Music: "Music Anthology· Zhong" Xin Fengnian

【Original】Thirsty for knowledge, humble as foolish.

【Rating】 ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

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• A selection of famous songs
• Learn to listen

Can't faithfully convey the charm of the original. You might as well look at the original as a pencil watercolor portrait with a pen and Fu Cai, and change it to a violin, like an oil painting. The hazy effect of the original work is faintly confused.

Chopin's piano language and style are so untouchable, refined and high-minded, reaching a perfect height. In fact, this song is only a little more than four minutes to play, its realm is vast and rich in imagery, which is poetic, associative, and inexhaustible. Its connotation seems to overflow from its simple piano fabric.

For old-fashioned fans like me, there seems to be no new masterpieces in the world today. Of course, this is to blame for their own loneliness.

"Fountains of Rome" arranges the scene at dawn, morning, noon and dusk, so that the scenery is presented in different lighting and atmospheres, which is reminiscent of the French Impressionist painter Monet's "straw pile". The difference is that Monet is staring at a relentless pile of dead things, grabbing the light and color seen in that moment, while Respicky hits the "stage surface" with different light and shades and different shades of light and shade, inducing us to empathize and mix the foreground and the sense of history.

If you delete them, the music will be "faded". The melodious bells are an important role in creating twilight and nostalgia, prompting that "the wind is blowing, and a full moon illuminates the pine forest on the hill." The nightingale sang "Clouds." The writing style in this song is a desolate mood, which is unique in the famous articles of Western writing style. It does not beg for pity on onomatopoeia to shape, but from the ups and downs of the rhythm of the music, you can feel the "Ten Thousand Tricks of Anger" said by Zhuang Zhou, so that you can feel the "wind into the pine" and "the tree wants to be quiet and the wind is not stopping".

The String Quartet is obscure and eccentric. Although I listened sincerely and repeatedly, it was still a heavenly book for me.

An overly sensitive and imaginative young musician who commits suicide by swallowing opium in despair because of a loss of love... In the sudden cold field, I overheard a cymbal, and I heard it creepily, recognizing it as a dry cough from a death row prisoner. Every time I hear it, I can't help but wonder how the author can figure out the state of mind of a person who is walking to the guillotine, is it difficult for him to really have personal experience, have been on the Dhamma and survived the ghost under the sword? Among them, hesitation, vacillation, determination... All kinds of moods, "Memoirs" is full of love and emotion, is a ready-made movie script. The anti-climax of this little comedy is that he recedes the fever halfway through. Unfinished works and creative manuscripts act as cooling agents.

The music is more collected, the elegance is compatible, and the various varieties of salon music, religious music and opera adaptations are also collected a little, there are classical, there are romantic, even if it is inevitable like a large platter with slightly mixed tastes, but for ordinary piano music lovers such as me, there is still no score that can completely replace it.

"Song of Flowers", "Sunrise Birds Fighting", "Temple Bells", etc., the title is poetic, the tune is beautiful, the harmony is not complicated, plus the gorgeous passage sentences that can make the player show their skills, etc., all of which help to spread widely. These rather pianoized pieces rely on this all-round instrument to pass on, and the piano is enhanced by them.

If I don't hear Wagner's music about the ocean, I'll be content with Mendelsohn's "The Cave of Fingal," or a fragment of a storm at sea in Pell Günter. Rubenstein wants to represent the ocean, and I can only compare its effect to a pond in a park.

This work, the pianist respects it like a god, playing it again and again to sweat, and the fans who can really listen to the music will not doze off after all, like those who read through "Ulysses", "more than not much"!

Although his "First Symphony" still seems to have the childishness of a hairy boy who has just entered the world, he has come out from the figure of his predecessors Haydn and Mozart, and has taken several big steps. The Second Symphony is the face of the handsome Bonn teenager. The power and beauty of this symphony (especially the first two movements in it), the momentum that rushes forward like a river, makes one cannot help but think of the magnificent era in which he lived, the Europe in which the wind and clouds disturbed the "wild advance". From the music, you can see a heroic young Beethoven with infinite passion in his chest waiting to be poured out. The delicate and deep lyricism of the Fourth Symphony, the Dionysian temperament of the Seventh Symphony, the humorous tone of the Eighth Symphony.

Because there is also a peak overlooking the group, the highest peak of "overlooking the mountains", the highest peak in Western symphony culture. If we die without knowing it, it is still a sad thing for a music fan! Enjoy the deep shock that Ninth gives, experience the exaltation of the spirit it evokes, the trembling of the soul, the contemplation, the longing, the longing— and the poor 19th-century people, who were born before the age of the record, could only go to concerts to listen to The Ninth. However, although concerts are often played over and over many mediocre but fashionable works, it is rare to have the opportunity to perform great works such as "The Ninth", which is thankless to play. It is impossible to introduce the beauty of this earthly song in simple words. When you sincerely worship and worship, you will naturally realize that you want to talk about the Ninth in written language.

The magnificent edifice of Beethoven's music is made up of three halls. The Nine Symphonies are just one of them. The second is the so-called Pianist's "New Testament," thirty-two piano sonatas. Although this kind of music is expressed only on a piano, it may seem to be far less powerful than the symphony of orchestral ensembles, but it is not. Whether it is profound in conception, rich in emotion, and powerful in expression, it makes people feel that Beethoven's piano sonata is also a symphony. However, it is a symphony played by a man on a piano with one pair of hands. No wonder some people have translated the word sonata into a "solo" symmetrical to a symphony. This kind of music that can be sung solo on one person and one piano, and can fully challenge and compete with a big band, may be considered to be more difficult and valuable than symphony! That is why since Mozart, Beethoven and Schubert, there are still many masters in the field of piano sonatas who are trying to master this genre, and the piano sonatas concocted by those who are not yet master level are even more sweaty, but those who can catch up with the above three masterpieces can be included in the "must-read repertoire" is even rarer than morning stars!

This refers to several of Beethoven's late sonatas, such as Works 101, 106, 110, etc. These are like the so-called "Yuxin articles are old and more successful" works in Du Fu's poems, because their reputation is awe-inspiring, and they often only call the number of the work to know what song they refer to. The most remarkable of these is the "106". It is also a rare behemoth in the musical literature. The requirements of playing technique are certainly difficult, let alone the difficulty of interpreting interpretation.

The third part of Beethoven's magnificent edifice is his chamber music work. This kind of work is mainly pure music, most of them are simple and unpretentious, can not attract people's love at first sight, and even cold and dry, it seems to have a kind of arrogance that refuses to be thousands of miles away. Beethoven's late five-part string quartet "Pathos", "Moonlight", "The Tempest", "Passion", "Dawn" and "Farewell" are not only the pure fires in all his chamber music works, but also the milestones in his entire musical career.

The symphony and sonata seem to be his speech to the public, loudly and eloquently, and in the quartet, it seems that he can hear him talking cordially to his close friend in his own home, and what a serious, elegant and profound wise man's words and laughter! Symphonies, sonatas, chamber music, are all the life's work of giant Beethoven, which has run through his entire career. The First Symphony, the early piano sonatas and chamber music works composed at the beginning of Bonn are like the self-portraits of young Beethoven, heroic; the Ninth Symphony, several late sonatas and chamber music works, are the sound contemplation and meditation that have undergone the changes of the times and tasted the bitterness of the world.

The works are rich and numerous, greatly exceeding that of Beethoven's masters, such as Bach, Handel, Haydn and Mozart. However, none of them can be as clear as The style evolution of Beethoven's works is like an autobiography, and at the same time, like the history of his great era, recording and showing the faces and voices of giants and the times. This is, of course, one of the reasons why Beethoven's work is even more exciting and thought-provoking.

There is also a must-read Beethoven's "Little Symphony", that is, the "Egmont" overture. It is shorter than the previous one, but it is also a densely condensed music, and the energy it can release is amazing.

The Violin Concerto in D major is of great value and can be considered the most outstanding work in the violin concerto genre. Although the song was composed at the height of his fame, it should have been welcomed by the audience, but it turned out to be a cold response. It was precisely because it was "out of place", and such a simple and unpretentious work was an unpopular program for the performers and listeners who were obsessed with showmanship at the time. It was only after him that his intrinsic value was gradually revealed, and it eventually became a treasure book in a concerto, and it was also a touchstone to test whether a player was a master.

You will get a rich feeling from this simple and elegant, plain and soulful work. And because it makes you feel Beethoven's sincere feelings, you may modify the original severe portrait of the giant from your heart and think how amiable he is!

Mendelssohn's Violin Concerto in E minor, brilliant, who is not intoxicated! However, if you listen and listen, and do not cherish your freshness, then its beauty will fade like flowers, and pearls will turn yellow, and you have to shelve it for a while to listen to it to re-evoke the sense of beauty. Beethoven's song is the opposite, the first time you meet, you can't help but feel bland, the more you listen to it, the more you feel that there is endless love and beauty.

The beauty of Mozart's piano concerto is almost insurmountable. Beethoven's five piano concertos not only further develop the symphony of music, but also show his unique grandeur. Of his five works, players and listeners alike have generally favored the fifth piece, known as the Emperor, the Piano Concerto in E major. On the inner quality of art, the depth of musical thinking, and the poetic implication, the fourth song is better, but unfortunately many people are quite unfamiliar with it. In piano concerto no. 4 in G major, the author is so quiet and idyllic in contemplation, and in piano concerto no. 5 in E major, he is really like a heroic figure with extraordinary dignity, arrogant, swallowing rivers and seas, and dung and all the princes will be like him. When we Chinese listen to the "Fourth Piano Concerto" and then appreciate the "Fifth Piano Concerto", we may feel like listening to the "Seventeen or Eighteen-Year-Old Little Girl", clapping the red tooth board Mansheng singing Liu Yong's "Yang Liu An Xiao Feng Remnant Moon", and then suddenly listening to the "Kansai Han" singing Su Dongpo's "Great River East Go" with an iron plate copper lute!

It is a conversational debate between two instruments between two people. Such musical thinking is more intrinsic and contemplative than a violin solo. It is precisely because of this that listeners who generally only love to listen to beautiful melodies and gorgeous surfaces will inevitably feel tasteless when they first contact it, and when they listen to it, they will know the meaning.

"To Alice". It was only after Beethoven that he was inadvertently turned over from the corner of his drawer, so the author had time to number it in the future. Such an article is already a household name, and I think it is necessary to include it in the "must-read track".

Beethoven is a monstrous wave in the tide of music culture in the 18th century, stirring up the tide of music to flow forward even more magnificently. Now we'll go down the river and take in the 19th-century Scenery of Lehai.

