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勃拉姆斯

(2022-04-19 16:05:25) 下一个

https://m.youtube.com/watch?v=EgzB7sbLcgs

SongsOfComfort Brahms for UKRAINE with Emanuel Ax OP108

http://www.cctv.com/entertainment/romantic/60.html

Yulu withered the maple forest - the artistic conception of Brahms music

Brahms's life experience is extremely bland, without Mozart-style legends, nor Beethoven, Tchaikovsky-style strong personality characteristics; although his works are so rich in content, they always appear "obscure"—— There is a lack of minimal literacy and clear and moving themes, all of which seem to always be the necessary touches to describe music in words. Since his music doesn't have what one would normally expect in romantic music, what else really fascinates us?

　　The Norwegian composer Grieg said three years after Brahms ' death: "A realm obscured by fog and cloud, where we can find the remains of an ancient church, standing like a Greek temple, this is Brahma. James!"

If it is said that the first spiritual liberation of people after modern times was initiated with the help of paintings in the Renaissance, then when the spiritual world is looking forward to a more free and vast world than ever before, it can only rely on music , which is the most free, , the most imaginative art form, and push its energy beyond the limit, can you find a more convenient and effective way?

Of course, the more profound reason why Brahms has always been at odds with the "new music" in his life is that the views on the meaning of life embodied in their respective music are very different. Most people who hear Brahms music for the first time will ask the following question: After the vibrant romantic music has depicted countless gorgeous sounds and pictures for us and provided us with such rich and strong sensory satisfaction, after these repeated Can music really provide us with something new in the form of "classical" when the endless world of masters has been shown to be almost exhausted?However, when you listen to Brahms's music seriously, you may realize that there really is a world that is more vast and profound than the delightful world in that beautiful and complicated world, and there are all kinds of things that are more beautiful than the beauty and beauty. A more lofty realm.

Brahms' music is a deep introspection on the origin of life. What touched me most when I listened to Brahms' music was the understanding of the universe and destiny that poured out of his heart. Brahms inherited the theme of thinking about destiny from Beethoven, but the way he thinks and the conclusions he draws are quite different: if Beethoven's music reflects, most of it is the consciousness of the will of human life since ancient times And publicity, then Brahms is obviously using a more humble philosophy to perceive and express the relationship between human beings and destiny, and everything in the universe.In Brahms' music, fate is no longer a ruthless and cruel enemy, but is always people's natural companion, although it is still extremely majestic at times, and sometimes even suffocates people's best hopes and emotions, But Brahms told the Creator: people who have been in the world since ancient times have finally been able to approach it, explore it, and understand it with their own unique warm feelings; and the process of this exploration and understanding, at the same time, people Ascension of the soul!The logical starting point of Brahms' music is to stand on the basis of the achievements of rationalism, and to use his deep reverence for the world to show the incomparable magnificence of beautiful things; and the end point is to accompany their passing with the deep love and love in the heart. It is to feel and understand such things as maternal love, lust, friendship, the value of life and death, etc., all of which he adores with his whole heart, with the wisdom of a philosopher and the most pure and profound affection after all the calamities. What runs through from beginning to end is the longing and nostalgia for life and eroticism; it is the deep comprehension and sigh of the lightness of oneself contained in the infinite movement of the world.And the display and comfort of this unique human being's broad, profound, wise, clear, and fragile and bitter nature is the soul that runs through Brahms' music!

In the entire history of modern European music culture, it seems that only Brahms has the most profound understanding of the eternal interaction between human beings and destiny, selfish soul and noble reason, etc. The charm of Brahms is that he will no longer simply repeat a Beethoven-style brilliant conclusion to the world, but guide us to gradually understand through the experience of our own soul: future generations can only stand by Beethoven. Only on the shoulders of giants can we truly be qualified to understand all the joys and sorrows around us, and we can see that there is also an infinite realm in the mundane world that Beethoven has not had time to taste carefully.

　　Epic and tragic are the basic artistic characteristics of Brahms' music, but they are probably also one of the most difficult problems in the history of music culture: a person who lives in the most ordinary and comfortable life like Brahms, who How can the works have such stalwart power and compassion? In romantic music, people have experienced a variety of strong epic and tragic works, Beethoven's "Hero" Symphony, the Ninth Symphony, Chopin's "Polonaise in A flat major", "g" The Minor Ballade, Tchaikovsky's Fourth to Sixth Symphony, etc., are the most well-known examples.It may seem odd that the epic and tragic nature of Brahms' music is very different from all these common paradigms - it has almost no conventional background such as the suffering of nations, the magnificence of struggle and sacrifice, etc.; yet every Every classical music lover can feel strongly that the epic and tragic nature of Brahms' music is still the most profound, even in the Serenade in D major, which he composed in preparation for his symphony. So powerful, where did this quality of his music come from ?

