论文部分内容阅读
要说在小提琴艺术史上留下了惊世骇俗的奇迹,恐怕再没有比得过帕格尼尼的人选人。当年这位骨瘦如柴,长发披肩,目露冷光的意大利怪杰,只要操起了他的小提琴,立即会变成一个热情奔放的魔术师,令弓弦之间溅放出醉人的琴声。相传他用一支木履装上两根弦便能演奏;他曾在演奏会上故意弄断三根弦,只剩下一根G弦却仍能出神入化地演奏。帕格尼尼创造的奇迹在于,他把小提琴演奏技艺提升到一个崭新的境界,他开创了在小提琴上演奏三音和弦、左手快速拨弦、高难度揉弦和颤音,以及断奏和弹跳弓(Saltato)等特技。他从自己精湛无比的演艺中提炼出令后世演奏家感到瞠目结舌的动人作品,这些艺术结晶至今仍是小提琴曲目中的璀璨瑰宝。更为重要的是,这些作品极其优美动听,雅俗共赏,既是
To say that in the history of the art of violin left a miraculous miracle, I am afraid there is no one more than Paganini candidates. When the skinny, long-haired shawl, glitzy Italian geeks, as long as his violin has been manipulated, and immediately turned into a passionate magician, splashes bow strings between intoxicating piano sound. He is said to have played on two wooden strings and two strings; he had deliberately broken three strings at a concert, leaving only one G-string to perform superbly. Paganini’s miracle was that he took violin playing skills to a whole new level. He started to play three-tone chords on the violin, quick left-handed picks, hard-to-string and vibrato, and staccato and bouncing bow Saltato) and other stunts. From his superb acrobatic show, he is able to extract stunning moving works by late-stage performers who are still treasured in the violin. More importantly, these works are extremely beautiful and graceful, both refined and popular, both