Schubert was both a contemporary of Beethoven and his successor. Listening to his music, you can recognize Beethoven's face and breath, and everywhere you can feel how different he is from the person he respects like a god. Interestingly, Schubert could often write music with a Beethoven flavor.

Beethoven always painstakingly wrote his major works, quite like the bitter chant of our poem Saint Du Fu. Schubert, on the other hand, is a fountain of music, gushing out of his work, even more than the genius Mozart. His music is so smooth that there is no second person in the history of music except Mozart. This natural outpouring of music is especially suitable for the temperament and style of the romantic school.

In the field of symphony, although Schubert's achievements cannot be compared with Beethoven's, even if he were left with only one "Seventh Symphony", that is, "Unfinished Symphony", he could definitely win immortal fame. This is a work that has never been written before or since, and even Schubert himself wrote the second movement, so he had to put his pen on hold. "Unfinished" is really finished. Some people are delusional to continue the mink, which can only be superfluous, just like someone wrote a sequel to "Dream of the Red Chamber", and also like someone who wants to repair the broken arm for Venus.

Schubert's piano works did not follow Beethoven's lead, and he spoke a language very different from Beethoven.d'. The piano also became a tool for his singing in the hands of the master of art songs. But the psalms he sang on the piano were different from another piano poet, Chopin. His works are very much like the poets' mouths when they are excited. It is very poetic, but it does not have to be reluctantly given any image. They are truly wordless poems, purely musical works that express the optimism of the poet's mind. In his Improvisational, the flow of music always flows freely like the flowing water in the clear stream. One of them, "Improvisation in G Flat Major", is the most beautiful. Such pure and simple music can be written by no one but Schubert.

Quite a few music lovers seem to know only how to listen to the arias in opera — Zhang Ailing's so-called music that amplifies emotions with a magnifying glass, and doesn't know how to appreciate art songs that are more delicate and exquisite in art. There are wonderful works in opera music, but many of them are crude and exaggerated. And art songs like Schubert's are the perfect combination of poetry and music. It requires careful handling by the author and the singer, as well as an ear that can listen sincerely.

In his lifetime, Schubert wrote songs like a flowing waterwork, and there were counted five hundred and sixty-seven. It is well known that he wrote wonderful music effortlessly.

"The Demon King" is perhaps the best known. This work was not only adapted by Liszt into a piano solo piece, but also changed its instrumentation to orchestral music, which also shows how popular it is. However, we should still peruse the original Schubert vocal works. Because it is folk-style and very vocal.

In this way, we can fully feel the original words of the poet Goethe and the wonderful treatment of Schubert's music. Translated into the language of the original poem, the language distance is very large Chinese to sing, the effect of the unity of poetry and music will inevitably be reduced.

If this work looks bland, it is actually a unique song with extraordinary charm and inexhaustible taste, which is worth listening to repeatedly.

But no famous painting or illustration with Faust can be compared to Margaret's Spinning Song. The tune of this little song is almost simple as talking, and it tastes delicately but sincerely and earnestly, which is amiable. In the most emotional part of the song, Schubert did not use notes to express, but used a rest, the most powerful and emotional rest! He uses this to express the heroine's worries and passions. For the poetry and drama here, commentators praise it as one of the greatest rests in musical works, the stroke of a great genius. Chinese listeners can certainly think of "silence is better than sound at this time", a famous sentence of the poet Bai Juyi a thousand years ago.

Beethoven pioneered, Schubert followed, opening up new ways in music. After them, the romantics flourished. Mendelssohn was a giant in this faction, yet he had a different character from other Romantic musicians. He is good at restraining the musical imagination of the romantic style in the form of classical school, that is, arranging romantic poetry in the framework of classical music. It's a bit like modern Chinese people using the form of old poetry to express new thoughts and feelings. One of the best examples is his famous "Fingal Cave". This title music masterpiece has been a reserved show in concerts and records for more than a hundred years.

In fact, this work does have a readability that can withstand repeated listening. This is especially rare in title music. Because, all the music that portrays the image to tell the story is always easy to please people and love it when they hear it, but they are impatient to read it more. When people are familiar with what is meant by music, they are likely to lose interest. However, Mendelssohn's work is not like this, which has a lot to do with his ability to use the role of music to exert the power of pure music. The music is not limited by the content specified by the title, and produces a self-contained effect, showing its own beauty.

The scenery of the sea and sky is written in the song, and the brushwork is not complicated, but it receives rich effects. Several times the ebb and flow of the tide are subtle changes in the unified atmosphere, and there are waves and undulations in the whole picture, seabirds flying, and the state of mind of the people watching the sea and listening to the waves in the cave, which perfectly expresses the poignant atmosphere that hangs over the Islands of the North Sea. It's more immersive than the science fiction maestro Verne's description of the resort.

"Midsummer Night's Dream Overture", which is the work of a seventeen-year-old boy. The most prominent impression of this music is a kind of youthful beauty, a kind of vigorous vitality. Interestingly, even he himself, since creating this miracle of genius in musical culture, has never been able to write a perfect work like this that that will forever preserve the beauty of youth.

"Violin Concerto in E minor", this work is also handsome and delicious, a youthful atmosphere, listening to it is enough to temporarily put the ugliness and pain of the world behind. However, the readability of this concerto cannot be compared with the previous work. While praising the beauty of this song, a music historian sighed: "If I were to be reborn again, so that I could enjoy the freshness of listening to it for the first time, how good it would be!" ”

The brilliance and charm quickly disappeared. Although this symphony is still a work that Mendelssohn spent a lot of effort and painstakingly wrote, it is far inferior to his effortless juvenile work.

"Song of Spring". Although people are familiar with it, they may not have seriously tasted it. This little wordless song can be juxtaposed with some of his large articles as a testimony to his genius.

It can be associated with many famous paintings with the theme of spring in ancient times, but such a fresh and lively spring atmosphere is difficult for pictures to convey. Usually the player likes to treat it with a lyrical mood, especially when adapted into a violin solo, but the soft lyricism is only one aspect of the mood of the song. Someone adapted it into an orchestral piece, slightly accelerated, emphasizing in the spring-filled nature.

From the works "Midsummer Night's Dream Overture", "Fingal Cave" and "Spring Song", you can hear the characteristics of Dedelsson's musical style: fresh and elegant.

Passionate, contrasted with Mendelssohn's calmness is Berlioz, who is more typical of the romantics. Listening to his work, one can understand the function of title music through that kind of picturesque music.

One work closely associated with Berlioz's career and art is his Symphony of Illusions. This is a new type of symphony that is very different from the traditional symphony. Although this "novel" does not always attract people to read to the end, its first few movements are bold and original, wonderful and moving. Realism and imagination are used interchangeably, and there is no lack of poetry and painting. It is only in the last chapter that the traces of exhaustion are revealed, and it is difficult to catch the listener.

The second movement of this work is about the protagonist coming to the ball, the kind of scene where "the crowd looks for her a thousand hundred degrees, suddenly looks back, but the person is in the middle of the lights", the scene blends together, and the aftertaste is endless. The third chapter deals with the scenery of the field, but not what the average person sees, but what is seen in the eyes of a frustrated person. The fourth chapter is the ingenious "Guillotine March". Not only is there a depiction of the scene, but also a car with people, so that the cold-eyed listener can experience his dark and desperate mood on behalf of the sinner who was escorted to the execution site. Listening to this chapter is creepy and I wonder if the author has personal experience as a death row prisoner, otherwise how could it be written so realistically? From all this, it can be seen that Berlioz's absurd fantasies are intertwined with his observations and experiences of life. The "picture of hell in disguise" in the last chapter is not very convincing because it lacks a basis for association and resonance (at least for the unbeliever anonymists), but it is not as poetic as Tchaikovsky's vision of hell, which will be discussed below.

Another of Berlioz's masterpieces is the Overture to the Roman Carnival. It is a prelude to the opera Benvenuto Cellini. Later, it spread and became a solo performance in concerts. Many musical works write about carnival scenes, and it is often easy to write only lively and lack of charm. Although Berlioz's writing is extraordinary in writing lively, and it is not bad, its most charming thing is that it writes the atmosphere of a good birthday and an auspicious day. In particular, at the beginning, the bright sunshine of the festival was called out without much ink, and the people of the city were full of joy. The appeal of this piece of music has not waned to this day, confirming that Berlioz really had two shots as a master of title music and orchestration!

It is also difficult to think about the selection of "must-read" works from among them, and if we include his "Hungarian Rhapsody" and the like in the "must-read" according to the magnanimity evaluation of many people, it will lower the standard of "must-read".

However, for the piano poet Chopin, we are worried that his works should be selected too much. In the history of music, Chopin is indeed a special phenomenon. With just one piano, he made a big deal that no one else could do with a big band. He personified and poetized the piano, which resembled a mechanical instrument.

Liszt always wanted to turn the piano into an orchestra and play it like an orchestra.

Chopin, however, was superior to him, he did not want the piano to be equated with orchestral music, he did not want to cancel the personality of the piano but to exert its characteristics more, so that the piano could express the irreplaceable effect of orchestra. Therefore, we can see that there are many piano pieces, if adapted into orchestral music, it will be more imposing and more colorful, but Chopin's works are almost not suitable for adaptation or even can not be adapted, if transplanted to other instruments or changed to band music, it will become tasteless and tasteless. For example, his "Fantasy Improvisation in C Minor" is a beautiful piece of music that is absolutely inappropriate to adapt. Of course, some people have changed it to orchestral music, and when they hear it, they feel that the ethereal and beautiful charm of the original work has been lost. This posthumous work by Chopin is an undoubted must-read song, although the song is not long, it is undoubtedly a divine product.

Chopin wrote so many "piano poems", both "lyric poems" and "epic poems" with profound and grand content. For example, his "Narrative Song in G minor" is an "epic". Among them, the composer's homeland is entrusted with the pain of the country's subjugation, the tone is desolate and tragic, and the listener often feels that he cannot help himself, and has a strong appeal.

"Round Dance in C minor" is a masterpiece of high rhyme, which can really be described as a dance of the soul! Its ethereal and noble mood makes people suddenly feel that ordinary waltz music (including johann Strauss Jr.) looks vulgar in front of it.

"Prelude to Raindrops". This is a work that can especially arouse the resonance of Chinese audiences in terms of artistic conception and charm. In an atmosphere full of autumn feelings, a melancholy traveler listens to the rain, and the raindrops are sparse and dense. Isn't this easy to find in Chinese poetry? There is also a piece of music in the middle of this song, which is even more reminiscent of the famous phrase of the Song people, "Light thunder on the pool outside the willow".

