严加保护：每当他排练一首协奏曲时，他决不允许管弦乐队的演奏者有机会观察他在奏鸣曲时的表现，因为他只演奏一次他的奏鸣曲，而且只有一次，那是在演出时；那是最高技巧的时刻，当他和他的小提琴合二为一时，安静的听众将目睹这样的演奏奇迹，以至于看起来好像是魔鬼占有了他。 1832年4月，这位伟大的小提琴家将在巴黎歌剧院为霍乱的受害者举办一场慈善音乐会，李斯特也在观众席上。在大多数伟人的生命中，有时会有一个盲目的闪光（blinding flash），当他们看到自己未来的命运清晰地标示在他们面前时，李斯特的 "盲目闪光 "就发生在听帕格尼尼演奏的反应中。李斯特被帕格尼尼不受约束的演奏表现力所吸引，也被这位意大利巫师将一种传奇性的超凡技术完全转化为音乐的能力所吸引，以至于他经历了一次艺术的觉醒，这位年轻的作曲家立即宣布，他打算在钢琴上达到一种新的同等技术水平，他将通过大量的辛勤工作来实现这一目标（根据他自己的证词，每天要练习10或12个小时）。来自Andrei

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