Shengshiue 發問時間: 社會與文化語言 · 1 0 年前

Stravinsky's Sonata 1924


During the 1920s, Igor Stravinsky (1882-1971) toured extensively as a pianist, and composed for himself four large-scale works: the Sonata (1924), Concerto for Piano and Wind Instruments (1924), Serenade in A for solo piano (1925), and Capriccio for piano and orchestra (1929). All four are representative of the composer's “neo-classical” period, which begins in 1920 with the ballet Pulcinella, and closes in 1940 with the Symphony in C, coincident with Stravinsky's departure from Europe for the United States. The works from the neo-classical period are by no means uniform in style. They frequently draw upon the styles of other composers, often with direct or thinly veiled quotes, ranging from Pergolesi (Pulcinella) to Tchaikovsky (Le Basiser de la Fee, 1928) to Rossini (Jeu de Cartes, 1936). The four works for piano are rather similar stylistically and, although not incorporating direct quotes, reveal an Italianate influence. This is especially evident in their very deliberate slow movements, which consist basically of an accompanied melody, often embellished by florid ornamentation.

The first movement of the Sonata is in sonata-allegro form, although distorted and stylized in a seriously pleasing, “Picasso-esque” manner. Stravinsky rarely uses sonata-allegro form: the only other example in a well-known work is the first movement of the Symphony in C. The second movement is essentially an A-B-A form in which the third section begins by recalling the first exactly, but then quickly departs on its own melodic course, while maintaining the same style. The final movement can be divided into five sections, of which the last is a variation on the first.

I cannot agree with critics who have characterized the Sonata as inexpressive and dry. The outer movements are witty and capricious, while the central movement is characterized by a subtle tenderness.

有點小亂 不過還是不希望有直接照字翻的


1 個解答

  • 1 0 年前

    在20世紀20年代,艾戈爾Stravinsky(1882-1971)作為一鋼琴家遊覽廣泛,並且適合他自己4 大規模創作工作︰ 奏鳴曲(1924), 鋼琴和吹奏樂器的協奏曲(1924), 在獨奏鋼琴(1925)和鋼琴和管弦樂隊的隨想曲的A裡的小夜曲(1929)。 全部4 都是作曲家的"新古典"時期的代表,這用芭蕾舞Pulcinella在1920年開始, 逼近與交響樂在C內一起的1940,給美國有Stravinsky違背歐洲一致。 來自新的經典時期的作品流行的樣式絕不相同。 他們經常利用其他作曲家的風格, 經常用直接或者稀疏掩飾的引語, 對Rossini(Jeu de Cartes,1936)從Pergolesi(Pulcinella)到柴可夫斯基(Le Basiser de拉費,1928)。 和,雖然不包含直接的引語,顯示Italianate 影響,但是鋼琴的4 件工作是相當相似的stylistically。 這在他們仔細考慮慢的樂章,基本上由伴隨的美妙的音調組成,經常被過份裝飾的裝飾裝潢裡特別明顯。

    那些第一個運動的那些奏鳴曲在奏鳴曲allegro的形式,雖然歪曲並且格式化在裡一認真令人喜歡,"畢加索-esque"模式。 Stravinsky 很少使用奏鳴曲allegro 形式︰ 在一件著名的作品裡的唯一的其他例子在C.裡是交響樂的第一個樂章第2 次運動基本上是一個A-B-A 形式, 第3 個部分首先正好記得第1,然而迅速在它自己的旋律的課程上出發,而保持相同的風格。 最後的運動可以被分成5 個部分,其中最後一個在1 號是一個變化。

    我不能同意已經描述奏鳴曲缺乏表情和乾燥的批評家。 外部運動是機智和反覆無常的,而中心的運動以細微的柔嫩為特點。