The Prelude in D minor changes to another generous atmosphere. Some people have given it the content of "a small flower in a storm", but it is not impossible to imagine it in this way. But this short sketch contains more grandiose and far-reaching imagery. From this song, you can feel the feelings of this music poet with a huge heart and deep sorrow.

Nocturne is a genre that Chopin loved. And many people fall in love with Chopin, I am afraid that it is first and foremost due to his nocturne. The poet borrowed the atmosphere of the night to pour out his worries alone.

Chopin's piano sonatas, their melodies and the logic of their music are very different from those of his predecessors. However, it is not easy for us ordinary people to understand, and it seems that it does not need to be included in the "must-read tracks". Of his two piano concertos, the piano concerto in E minor is a must-read. It is a pity that Chopin's concerto is a fly in the ointment. They are like piano solos with an additional orchestra passing through and accompanying, and there is too little symphony between the solo instruments and the concerto orchestra. The orchestral part is also written blandly. If the author had simply not wanted it and rewritten it as a solo piano piece, perhaps he would have been spared from this regret? Over the years, more than one or two people have been enthusiastic about adapting his concerto into orchestral instrumentation. As usual, such things are thankless. Therefore, to this day, people still have to listen to Chopin's original works with dissatisfaction and regret. However, the beauty of the piano part is enough to compensate for this defect, which makes people indulge in it and do not want to be more demanding.

He was the theoretician and propagandist of the so-called "future music". His greatest achievement and contribution was in reforming the so-called "musical drama" of opera creation. To truly comprehend his work in a comprehensive and three-dimensional way, you must watch his "musical drama" performance.

Prelude to act 1 of Ron Green, prelude to The Famous Singers of Nuremberg and prelude to Tristan and Isolde. These three preludes are three completely different tastes. The prelude to "Ron Green" is a romantic atmosphere with mysterious colors; the prelude to "Tristan and Isolde" is as dark as a cloud of boundless hatred; and the prelude to "Nuremberg Singers" is solemn and brilliant, bringing the audience back to the sunlit human world. If you listen to three works in succession, it is as if you have experienced three completely different lives. However, they were all conceived from one mind, and the last two pieces were conceived by composers at the same time in the same era, which is incredible!

Wagner's The Ring of the Nibelungen is a giant musical that will be performed for four consecutive nights. The music worth listening to is inexhaustible. Two must-read songs can be recommended. The first is "The Valkyrie's Flying", which depicts the scene of nine heroic and extraordinary Valkyries galloping on horseback above the nine heavens of thunder and lightning. This song is written in the wind and clouds thunder and lightning, which not only has a realistic effect of picturesque drama, but also loses its mythological color and poetry, which is interesting and not bad. It's not that you can't do that with a big deal.

"The Language of the Forest", the music of the musical drama is written about the scene of the hero Siegfried roaming in the forest, the wind shakes the trees and whispers, the birds sing the mountains are more quiet, and it is a three-dimensional and vivid music that is more three-dimensional and vivid than the landscape paintings with heavy brushwork. Of all these "picturesque" scene music, Wagner's work is the pinnacle of his work, a masterpiece!

Several of the preludes introduced earlier are attached to the opera and musical, but he also has a Faust overture, which is a separate concert overture. I am afraid that many music lovers have lost their arms in this work and have not paid attention to it. In fact, it is a wonderful masterpiece, he originally intended to write a symphony, it is only one of the chapters, and then it was modified to become a separate piece. Although it has not been unfolded as a symphony, it has condensed the spirit of the original Faust, almost like a "translation" of Goethe's original work. It would be a shame to read music like the Faust Overture, if you don't know anything about it. It is not esoteric, has a charm that immediately attracts the listener, but it is also very deep music, so it can withstand reading more.

Although he was in an era of romanticism and title music, he dared to go against the trend, did not go along with it, insisted on going his own way, and wrote his purely musical works. To the pro-Wagner and Liszt faction, Brahms's work was empty. Other musicians of the same era thought that what he wrote was obscure, boring, and impersonal. Even a tolerant man like Tchaikovsky did not like Brahms's work. Many of the music review articles written by the literary hero George Bernard Shaw criticize Brahms in a humorous and satirical tone.

His works may not be as great as his fanatics think, but there is no doubt that the major works among them can be classified as classics of musical culture and can be immortalized.

When people first hear his works, it is likely that they will not be interested and feel obscure, but as long as they do not have prejudices and listen patiently, they will find that they have great meaning, are very resistant to chewing and aftertaste, and will finally like him.

The First Symphony was once hailed as the "Tenth", meaning that its greatness could inherit the glorious unity of Beethoven's Ninth Symphony. This kind of overheated evaluation should of course be discounted. But in short, it is the masterpiece of his ten years of sharpening a sword.

In addition to works by Mozart, Beethoven, Mendelssohn and Tchaikovsky, there is also Brahms' Violin Concerto in D major.

Overture to Tragedy. It was not an opera overture, and Brahms never wrote an opera. Since he is not very interested in title music, we can only listen to this music with titles as pure music. But the title is a very apt reminder of the meaning of the music. The music is not sentimental but severe, not difficult to understand, but very deep, and it is still intriguing after listening to it.

Brahms always seemed to control and restrain his feelings so that they were hidden; Tchaikovsky, on the contrary, let the emotions flow freely.

His own career is also a great tragedy, and he is a sentimental person, no wonder his works are full of Russian grief and sorrow. Even a brief moment of joy became a forced smile. His masterpiece Symphony of Sorrows is a summary of his life and the music he wrote. Therefore, together with "Pastoral", "Unfinished" and "From the New World", it has become the most popular symphony of elegant and popular appreciation. This is rare and precious.

One is the overture to Romeo and Juliet, a "transliteration" of Shakespeare's tragedy of the same name, and there is nothing more moving and convincing than it.

Tchaikovsky's ability to "translate" Shakespeare so vividly shows that he was good at reading Shakespeare's works. Judging from another masterpiece, he was also good at reading Dante's Divine Comedy. His Francesca of Rimini interprets a medieval love story from the Divine Comedy (Hell) into a highly contagious musical poem.

The hell scene written in this work is more intelligent and convincing than the hell written by Berlioz and Liszt, and the effect of this "sound painting" is better than the famous work "Dante's Boat" by the great French Romantic painter Delacroix, and the hell in music is more eerie than in the painting.

Tchaikovsky's effect in this section of music is really vivid, and the listener seems to face a thin red face and listen to her mournful life. Tchaikovsky used his sympathetic pen and ink to write the characters and plot scenes convincingly and movingly. People can feel the coldness of the cold palace where the tragedy occurred, and they feel chills.

The Swan Lake dance drama music is even more so. Its musical and artistic quality is not comparable to that of another dance drama, The Nutcracker.

But in the piano suite "Four Seasons", there are several exquisite skits, such as "Three Carriages", such as "White Night" and "Autumn". As for the most popular "Boat Song", it is inevitable that there is a little ordinary salon smell.

A prominent new atmosphere in the music tide of the 19th century was the emergence of national styles, breaking the domination of traditional styles in the past. Since the 17th century, the traditional classical music style has been generally more uniform, and the colors are similar. It is actually a picture of a gray tone made of the national style of morality, Italy and law as the "three primary colors". After the middle of the 19th century, the music of the national style was booming, suddenly radiating a different color, making people feel refreshed and breathing fresh air.

The first encounter with the Nordic flavors of Grieg and others is a freshness that is hard to describe in words. Grieg, strictly speaking, is not up to the level of the masters we talked about earlier. He was not a great master, nor did he write a major work of great ideas.

Pell Ginter Suite. This is the theatrical soundtrack he composed for Ibsen's poetic plays.

The song "Morning" is very worth listening to. The use of only a short space and a small amount of material and ink to depict the seascape and the morning scene so fresh and pleasant that there is no second example in the musical literature.

Grieg could finally only be counted as a skit master. But the Piano Concerto in A minor compensated for the fact that he did not write a symphony. This work has a vast picture, brilliant colors, extraordinary momentum, and has fully exerted the national flavor, which is indispensable and can withstand reading more. This work is equivalent to a long-scroll sound painting of the mountains and rivers of his motherland, who is not enchanted by the scenery of the northern country after listening to it!

"To Spring" is over. Listening to this work, there is often a direct feeling like swallowing a luscious and clear ice fountain, which is wonderful and indescribable!

It is no accident that Rimsky-Korsakov's works are loved. The figurative nature of the title music, the strong Russian flavor, and the skillful craftsmanship of the master of instrumentation who has a hand in coloring orchestral music, all add up to a lasting appeal. His masterpiece is the Suite of Heavenly Nights, perhaps one of the most widely circulated and likable works of serious music.

The first movement, titled "The Voyage of Sinbad," is, to be fair, and of all the musical poems depicting the sea, it is the one that is most in-depth and simple. Moreover, he not only wrote about the seascape, but also beautifully integrated it with the story of "One Thousand and One Nights". His remarkable art of instrumentation also makes the picture more sound, colorful, and colorful. The story of "One Thousand and One Nights" will be immortal, and the associations people read that story will make the vivid "illustration" of "Sinbad Voyage" immortal forever. If "Sinbad Voyage" is picturesque and can prove that the composer is good at portraying the scenery, then the third movement, "The Love History of the Prince and the Princess", is a love poem, and it is this movement that is more qualitative and more moving to the reader's heart. Among them, the picture of oriental colors is also extremely brilliant, like the illustration of the literary works of the painter Pi Ya.

Rimsky-Korsakov's Spanish Capriccio is the most audible. This is a sunny, steaming music, its melody is beautiful, the rhythm is rich and diverse, the orchestral tones are colorful, so that people get great enjoyment in the sense of hearing, but it does not only win with these, its mood and style are extraordinary, so it is more readable.

"On the Steppes of Central Asia Minor", this orchestral sketch, although shallow but vulgar, has its own vitality. The more seductive "Borovets Dance". It was originally the dance music from the opera Prince Igor. The first part of the song is sung by the female voice, which has a demagogic and strange charm, while the male voice sings in the latter part is fierce and barbaric, which is suitable for contrast.

Nocturne in string quartet no. 2 in D major. This piece of music has great charm and will be attracted to it as soon as you listen to it. This is the music of luscious wine, and it seems that a few close friends drink and talk in the long night, and chant loudly. Most of the chamber music is quiet and mysterious music, but this song is a deep love, is a kind of music that can be intoxicating, but it is sincere and good, so it is the best in music.

In the small northern country of Norway, there was a master Grieg. Finland, which is also a small and cold country, also produced a master Sibelius. Grieg was a master of sketches, but Sibelius dominated the music scene with his symphonic music. At the end of the 19th century, when great works rarely appeared in the symphony, the rise of Sibelius was particularly deafening.

