论文部分内容阅读
(承上期)由于卡萨尔斯的大师班,巴黎的诺尔梅学校成为战前世界各地大提琴家聚集的中心。在卡萨尔斯生命的最后时期,还在美国开设了类似的大师班,并且他的许多技术与音乐上的创新都为埃森伯格和本丁的著作提供了灵感源泉。卡萨尔斯从不通过论文发表自己的观点,因为他相信自己总是在不断进步的。他是从这样一个前提出发的:“乐谱就像是一件拘束衣,而音乐就像生命自身,是不断运动的……本能的、自由的不受任何约束”。“由于探求右臂(包括肘)运动的充分自由,他引起了因循守旧人的愤怒……这样自由的动作使全弓技巧更
(Previous period) As Casals master class, Paris’s Norrmal school became a cell of pre-war cello gathered around the world. In the last days of the life of Casals, a similar master class was also opened in the United States, and many of his technical and musical innovations inspired Edson Berg and Bentin’s writings. Casals never published his opinion through the essay, because he believes he is always in constant progress. He is starting from the premise: ”Score is like a restraint clothing, and music is like life itself, is constantly moving ... ... instinctive, free from any constraints “. ”Due to his full freedom to explore his right arm (including his elbow), he caused outrages on the part of the old man ... so free moves made the bow technique more