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手风琴作为一件年轻的乐器,从1829年诞生到已有一百八十年,它由传统的手风琴发展到了目前“艺术化”的手风琴—巴扬自由低音手风琴。巴扬自由低音手风琴音域扩展,音质纯美,快速演奏方便,音乐表现力提高,使手风琴演奏的作品涉及到了以前从未有过的古典及近现代音乐,巴洛克时期的复调音乐作品在手风琴上更是占有很大的比例。其中,演奏斯卡拉蒂奏鸣曲就成为我们把握巴洛克时期音乐风格及演奏技术的必修课。由于中国手风琴演奏者了解巴扬自由低音手风琴的时间仅有二十多年,对于用这件“艺术化”的手风琴全新的诠释斯卡拉蒂奏鸣曲是我们学习的新领域,因而我们在技术上,演奏的规范化以及音乐的处理等方面存在着很多的问题。文章以《C大调奏鸣曲》(K159.L104)为例,简要的对巴扬自由低音手风琴演奏斯卡拉蒂奏鸣曲的几个有关问题进行研究。
Accordion, a young musical instrument from its birth in 1829 to its one hundred and eighty years old, evolved from a traditional accordion to the current “artsy” accordion - the Bayan Free Bass Accordion. Bayan free bass accordion range extension, pure sound quality, easy to play quickly, improve the performance of music, the accordion works involved in a never before seen classical and modern music, baroque polyphonic music works more on the accordion Is a large proportion of possession. Among them, the performance of Scarlatti Sonata has become a compulsory course for us to grasp the baroque music style and performance technique. Since Chinese accordion players know about Bayan Free Bass accordion for just over 20 years, it is a new area for us to interpret the Scarlatti sonata with this “artsy” accordion, On the standardization of music as well as the handling of music and so there are many problems. Taking the “Sonata of C major” (K159.L104) as an example, the article briefly studies several issues related to the Sonata of Scarlatti played by the banyan free bass accordion.