From the symphonic music he wrote, people can feel the harsh nature and tenacious people of the desolate north. The distinctive national color and personal style are of course its remarkable characteristics, the profoundness of symphonic thinking, and the strength of musical logic, which makes people feel that this is a new development of the beethoven and Brahms symphony tradition.

Among the brilliant stars of the folk music school, the brightest one is undoubtedly Dvořák. Like Sibelius, he was by no means the spokesman of the Bohemian nation, but also a representative figure in Western music as a whole. The Symphony from the New World is not only a national wealth, but also absorbs the elements of Bohemian, Indian and African American music to produce this most popular and popular film that is loved by peoples of all nationalities in the world.

It is both approachable and unassuming, and it is impossible to discover the beauty of it deeply, which is not something that can be done by a shallow listener. The fact that it can withstand the repeated appreciation of hundreds of millions of people and more than a hundred years without diminishing its charm and eternal youth also shows that it is not simple. Not only must it be read, but it must be read more and more repeatedly.

But what it has in common is that the endless melodies and the author's treatment of the subject matter are unpredictable, and it is a magnificent symphony, an extremely vivid and natural charm.

It is also full of beautiful ethnic tunes, harmonies and instruments like the New World Symphony. It is also a piece of music that is particularly suitable for Chinese ears.

The music of Grieg and Sibelius often evokes a chill, chill or cold, and listening to the works of the Spanish composers de Faa and Alberniez, you can feel the heat of the southern country. What is not difficult to perceive from Dvořák's music is a very human warmth. His works, large and small, are filled with this amiable warmth. The fluency of his musical language is also outstanding, and there is no one but Schubert. Not fake carving, pure nature, not only attracts you with its beauty, but also impresses you because it is full of sincere feelings.

The triptych Overture "Carnival – In Nature – Othello" Isleone Most of the world has only listened to the "Carnival" overture, but the other two that are more beautiful and profound are often missed. Another example is his "Serenade for Strings in E major", he recorded his love and happiness in the language of music, and the listener seemed to hear him confess his heart to his confidant, how kind and sincere! Another example is that there is a pearl in his chamber music works, the String Quartet in F major, also known as the "American Quartet", and some people call it the "Black Quartet", because many of the tunes are easily reminiscent of African American music.

The orchestral sketch collection Legend is less known to listeners outside of his home country, but it is actually a more listenable piece of music than his Slavic Dance. Of course, "Slavic Dance" is an authentic national flavor, much more enduring than Brahms's "Hungarian Dance". His fourteenth "String Quartet in A Major" is like an old man's twilight reminiscences, emotionally depressed and extremely desolate! Humor in G major is reminiscent of the smile of a girl in Hawthorne's short story deep in the mountains who listens to a guest talk about the scene outside the mountain.

Another example is his violin concerto, which many violinists also regard as pets, and it sounds very moving, but when compared with the concertos of beethoven and other masters, it immediately reveals the essence of mediocrity. The same is true of his piano concerto. It can only be heard once in a while, and there is no charm that attracts people to read more.

Music like "Swan" should be listed as a musical artifact. Although it is portrayed vividly, it is not only similar in shape, but also very charming, which is rarely achieved in the title music. The song was used as a soundtrack to the ballet sketch Death of the Swan.

Another masterpiece of Saint-Saën is the violin song "Introduction and Whirling Caprice". It can be said to be a miniature violin concerto. Orchestral music has a great effect on accentuating and strengthening the solo part of the violin, and if it is changed to piano accompaniment, it will be greatly reduced.

"Introduction and Whirlwind Caprice" has no title, and the author himself has not revealed any news. Many people are afraid that they only listen to it as a pure music, but they only know how to appreciate its gorgeous tune, sonorous rhythm and excellent technique, but they do not know that this music is likely to have a sad and stubborn love history lurking in it.

The contemporaries are really a great composer with a strong French flavor and a distinct personality. The superhuman philosopher Nietzsche, disillusioned with his idol Wagner, who had previously worshipped him, stumbled upon Bizet's masterpiece, Carmen.

The music of Bizet is appreciated by both the common people, and it may sound incomprehensible, but only by listening repeatedly, especially in contrast to composers with different styles and characters, can we experience the true value of Bizet.

Bizet's music is completely human, there is no sense of alienation from this life, it is truly cute and amiable and believable! The "Pastoral", "Little Step Dance", "Bell Music" and "Francondor Dance" in the "Suite" are all very readable music.

Bruckner's favorite is to create sprawling acoustic buildings, indulging in the construction of grand halls in the style of Wagner's musicals. Listening to his kind of works, there is no special interest and patience, probably it is easy to cover up and can not be read, right? His contemplative temperament also makes people need to return to reality to breathe fresh air after listening to it for a long time.

Mahler's symphonies are also huge, complex in conception and complex in their thinking. A religious sentiment of seeking God out of pessimism and world-weariness is also often tiresome.

The title music master is Richard Strauss. This male talent was so impressive that when he was young, he began to publish a series of famous music poems.

These works are full of talent, showing his ability to use orchestral clever brushstrokes to express his figurative thinking and portray a variety of specific contents. No wonder he boasted that there was nothing in the world that he could not describe.

In Don Quixote, the music vividly depicts a cute history of riding dirt and a sly and delightful listening to the funny adventures. Fighting windmills, war sheep, are also written beautifully and vividly, although sometimes they almost go to the edge of vulgarity, but they still do not fall behind others, and they can also convey the sense of humor of the original literary works.

The musical genius dared to use music to translate Nietzsche's mysterious philosophical masterpieces without sounding sleepy. In the autobiographical song "The Hero's Career", he unashamedly paints a self-portrait of a tall figure, while also snarling his personal enemies, although it is impossible to name names. For his own brilliant achievements, the music is even more important. Content like this is difficult for others to write, but he can write it calmly and calmly, and play it freely. People can't help but laugh at it, but at the same time, they have to applaud and admire their talents.

Like the Alpine Symphony, it is not easy to write new ideas, because there are too many landscape paintings in music like oil paintings and watercolor landscapes. He wrote like a travelogue from morning to dusk, from up the mountain to down the mountain, and also like a flowing account. However, it is difficult for him to write without cliché, and he can always grasp the attention of the listener, and tirelessly follow him through the whole journey and enjoy this long-scroll landscape painting. There is a scene of wind and rain in the mountains in the song, which is particularly easy to fall into, and he writes it quite well.

The Dance of the Seven-Fold Yarn is a soundtrack from the opera Salome. The atmosphere is gloomy, the rhythm is vivid, and the orchestration is exquisite, all of which are outstanding. The artistic enjoyment from listening to this song exceeds that of seeing the famous painting made by the painter Morrow.

Each of the four movements of The Pine Trees of Rome has its own imagery, and the third movement is the most memorable. We might as well give it another title of "Moonlight Pine Wind". It is not a scene to paint, but a history in the scene and poetry in the music. Chinese listening to this chapter should be very easy to get involved in. It will remind people of "the bright moon rises from the heavenly mountains, between the vast clouds and the sea" and "the ancients did not see the present moon, this month once illuminated the ancients", so that they are full of emotions, and they are not only interested in the depiction of the moon color and pine sound.

"The Pine Trees on the Ancient Road of Appian" is also a great expression of nostalgia in the writing scene. The composer wrote about the footsteps he heard from near and far on this ancient Roman road. That was the footsteps of the great armies returning from the ancient Roman expedition. This was also easy to write monotonously, but he dragged the footsteps from the beginning to the end of the song. This is a long "crescendo" from extremely light to extremely loud.

"The Fountain of Rome" is also a lyrical nostalgia for the author's eyes. The best of these is the last chapter, "The Fountain of villa Medici". In the song, it seems that there is a person like Ji Peng who has written the history of ancient Rome, looking forward to it, hanging on the past and hurting the present. The twilight written in this song is wonderful, and the poetry and painting are mixed together. The author mobilized many unconventional instruments in the band, such as the celestine and the carillon, plus the piano and harp, and used these "bel canto" instruments to tone Fu Cai, and wrote out the difficult scene of "the sunset is infinitely good, but it is only near dusk" and the melancholy feelings of the people in the scene. Such a vivid and elegant title music is rare in the history of music!

How strong is the freshness and novelty of "Pastoral Afternoon Prelude". There is probably a similarity to the situation when Impressionist painting appeared on the canvas before that. People who are accustomed to classical and romantic paintings suddenly see Monet's Impressionist paintings, which is simply difficult to accept. So Debussy was a milestone, a turning point. From his beginning, the tide of music was flowing towards modernist music. Interestingly, the "Pastoral Afternoon Prelude", which was regarded as an aberration at the time, has now become a classic. This is precisely because it is an immortal work of eternal youth. Debussy not only drew on Impressionist painting, but he was also deeply influenced by the art of Symbolist poetry. The Pastoral Afternoon Prelude is based on the poems of the symbolist poet Marami. When we listen to the "Pastoral Afternoon Prelude", we can completely refer to the original poem and use our imagination, but we must not use the words of the original poem to rigidly set the imagery in the music. In fact, the best way is to enjoy it as a pure musical work without a title. "Pastoral Afternoon Prelude" takes the listener into a delicate wonderland, while "Iberia" takes you to paradise on earth. The imagery and realm of the two are vastly different, but the composer's delicate and subtle artistic techniques are extremely exquisite. Listening to the previous song, you seem to be in a cool world, even if you have the idea of love, it has been sublimated and purified. Listening to the last song, you seem to have come to the crowd of summer night garden visitors, fragrant smell, and the Chinese people are intoxicated. Debussy was both a brilliant "painter" and a brilliant "poet".

He painted with poetry in a new musical language. He expresses his new feelings with different brushstrokes from his predecessors. This characteristic is also used to the extreme in his piano works. His piano song "The Light of the Bright Moon" uses extremely economical brushwork to dye a painting with a high style. There are also "Reflections in the Water", "Moon Falling Desert Temple", "Bells at the Bottom of the Leaves", "Sunken Church", etc., all of which are in the sound of paintings and paintings in poetry, and the integration of the three is inseparable.

Debussy's Impressionist music is poetic, unlike Impressionist paintings, which tend to focus only on capturing the light and color in the foreground of the eye. What is even more valuable is that his music and poetry and music paintings still contain a subtle human touch. "The Girl with Flax Hair" and "The First Arabic Style Song", at first listening to it, I only feel its beauty, and when I hear it, I feel that there are people in the song, there is love in the song, there is affection! You'll be reminded of O Henry's poignant and moving story.

