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听马勒的乐曲,适合在埋伏已久的暴雨前。前奏的号角绵延出无尽的忧郁,饱满的女低音宛若铺陈的雷声,屋里的光线暗了,甘美的鲜果也失去颜色,男指挥家眉头深锁有如压城的云,管乐愈低下去,万物屏息这一刻。突然间铜锣巨响,雨铿锵临盆,心脏几乎要跳出来,女中音一路不卑不亢地唱将上去,留我在雨声里叹息。听马勒的乐曲,总让我想起托马斯·哈代《还乡》里的荒原,娇艳却无情,沉重但温柔。作为19世纪下半叶至20世纪初德奥音乐最杰出的代表人物之一,古斯塔夫·马勒无
Listen to Mahler’s music, suitable for a long time before the storm. The prelude to the horn stretches endless melancholy, full of alto as if the laying of the thunder, the dark light of the room, sweet and fresh fruit also lost color, male conductor brows deep as the pressure of the city of clouds, the lower the wind Everything is breathtaking at this moment. All of a sudden the gong loud noise, rain sonorous production, the heart almost to jump out, the accent all the way to sing will be arrogant and humble, leaving me in the rain sigh. Listening to Mahler’s music, always reminds me of Thomas Hardy’s “return home” in the wilderness, tender but ruthless, heavy but gentle. As one of the most prominent representatives of German music from the second half of the 19th century to the early 20th century, Gustav Mahler