　　By the standards of the "heroic" and romantic era, Brahms's experiences and emotions were too "colorless": his origin, education, and history of fame were all so insignificant, only because of Schumann's It was only through help that he came to the fore; for his life, people can only remember that he often distributed snacks to the children in the neighborhood in a thoughtful way, and even today, the table in the Brahms Memorial Hall in the southern suburbs of Vienna is still displayed as it is. ; He was so obedient that he had to obtain the consent of the women present before every time he smoked; for example, later biographers of Brahms also believed that his cowardice and crying before his death somewhat insulted his religious aspirations.So to listeners accustomed to associating the epic nature of the work with the author's dramatic life course, Brahms is a real mystery.

　　In fact, Brahms' seemingly ordinary love for all things in the universe may be the source of the great epic and tragic nature of his works. Because this kind of love does not need to rely on the pottery of blood and fire (such as Beethoven), its germination does not need to rely on the torture of personal and national destiny (such as Chopin), and it does not need to rely on the inspiration and drumming of the gods (such as Wagner); What Brahms devotes himself to is only the understanding of the principle of life, the touching and description of the great and fragile nature of this principle.People lament that Brahms' symphonies and variations can develop such a magnificent chapter from a simple theme, and think it is the result of his adherence to the principles of classical composition; but it seems to me that it is Brahm's first and foremost This is because Therefore this principle is actually the most simple, that is, as Marcuse pointed out later: human beings need to use their own basic characteristics to deeply reflect the objective world and his sense world. , when we listen to Brahms' works, we will feel that they are by no means the external logical demonstration of classical techniques, but the inner narration of our own life beliefs.You can listen to his open and fresh Symphony No. 2 and Violin Concerto in D major, and listen to the second movement and the second piano quartet (Op. ), the third movement of the third piano quartet (Op. 60), and the eloquent third movement "Andante" of the second piano concerto (Op. 83) - especially in the preceding first movement With the magnificent aura of "Allegro Not Excessive" and the second movement "Allegro of Passion", you will immediately feel how sincere and sincere he has a sincere understanding of the value of all life between heaven and earth, and the meaning of all life. What a soulful and meticulous taste.It is on this fulcrum of fundamental cultural significance that Brahms most directly inherited the spirit of Beethoven's love; at the same time, he also most clearly drew the line with Beethoven-Beethoven's later years, when the body and As his life became more and more miserable, he presented the title of his Piano Sonata No. 30 (Op. 109) to Miss Brentano, along with a self-assessment of the new composition: "It is not Nothing can be compared with common things, this is the spirit, this is the spirit that can connect the noble and outstanding people on earth!" Beethoven's nobility always has the lion-like pride; Brahms The noble, but full of forbearance, compassion and ultimate care like "people's things and".From the perspective of the longer human history and the wider universe, which of them is closer to the essence of "noble"?

　　Philosophers say that the beauty of the gods admired by the Greeks lies in the reason they manifest; and the beauty of the Greeks is in their daily life, which is "simple happiness" that a religious obsession does not have. In this sense, Brahms' music may be far closer to the classical humanistic spirit and tragic significance than Wagner, who proudly claimed to have saved and inherited the Greek spirit. Aristotle said: Those who live outside the city-state of Athens are either beasts or gods.More than 2,000 years later, when the tendency to reject the expression of "everyday life" developed to the extreme in Wagner, didn't his great ideals and magnificent music also completely need the support of gods and beasts?Therefore, the music historian Paul Henry Lange believes: "Wagner is a real dramatist, but he is not a 'tragic'." The epic and tragic nature of Brahms' works is not only completely different from Wagner's, but also It is different from the connotation of Beethoven until the nineteenth century of the national music school: what he explored throughout his life was not the various sufferings and struggles that people had to face after being expelled from the kingdom of heaven, nor the conflict between lofty ideals of life and the world. and so on all the external contents of fate, but before all these appearances of fate and conflict are revealed, the "genes" and sources of joy and sorrow contained in people's lives more deeply, are the source of even almost all the greatest heroes.The soul will eventually face and ponder the distant return journey in the future.It is precisely because Brahms expresses the things before and above the chaos, so his music is a high degree of unity of the peaceful and cordial human feelings, the profound philosophical thoughts, and the broad and transcendental religious feelings. "Sorrow comes from the heart ", and it is also a distant epic of people's hearts - a great journey from perceiving fate, fearing fate, fighting against fate, understanding fate, and accommodating fate with a broad and lofty heart! It is really like the ruined Athenian temple in the twilight, its existence itself is an epic for human beings to understand themselves and understand everything in the universe.If you don't believe me, go and listen to his "German Requiem". Apart from Bach's "Mass in B Minor", has there ever been such a sincere, humble and incomparably magnificent voice in the world? And after Brahms, is it possible to hear this sound again in the world?

　　Immersed in the euphemistic and majestic violin sound of Brahms Xu Wei, a poem often floats in my heart: "The jade dew damages the maple forest, and the Wu Mountain and Wu Gorge are desolate ." Indeed, perhaps only Du Fu's poems in his later years were broad, gloomy and peaceful. The essence of perfection can be compared with the artistic conception of Brahms music. (Text: Wang Yi, from "Reading") 　