The pinnacle of his pen power is the orchestral music "The Sea", although he himself titled it "Sketch", it is actually a huge mural with magnificent pen power, and it is also like a meteorological "sea gift".

The three chapters of "The Sea" are not very easy to understand the music, the confusion is complex, the penmanship is novel, and when you first touch it, you will feel as dazed as if you saw the vast sea for the first time in your life. After listening to this song, looking at the painting depicting the seascape, and listening to other music about the sea, I felt bored. Debussy's sea is a giant living spirit in motion. The music of others describing the sea, no matter how realistic, can only paint the scenery on the sea, and Debussy's music makes people feel that they are in the depths of the ocean's giant immersion, more three-dimensional feeling of the heart beating and throbbing of the giant spirit god, and at the same time feel that there is an endless space on the top and a more unpredictable abyss below.

But it was also the liveliest and most brilliant century in the history of music. Before Debussy, Wagner and his old man, Liszt, had already made many bold experiments in musical innovation.

Debussy is a new breakthrough. Under his revelation, the new-minded and bolder musicians felt that Debussy was not new enough. Thus, as if opening a floodgates, the new wave of music rushed into the 20th century with an unstoppable momentum. When we listen to Debussy's work, and then look forward and backward, we feel that he is both a summary and a new beginning.

In the past, people once put Bach's music on the shelf. Fortunately, there was Mendelssohn in the front, and then brahms and others who enthusiastically advocated, and people rediscovered Bach. Not only that, but Bach's polyphonic music became more and more attractive to listeners, and his status became more and more lofty, ranking first in the ancient and modern music scene. Mozart's work has also been venerated. While the "new music" of the Romantics, titles, and Liszt schools was popular, Mozart's music was considered bland; by this time it was reacquainted and more revered. Interestingly, the interest in retro nostalgia also allowed the listener to discover the value of Baroque music, as if an archaeological team had excavated an underground palace in the 19th century.

But Mozart, in his short life as a dew, wrote so many works in less than thirty years, numbered to more than six hundred.

When a person is young and vigorous, it is most likely to be surprised to hear Mozart's works: what is there to hear about such bland music! At the very least, I feel that it is not as powerful as other people's music. When the experience of reading music is rich and deep, and the discerning vision is improved, the beauty of Mozart will be gradually discovered, and the more you read, the more you feel that there is a taste, so that you will fall to the ground and become a Mozart fan with firm faith.

George Bernard Shaw, a great writer and music critic, admitted in his music review that it was difficult for him to evaluate and answer the question of who was greater and who was more lovely between Beethoven and Mozart.

There is another reason why Mozart's works are not easy to understand, and that is related to the problem of pure music and title music. Listening to the works of Beethoven and the Romantics, ordinary people can use the so-called image thinking of literature and art, so they feel easy to understand and easy to resonate. Mozart's works, on the other hand, are basically pure music (some barely listen to title music but have no titles to guide). If you do not understand that the art of music has its own artistic laws and its own beauty, you will naturally feel that you have nothing to rely on, so to hear the true taste of Mozart's music, you must learn to listen to pure music, and this must be cultivated by listening to more experience.

Mozart was an all-rounder in the art of music. He has left masterpieces in various genres. The first is the door of symphony.

Of the last three symphonies, the Symphony in G minor and the Symphony in C major are the most numerous. Most of Mozart's work throughout his life was joyful and cheerful. The Symphony in G minor seemed to be pouring out his worries, especially the first movement. It's a rustic and deep piece of music.

Overture to The Marriage of Figaro. It is not long, and it is played fast, and it can be played in three and a half minutes. However, the musical energy contained in those two hundred bars is enormous. Such amazing and beautiful music can be deafening and can make people full of confidence and hope for the future of human beings and art. Although it is a prelude to the opera, it does not hint at the specific content of the play, but only a guide to emotions, foreshadowing the spirit and atmosphere of the comedy. One can also hear the vision of light brewing in the era on the eve of the French Revolution.

Although Mozart's life was not as poor as the legend, but he did not taste the happiness of life, but he could compose this kind of music that gave people a great sense of happiness, it is incredible!

The opera Don Juan is considered the culmination of Mozart's opera creation. This overture is not long, and it seems very simple from the overall score. But critics marveled at its foreshadowing effect for the entire plot, and it didn't take much ink to give a different omen.

When you listen to the main tune, the melody is combined with the harmony, but the melody always occupies a major position. You just have to understand the melody, grab it, follow it, even if you temporarily throw away the harmony, you can hear part of it, not for nothing. Listening to polyphonic music is a few melodies of several voices, synchronized or unevenly, intertwined together. At this time, if you only stare at one of the melodies, but you can't listen to other parts and melodies, then you can't hear much meaning.

At first glance, listening to the works of Bach and Handel's era, it will be refreshing. This is actually ancient meaning, they are ancient. However, ancient music is not dead music, it is not a musical mummy. In their ancient meanings, there is immortal vitality. Not only can one hear the voices of the ancients from Baroque music, which is extremely valuable in itself, but at the same time, one can also feel what modern people will resonate with and be inspired. This is also the reason why Baroque music is still trendy, and the works of Bach and Handel are immortal.

Polyphonic music is difficult to read, and because it is more attentive than the main music requirements, the thoughts and feelings are highly concentrated, and it is not at all ape-like.

Bach wrote several a cappella suites for violin, with deep technique and profound music, which is the "bible" of violinists, and the work of Xuanhe in the musical literature.

They are small crafts made by Bach, a master craftsman, but we can not only enter the door to polyphonic music, but also glimpse the master's heart song from these rich and diverse music.

Handel's style is characterized by clarity and grandeur. Listening to his music is very pleasant and enjoyable. His work is not esoteric, but it is not easy to understand because it is shallow.

The most important and glorious of these is, of course, the well-known Messiah, which can be heard everywhere on Christmas Day. The most notable of these is the chorus "Hallelujah", which should be our must-read. The sublime greatness of Handel's musical style is fully expressed in this chorus.

In the ears of those who believe in Christianity, it naturally sings of their passionate and devout faith, but it is also very gratifying and deeply touching to the non-religious music lovers. It can be said to be a prelude to Beethoven's Ode to Joy in the Ninth Symphony. It is an ode to human progress and light. Even if Handel only has this song, it can be immortalized!

Bach and Handel are two representatives of Baroque music. It was an era of great masters. The masters were prolific writers, and the sheer number of works was staggering. Some were famous at the time, sometimes surpassing the obscure Bach, but their names were almost forgotten because the huge figures of Bach and Handel obscured them.

Bach's music ranges from the serious and pious ones with a strong religious smell to the human touch.

Musicians have become musicians, and compositions have become routines, and they cannot wait for inspiration to write. Haydn, who was highly talented and talented, survived in such times. Among them, "Consternation", "Farewell", "Army" and "Clock" have become the reserved programs of concerts, and they are also the first ones we can choose to read.

The practice of "Toy Symphony" may have been childish or even vulgar, but its idyllic music and childlike toy effect are very harmonious, blending into an innocent beauty. Anyone who has not lost the heart of a child will be moved when he hears it, and will always love this miniature symphony, the "child" in the symphony.

In the past, this work was attributed to Haydn. Maybe it's because everyone thinks it can be mutually corroborated with his kind and humorous personality and musical style?

He painstakingly cultivated a great music master. Although he did not specialize in music at first, he later studied music deeply, especially the pedagogy of violin playing. The great Mozart, the great human miracle that his father cultivated with the painstaking efforts of the second half of his life, is his "late work" and the greatest contribution of his life.

Chamber music tends to be purely musical, and there is no need for a literary title. Moreover, the titles of Haydn's works are entirely motivated by the whim of music scorers or other good people to advertise and attract customers. So it is not enough to rely on it, and you don't have to think about it when listening to the reward.

He can talk to different languages and different objects. Speaking to the public in a symphony, a concerto, is a voice; meditating on the keyboard, confessing, talking to a small audience, he speaks in another language.

For works that are still unfamiliar to us, we must dare to enter the unknown kingdom to explore the soul. For those works that we are more familiar with, even small works that are not difficult to understand, we can often get new feelings from the careful interpretations of different players.

The world mourned, and the funeral was unusually solemn and solemn, not as cold and cold as after the death of his predecessor Mozart.

Another masterpiece on the A Midsummer Night's Dream soundtrack is Nocturne. Its beauty may be considered to surpass that of the Wedding March. Unfortunately, many people do not give the attention they deserve. The third is "Harmonic Song", from which you can feel the author's energy, full of ink, worthy of a big hand.

"Textile Song" is also a popular small song among all the wordless songs, short, and urgent, and it is finished in the blink of an eye. However, it is vivid and poetic, and can be rated as an elegant product. The interpretation of its passage is shown in the title, a girl in the spinning wheel, relaxed and pleasant mood, action and spinning imagery of the spinning wheel into one, forming a fresh and bright picture. It's interesting to think of it as a different way.

There is also a very charming wordless song, the beauty of which almost exceeds the above songs. It was appropriately titled "May Breeze", prompting the imagery in the song. Listening to this work, as if sitting in the wind, the wind that gently blows through the branches at the bottom of the leaves seems to carry an intoxicating warmth, and for Chinese, it is quite reminiscent of the famous sentence of du Xunhe, a poet of the late Tang Dynasty: "The wind warms the birds and breaks, and the sun is high and the flowers are heavy." ”

Chopin's works of this kind are not at all suitable for social balls, and are not at all the same as Johann Strauss's waltz. People know that piano etudes are boring to play, and the listener is boring and dull.

Lullaby by Chopin. Chopin's song is not only particularly gorgeous and warm, but also depicts a sweet childlike mentality of dreaming with its gradually unfolding music.

It is also a description of the Italian scenery of "Harold's Travels", people will not be unaware of this famous song. There are indeed some fascinating pens and inks. The viola theme that runs through the whole song represents the protagonist, and it is a wonderful design, and it is like wandering with the nobleman in depression.

The national tone of its theme, combined with the wonderful treatment of the orchestration, makes it ignite the anger in the audience's chest like an electric current.

Liszt is indeed good at tapping into the characteristics and potential of the piano as an instrument. Sometimes he turned it into a band, and sometimes he made it sing a tune that even the vocals were ashamed of. Listening to his adaptation of Verdi's opera "Rigoletto", the vocals and orchestra in the opera were all carried up by a piano. Listening to his adaptation of Schubert's "The Devil King", the original solo part and the piano accompaniment are one, and can reproduce the spirit of the original work. Listening to his adaptation of Paganini's original "Clock", you will feel that it may be more beautiful than the effect on the violin.

"Dante's Symphony" was performed in England, and George Bernard Shaw's comments were extremely playful and angry. The master of humor believes that the song could be retitled "A Great Fire" and rewritten a text description for it. The original description of the hell scene is interpreted as follows: Allegro – alarm, the fire spreads, the residents are startled in their dreams, scrambling to escape, the fire brigade arrives – the roof collapses! As for the part that was originally intended to write about Francesca's love tragedy, it can be retitled as "The Landlady's Lament to the Fire Captain". We should know that George Bernard Shaw was not a boring tabloid. He was cynical and agitated because of the fashionable and popular celebrities in British society at that time, and perhaps he could not help but belittle Liszt's works too much, and we should form our own opinions completely according to our own feelings.

"The Tempest" is a symphonic poem composed from the enjoyment of the Shakespeare of the same name. Although the author himself is not satisfied with it, and its appeal is indeed not as powerful as the Overture of Romeo and Juliet, it is still a cute work that can help us navigate the world in Shakespeare's play.

"Manfred's Symphony", because the author fell in love with the subject of Byron's famous poem, infused with feelings and painstaking efforts. The use of orchestral music to portray the situation is also excellent, and it never sounds boring or unproductive. Among them, the second and third movements write about the Alpine mountains, the waterfalls in the mountains, the rainbows, and the pastoral scenery, all of which are picturesque, and all of this is reflected from the eyes and heart of the protagonist Manfred, stained with his bitter psychological color.

One example worth pondering is how Paganini's work was viewed. Paganini was a shining comet whose presence caused a sensation at the time and left a miraculous legend for future generations. His performances did not only charm millions of ordinary listeners, but many musical giants such as Berlioz, Schumann, Liszt, and even Schubert were seduced by him. Paganini's performances are his own creations. Since he was able to use this music to enchant the audience, including the masters, it shows that his work must not be ordinary. So will we listen to his works today as mesmerized as the audience we were then?

Listen with awe and curiosity. The performance of these works requires high difficult skills, but in today's highly developed violin art, it is not difficult for qualified violinists to deal with. Unfortunately, the magic and sensational effect are no longer there.

Paganini never played according to any written score. He always uses improvisational techniques to process on the spot. That's where his magic lies. It can be seen that when we listen to his concerto, we are bound to be disillusioned with the miraculous effects of expecting the results of that year.

Rossini was also a shining star in the 19th century, and its sensational across Europe was no less than that of the violinist mentioned above. By the time the Rossini fever had cooled down and been replaced by various other fashionable works, George Bernard Shaw missed them again.

Rossini, although not as deep, is also good at humor. This overture to The Barber of Seville is a music with a rich sense of humor. Its magic is probably here, the melody is beautiful, the rhythm is sonorous and the rest of the matter. As long as you don't over-listen. It can also be used as a tonic after listening to heavy works. Rossini used this method to concoct a tense comedic atmosphere, which was pushed to a climax with a strange effect.

Overture to William Retreat. It is the style of the play, and it is also Rossini's most serious work. Its first chapter is about the scenery in the mountains, followed by the sudden arrival of mountain rain, then the idyllic scenery, the idyllic atmosphere is broken by the invasion of the enemy, and finally the march of the whole people rising up against the enemy is resounding. These four contrasting movements, from beginning to end, merge into one of his "symphonies". His overture is very much, and it is not difficult to hear that he has a set of programs, a generally similar tone, but they are not tired, so they have their lasting vitality.

There is a taste of cold-eyed bystanders in his music. Even those very strong, hot works, such as the best-selling Bolero, always feel like a sketch by an indifferent bystander. On the contrary, Debussy, as the poet Wen Yiduo said, "There is a fire in the heart." Ravel's creative attitude is extremely reserved, and until the last stroke of modification is completed, it is always a secret. He is also an artistic gourmet, meticulously carving and meticulously carving every detail of his work. Some have likened his style to miniature fine brush strokes. He was also described as a Swiss watchmaker.

The Bolero is Spanish. After listening to it for the first few times, there is no one who is not attracted by the music. It has an extremely beautiful theme, played over and over again with a stubborn dance beat. Every time you repeat it, you change the instrument, and you change the color and brilliance. This constant repetition is again carried out in a long crescendo. It developed from very light and light to a very strong noise in the end. Listening to this song, people seem to see a group of tireless people and horses, with the scorching sun on their heads, coming from afar on the hot mountain.

Ravel has other masterpieces: "Daphne and Croix" Suite, "Spanish Rhapsody", "Mother Goose Suite", etc., are so unruly and talented, and it can also be enjoyed to listen to. There is also a violin piece "Tsigon" that resembles a sketch for a drunken gypsy. The technique is extraordinary and the effect is strange. Listen to it and think of Spanish violinist Sarassati's "Gypsy Song".

People who are good at title music can read it according to the content of the image in the music. Such as writing about the sea, writing about the moonlight, writing about wind and rain, and so on. Music that uses the same literary theme can be collected and listened to together, such as writing Faust, writing Dante's divine comedy, Writing Shakespeare's famous plays, writing ancient myths and folklore; the same theme, different songs, the same work, you can pay attention to listening to their similarities and differences, distinguishing their superiority and inferiority, and tasting their different flavors, which greatly helps to improve appreciation.

Western music makes extensive use of ancient and modern dance music. Many dance music forms from the folk have entered the classic style and become an indispensable part. Listen to this slow and solemn ancient dance music written by Handel and Bach to experience a deep and powerful rhythm.

He was a figure of the Classical period. Today, only his name is associated with this little piece, and it is not known that the Belgian was active in France during the Revolutionary Era with his large-scale and imposing works. It was a time of glitz. Therefore, the popular small step dance music at that time was just like the costume and dance style of this court dance, elegant and weak. When it entered haydn and Mozart's symphonies, it was transformed into a fresh and healthy style. Mozart's symphonies, frolicks, serenades and other pieces include many small steps.

They don't feel like a tone that's always boring. Like "The Nutcracker" in the "Flower Round Dance", although it is a skit, the emotional concentration is quite high, and it has a special rhyme, which is worthy of the best in the round dance music.

Liszt wrote the "Mephistopheles" with the title of the devil, which is not easy to listen to, and it requires careful consideration. Sibelius wrote a fairly popular "Round Dance of Sorrows." Abnormal tone, gloomy atmosphere attacks people. Write about an elderly sick woman dying when she trances to see death come on a dance step. This was originally a traditional imagery in Western painting. Ravel's round dance is also an uncomfortable music to listen to, and the hysterical atmosphere makes people feel terrible.

Poldiani's Puppet Waltz. This man is an Italian who has written a lot of Salon songs, but he is a small person who is unknown in the history of music. Originally a piano piece, Chrysler changed it to a violin piece, adding a bit of charm. It is not surprising that it writes the cute dance of the little puppet, but what is strange is that it has a popularity, feelings, and a faint and humorous sadness, as if it is the misfortune of self-harm. In Puppet Waltz, the master is Shostakovich. Although it is a children's piano song, the interest is not simple. Poldian turned the little wooden man into an adult who solved the problem, and Shostakovich wrote about the wooden doll in the child's mind, and wrote it alive again.

Those who only know Viennese Round Dance may wish to come here for fresh air. But we still can't help but marvel at the art of Johann Strauss Jr. He wrote so many round dance pieces, and in the limited space of that three-beat stereotype, he had the ability to conjure up such a variety of beautiful tunes, maintaining the style of a specific Viennese ball, without feeling that it was old-fashioned and never vulgar, which was really rare and precious! Like the song "The Sound of Spring", it has an evergreen charm. The "Bat" overture can be considered the highest expression of the talent of the king of the round dance. Not only dazzling, but also full of life. Listening to this light music a few times is better than wasting time on a deeply pretentious and stale work, but unfortunately many people do not seem to pay attention to the superior work of this light music.

Mozart's opera Don Juan has a place where the people in the play are sung with a mandolin, which is a serenade for flirting and love. Because it has both an elegant classical atmosphere and always looks fresh and beautiful. It was originally a chapter in a string quartet by Haydn. The first violin sings the main melody, and the other stringed instruments are accompanied softly by plucking. When the music is played, the plucking sound is also strong, which is pleasant! It is one of the most light and wonderful pieces in Haydn's work.

The serenade composed by Gounod with the poems of the great poet Hugo is also French, and it is the level of art songs. Listening to this little song, there is a velvety feeling of hand caressing, very comfortable. Adaptations of the work into instrumental ensembles or solos are still fascinating.

If the sea is the theme, there are also many works that can be compared. In addition to the aforementioned "Fingal Cave", "Sinbad's Voyage" and Debussy's "The Sea", as well as Wagner's "Wandering Dutchman" overture, it can also be read as a sound painting depicting a boat on the Angry Sea. Grieg's "Pell Ginter" soundtrack features a short piece of music about a sea breeze, short but vivid, which is included in the second suite of Pell Ginter.

The music about thunderstorms in Beethoven's "Pastoral Symphony" is the most familiar to people, and of course it can be called a classic. It doesn't pursue realistic effects, but it has a thunderous momentum. Rossini's Overture to William Retreat also features a description of a thunderstorm. The way it is written is different from Beethoven's. The atmosphere is quite real, and the brushwork is simple and clear. Both Beethoven and Rossini wrote about the sudden arrival of thunderstorms and the rain over the sky, which are also not similar to each other, each is extremely wonderful. These details are well worth listening to. The chapter "Mountain Wind and Rain" has his own way of writing, and there is no suspicion of falling into a trap. Sounds realistic and not vulgar. Unfortunately, some people still think that it is not true, and insist on putting the real thunder recording into it in order to pursue a realistic effect, which is vulgar.

Richard Strauss's approach to the Alpine Symphony is innovative. He created a spectacular scene of thunder and lightning, mountains and valleys, and the courage and strength of the pen were obviously above the "Grand Canyon".

There are few and few violin concertos that can be listened to repeatedly, but there are quite a few that you might want to take a quick look at. In addition to the one mentioned earlier, there is also the audible Third Concerto of Saint-Saën, which is quite popular.

It uses this pompous title, which is actually a concerto, and the symphony is not strong. But listeners who like Spanish flavors, love gorgeous, and amorous tunes will be very interested in this work. Wieniawski's concertos are also very appealing to the tastes of melodic beauties. The Polish violin master also wrote some very popular sketches, such as "Legend", "Memories of Moscow", and the gorgeous "Polish Dance In D Major" for the first time.

Sibelius's Violin Concerto is still the work of Xuanhe to this day, a major repertoire of violinists, and a touchstone for the ability of competitors to play in the competition.

Among the poorer cello concertos, works by Schumann, Saint-San, Laro and Elgar can be heard, as well as Tchaikovsky's Variations on rococo Themes, which can also be read like a small concerto.

Although Dalyus's violin concerto is not very easy to understand, some of his other orchestral pieces are worthy of serious recommendation. His musical style is different, self-contained, and generally British, and the British music culture has long been trapped in the influence of the German-Austrian school and is difficult to stand on its own, and the British are content with this state, first worshiping Handel, and then falling in front of Mendelssohn.

"The First Smell of Cuckoos in Spring", "Summer Garden", "Over the Mountain", and a "Florida Suite" that he wrote based on his impression of a teenager in Florida, USA, are wonderful and unforgettable. The song is soaked with the joy of youth, but it is also full of incomparable sorrow.

Although it is too late to listen to the big songs that can be listened to, the rewardable skits are more difficult to list like the stars on a summer night. The largest number of violin pieces is a craze that has arisen since the end of the 19th century. Violinists play their skits in recitals to suit the listener's liking, and since having a gramophone record, the skits have become even hotter.

"Meditations on Teis" was taken from Mahsnay's opera "Tyes" and was also adapted by Chrysler. I'm afraid there will never be a music fan under the heavens who doesn't love this song. "Meditation" is not only beautiful in melody and affectionate, but also has intriguing associations with backgrounds that are by no means simple. Those who have read the literary masterpiece "Taius" of the literary hero Francis, understand the romantic and realistic plot and characters there, and can get a richer feeling when listening to this work. In Masnaï's opera, the heroine on stage sings an aria, and the orchestra plays the music. Taiez spoke, and the band was writing its true feelings. Later, this music as an accompaniment was separated and became popular alone.

That is, we enjoy unfettered freedom as listeners. We can listen to music without any utilitarian purpose or obligation.

When you have initially become familiar with Beethoven, you can go down the stream of music history and get to know the stars of the romantic school. But you might as well go back in the waters and knock on Mozart's door first. At first it is likely that he was simpler than Beethoven, bland and uninteresting. In fact, it is this kind of music that seems simple and plain, and there is no literary title to help, it is more difficult to really know the taste of it.

Reading should be combined with intensive reading. Reading music, too. Some personal experiences may be available for reference. Extensive reading can broaden horizons, have comparisons, can form concepts of different styles and the concept of music history, and so on;

Although he has a heart for music, he always takes good music as the wind in his ears. Read a book, write an article (and even eat and chat) while putting on a record. I think that turning music into an accompaniment and soundtrack of everyday life is not uncommon in some cases. Some argue that reading literature can be accompanied by appropriate music. For example, if you read Proust's "Remembrance of a Time Like Water", a novel that has a deep relationship with music, it is said that the most suitable for reading the atmosphere is debussy's music.

With such a talented work as the "Bat" overture on the radio, you should put aside something else for a while and enjoy the music. In short, if you have the heart to go deep into the happy state and seek its true interest, you must get rid of distractions and distractions, and listen attentively.

When you listen to a piece of music, you naturally first have to track the theme, identify the style, and so on, and sort out the chaos of the big sound. But if you can't feel the momentum in the music for a long time, the music is still dead and cold to you. When you feel that the flow of music not only flows freely in the process of repeated listening, but also has a force that rolls around you, and your heart involuntarily moves forward, it shows that the work is powerful, the performance is alive, and you have entered the state of music.

It is often some of the details that impress you first. It's the parts that are most distinctive or resonant and push yourself to listen. It's like aphorisms in a good poem. I remember when I first read the suite of "Heavenly Nights", there was a place that caught me at once. It is a passage in the chapter of Sinbad Voyage, which is plucked by black pipes, violin overtones, and bass strings. After the noisy scene of the waves passed, this shot was suddenly changed, and it was extremely fresh! I immediately thought of the story of Sinbadard rowing to the island after the big boat was moored. The effect of that plucking was almost like dialing on one's own nerves! I've loved this work ever since.

Details are only more beautiful and convincing in the connection, comparison, and unfolding of the context, and we should not only pay attention to the details and neglect the whole article, and we cannot just look for chapters and excerpts. There are also some details that belong to harmonic effects, orchestration colors, playing techniques, and so on. For example, if you read the seven chords at the beginning of the second movement of the New World Symphony, it would be a pity if you only read it as a prelude or a "quiet field" for the Theme of British Pipe! The poet Xu Chi refers to this set of chords as "mysterious chords" in his article on music, but in fact, it is only natural to hear it well.

Although complex symphonic music has endless beautiful details, it is easy to take it lightly when listening to seemingly simple solo and ensemble music. Unlike Liszt, who deliberately turned the piano into an orchestra, Chopin made it more piano, and the "musical poems" he chanted for the piano were full of fascinating details. For example, some colorful passages are as elusive as the aroma of orchid. Some people say that playing too well-defined like this kind of place is hurtful, and it is precisely to "catch a glimpse" that is more tempting.

The change of strength and timbre can convey affection, a feeling of nostalgia for the death. We must strive to feel the force in the flowing whole, but also capture those incomparably beautiful "musical moments" that can trigger us to resonate with these fleeting moments.

At least you have to learn some general music theory, preferably a rough understanding of the general score reading. George Bernard Shaw ridiculed the boring method of appreciating only "grammatical rhetoric", saying that it was as difficult to talk about Hamlet only from the meaning and grammar of the dissection.

"Violin Concerto in E minor" This song is full of youthful atmosphere, and the Chinese people are intoxicated! However, the author of a copy of "Violin History" lamented: "How good it is for me to be reborn again and taste the freshness of my first hearing again!" "Players often fear to ruin their own freshness, and we listeners should also cherish the freshness of listening to music and not abuse the repeatability of records." Great and profound works, such as the best works of Bach, Mozart and Beethoven, need and can withstand repeated listening, provided that they are highly concentrated and sincerely explored. There is one interesting thing in the history of music: Biao Luo was so devoted to promoting Beethoven's "Ninth" that he played it twice in a concert. Weiingartner disagreed, because the spiritual price to pay to listen to The Ninth (!) It's too heavy for the average audience.

Mendelssohn has a song called "The Cave of Fingal", which was loved at first sight from the first time it was heard, and has been listening to it for decades, but it is still interesting.

It was a soul-pounding tremor! I would love to read it more and more. But I will not listen to it easily, even if I do not have to listen to the seven-stringed piano like the ancients who burned incense and upright, I must find a time when there is no chores and interference from laymen, get rid of distractions, and listen calmly. Listening for an hour at a time is really like an unusual life experience.

When admiring the "scenery by the stream" from Beethoven's "Pastoral", I often think of the famous sentence of Sikong Tu: "The peach is full of trees, the wind and water are on the water, the willow shade road is curved, and the warblers are next to each other." "From Rimsky-Korsakov's "The Night", you can see Sinbad's voyage, the princess's light song and dance, and the prince's angry sea sinking. From Grieg's "Morning Scene", I not only saw the dawn of the seashore, but even seemed to be really bathed in the fresh morning breeze, and my mind was refreshed!

To enjoy the seascape, you can read articles such as Muhua's "Haifu" and paintings such as "Nine Waves", but why listen to Mendelsohn's "Fingal Cave"? In the poems and paintings, there are as many winds as possible, but it is better to "catch the wind and catch the shadows" or music. There is a long wind that breaks the waves in "Sinbad Voyage"; there is a wind in hell in "Francesca of Rimini", which makes people cold; Mendelssohn's wordless song, "May Breeze", every time you hear it, you will recall the famous sentence of the late Tang Dynasty Du Xunhe, "The wind warms the birds, and the sun is high and the flowers are heavy", and there seems to be more warmth in the music.

In addition, there are kinds of poems, texts, paintings, and difficult scenes, which can often be portrayed more evocatively under the pen of the clever "sound poet" and "sound painter". In addition to the musical "image" and its ability to "move", racing through the "stillness" of plastic arts; is there a reason why this flowing musical language can be multi-faceted and multi-layered at the same time. This is also the function that came after the development of music culture to multi-voice. This means of "weaving brocade" and constructing "flowing architecture" is naturally more suitable for special "shapes" than the static lines and colors of the plane. Western painters use perspective to imitate the three-dimensional nature, and Chinese painters use long-scroll composition to imitate the movement of nature and seek to express the direction in space. Music, on the other hand, can more subtly transform static into motion, change plane into three-dimensional, and transform space from the flow of time.

Quartet in "Rigoletto". The four people in the play each complained about their own heartfelt feelings in the same scene, and combined into a prescribed dramatic scene.

In the case of Pastoral, I listened to it because it evoked my "childhood scene" of riverside swimming and added to the scenery I had seen over the years. How many spring, summer, autumn and winter have been spent in a lifetime, accumulating all kinds of feelings, once you hear "Spring Song", "Sleigh", "Autumn" and the steaming "Spanish Capriccio", the many experiences stored suddenly "regurgitate"!

The direct experience of life is limited and therefore more precious; fortunately, the world of indirect experience is vast. When I listened to Lao Chai's "Romeo and Juliet" overture and Wagner's "Faust" overture, I knew very well that this was due to the infection of the original literary works. What paved my way for "Francesca of Rimini" was not only Dante's original poem, but also Delacroix's painting Dante's Boat.

If I hadn't read history, if I didn't know anything about the French Revolution, if I hadn't been interested in the novels of Hugo and Dickens, I'm afraid I wouldn't have been so fascinated by Beethoven, and I wouldn't have heard anything to hear about his symphonies.

No matter how much information the composer is bent on sending you, if you don't respond, resonate, and make a rich harmonic sound, the music will be muted. The audience should be a sympathetic body, so it is necessary to absorb materials that are conducive to strengthening resonance from history, society, culture and art. When you have listened more and tasted the "image" of music, then you must also further mobilize the potential of "image thinking". The main thing is how to be sensitive to the personality and details of the musical "image".

The storm "image" has long since become a cliché in music. But the master's thunderstorm is not the same. Beethoven's "Pastoral" and Rossini's "William Retreat" overture both write about thunderstorms, both evoking my childhood experience of summer thunderstorms. Listen to Groffy's "Grand Canyon" and Richard Strauss's "Alpine Symphony", and the thunderstorm scenery has its own advantages. Interestingly, both Rossini and Strauss's music is reminiscent of the Swiss lakes and mountains; strauss and Groffe both write about thunderstorms in the mountains, but they are both distinctive. There are also "miniature paintings" of sea storms in "Pell Ginter", the overture of "The Wandering Dutchman" and the imposing large "oil paintings" in "The Flying Of the Valkyrie", which are also unique. Nature refuses to repeat itself. The musician's Danqing magic hand can also express the same theme from different aspects.

The most elegant "Round Dance in L C Minor" is clearly the "image" of a solo dance, just like a gorgeous beauty, chatting and dancing with melancholy feelings, and the atmosphere is lonely.

Musical language is sometimes an international language that does not require translation, and the feeling of musical "images" often varies from person to person. The "image" of music is vague and ambiguous, but this is like "poetry without praise", and the music thus takes on a more subtle hue. The Soviet conductor Kondrathun had a wonderful and enlightening remark about interpreting title music. He said that although the composer had set the title, the conductor dealing with the work might as well have his own title. Then can't the listener also hear a title of his own! What does it describe? So this appreciation becomes a psychological activity of guessing, arbitraging, and seating with a bunch of natural "images". To learn a foreign language, at first, you always have to translate a word and sentence from a foreign language to a Chinese. To learn a certain level, if you want to understand deeply, you have to get rid of this method and think and feel directly according to the ideas of the foreign language. Otherwise, there is no way to deeply understand the original text.

At first glance, you will think that it is just his three words and two words, simple and unpretentious, but in fact, it is a fine art work that is "brilliant and bland". If you are willing to listen quietly, it is best to play it yourself, let your left and right halves cross the left and right hands, and talk in polyphonic language, you can get the experience of non-visual image thinking.

Endure the dullness that was inevitable when approaching Bach at the beginning, and even like George Bernard Shaw mocking the dozing of 19th-century British gentlemen and ladies when listening to fugues, sincerely listening to several of his pipe organ or ancient piano fugues and a cappella sonatas, slowly you will become astringent, experience the particular chewiness of this polyphonic art, and at the same time have a deeper feeling for the beauty of pure music independent of the visual image.

Some aestheticians are keen to push other arts closer to music, the so-called "all art yearns for music", which helps to remind people to pay more attention to the charm of music itself

George Bernard Shaw was a rare literary hero who was both engaged in literature and music. Originally, he vigorously advocated for the title music, concluding that "all music is title music". I think that the closer music is to literature, the more valuable it is. The title music and pure music works have twin peaks and two waters flowing together, and it is difficult for me to choose one or the same between Mozart and Beethoven!

Why do many music lovers not fall in love with Mozart and Bach until middle age and in their later years?

Perhaps, learning more about the "grammar" of music - harmony, counterpoint, song style, etc., can make us enter the door of pure music and the "entrance" of the ascension hall faster? But for amateurs, it may not be able to "see the effect immediately". Listening to pure music works with all kinds of image materials in your head will certainly not be able to make it difficult: while listening, you will try to use rational thinking to stare at the form, structure, technique, etc. of the music, as if it were like the sound of the commentary when listening to a music program. Although you have to understand a work through analysis when you first listen to it, it is not worth it to use it as a way to do it later.

When we listen to the masterpieces of Bach, Mozart, and Beethoven, we are always drawn to some kind of flowing force and involuntarily follow it. It was an exuberant outpouring of life, and it seemed to be an eloquent force of logic. This is formed through the continuous, unfolding of Lesi.

However, when browsing the history of music, it is important to think about the feelings of the works you have read and read extensively. Don't settle for abstract dry concepts. On the one hand, to find out the general context of those authors and works, on the other hand, to learn to identify different styles of different eras. Identifying the similarities and differences between various styles and styles, the origins and changes, that improves the appreciation and obtains greater enjoyment. For example, it is not difficult to hear how similar the musical styles of Haydn and Mozart are, and to associate the times and mutual influences between the two of them; and to hear their dissimilarities, to associate With Mozart's special endowments and contributions to pioneering new styles, it requires more listening and thinking.

Listen to music, don't stick to the title, and don't blindly rely on the portrayal of literary language to find the imagery in the music. Mendelssohn was highly literate and enjoyed painting. I think he must also use his poetic painting eyes while capturing musical inspiration. Liszt wrote a good article and was well versed in art appreciation. Therefore, the poems and murals of the ancients also became the source of inspiration for his title music. On the other hand, literati and painters also derived nourishment from music. Balzac admired Beethoven, Delacroix loved Mozart, Van Gogh learned to play the piano... Many people who read poetry and painting and appreciate architectural art often hear the "melody", "rhythm", "timbre", "polyphony" and "harmony".

Like the ancient poems "Mourning Fu Ruolan" and "Blowing Flowers as Copper Sounds", the sensitivity of that feeling is simply embarrassing and dull to us today!

Experiencing the beauty of music in an instant is more vivid and vibrant than simply listening to the feelings of playing. Of course, it is not to find a soundtrack for the natural landscape, like a mediocre TV show, but to feel it from the atmosphere and charm.

What we hear is often pastoral songs, idyllic poems, and the really complex "music" is contained in society and life, which is the most grand and deep polyphonic music. We can find a deeper sense of music from the connection between history, reality and music. But don't take it lightly. It is far-fetched to use the history of a certain era to illustrate the music of Beethoven, or to use this music to accompany the history of that era. But you can believe that the heart beat, atmosphere, and sense of the times of a big era are still powerless and poor only by relying on text painting and even photography to record.

Read "Miserable World" to watch the movie of the same name, the scene of the old guard throwing into the battle of death in the Battle of Waterloo is thrilling! This, in turn, helps us understand Schumann's songs.

The kind of advertising-style boasting of literary masterpieces, the British literati Maugham was very dismissive. He believes that such abuse will only cause disappointment to the discerning reader.

People who do not have much experience in reading music are easy to have naïve and pious "pan-love", and the author is also a person who has come over. After we enthusiasts get started, one of the skills we need to consciously hon ourselves is the ability to discriminate, which may as well be used with the help of "tour guides", but can not rely on "tour guides". Perhaps the first thing to identify and choose is your "tour guide". Don't let others ride in your head, as Schopenhauer said.

The study of literature in a scientific way is very difficult.

It can guide you to recognize its source, identify its flow, and make a panoramic view of the scenery of the Endless Happy Sea. Familiar with the ins and outs of music, confirm and deepen your own feelings, the vision will be wider, and the recognition will be improved.

A book where musicians talk about music. In fact, these are also a kind of music history, and it is a more specific and vivid music history. Books by Schumann, Liszt, Tchaikovsky, Berlioz, and others are not only worth reading, but are also best read from time to time to confirm the feelings you have accumulated in listening.

You can listen, think, and experience "with questions" again. This is often more discriminating than "indifferent" listening. For example, Tchaikovsky's lack of interest in Brahms, the belittling of Chopin by the powerful clique, the similarities and differences between Chai and Berlioz's discussion of Beethoven's nine-part symphony, etc., are all very revealing and can most inspire us to listen with fresh interest.

Some of his products are perfunctory game articles, so why should you try in vain to find inspiration for genius?

Listening to a large concerto with great rhetoric and complex techniques, the actual feelings you get may not be worth a sincere sketch.

I'd rather listen to another lively "light" work (such as Johann Strauss's Overture to The Bat), and I don't want some kind of symphony to make me wonder for half a day.

The national style turned out to be refreshing, and in the 19th century someone concocted hypocritical and mediocre "national style" music, which was also attacked by George Bernard Shaw.

"Intensive reading" of the essence of music, supplemented by a "exposition" of works with different musical styles, realms and temperaments, gradually tastes what is said and what is meaningful, has true feelings and deep meanings, and has real realms and personalities from comparisons and contrasts; what is a work that has no meaning. Through the combination of the two, the former is the main listening, forming their own opinions, and improving this ability to "recognize goods" is too important! That's how you can really enjoy it, or you'll have to follow someone else to snap up hit records that aren't worth buying.

Having your own opinions, and in reading music intensively, reading music history, and music reviews, discovering and correcting your original impressions and changing your preconceptions is the most able to make you improve one step to the level of "Zhiyin".

We amateurs have an advantage that is not limited by factors such as occupation, etc., we must dare to "explore" with me as the mainstay, we must dare to aesthetically and independently, dare to praise and disparage, make choices, and also dare to correct stereotypes and prejudices.

You may object: this is the responsibility of music critics, where do mortals of my generation have this ability? Some people think that when studying works, the creator is criticizing with his work, and the critic is creating with his criticism. I think, aren't both writing and commenting for the sake of a wide range of readers and listeners? We are rightfully masters of aesthetics. When we communicate with the author in the process of listening, we are not only participating in the creation, but also commenting; then in China, where the work of music criticism is not yet developed, why should we "beauty lovers" have inferiority and give up that "natural human rights"!

With a concise and clear brush and ink, he sketches a rising sun on the picture of the ideological and cultural trends of the 18th century in Western Europe - that is, the god Mozart who is offered flowers in the fields of all the happy people. It is simply a brilliant "Ode to the Sun", reminiscent of the famous Renaissance painting, Botticelli's "Birth of Venus".

It is as if we see the author looking around the statue of Brahms, and not only that, but he is like a professor of anatomy and psychoanalyst who wields a lancet and is ruthless under the knife, diagnosing the master's double personality, arguing: "His heart is full of dark wounds, scars, and sensitivity makes him a life of Hamlet." ”

People who sincerely pursue the aesthetic enjoyment of serious music, but also have a passion for knowledge about music culture. He told you to read it and feel that you were pitifully ignorant of culture and art. But this kind of fast-talking and enthusiastic music review, the music lover will not bear to let go, only hate its short.

Another master of instrumentation, Richard Strauss, still edited, commented on, and republished it with great interest, although in more than one place in the book he unceremoniously criticizes: "[This view] is now obsolete." But in several places, he couldn't help but appreciate: "Golden jade good words!" What is even more gratifying is that the compiler inserted a large number of his own insights into the original text. Reading this book, we are like listening to two different generations of title music masters (both of whom are also two, composers and conductors) in a joint lecture. Berlioz spoke, Strauss interjected, sometimes approvingly, praising the festival, and sometimes calmly offering discussions. For example, Bo's discussion on the characteristics of the clarinet is said to be reminiscent of the heroine of the epic. Shi Shi commented: "Very beautiful feeling, but slightly one-sided. One asserts: "All obsolete, only the research value of the history of orchestration." ”

"Winning" is to enter the best place of masterpieces, so that you can gain a deeper understanding of the subtleties of classic works that you have become familiar with. Unlike the textbooks that only analyze dryly, the author Tovey is not only a scholar, composer, and conductor, but also has a sense of command for many years, so that his analysis of famous works is not on paper, but has subtle and original insights, and expresses them in incisive and humorous writing, which will never be boring to read.

Great geniuses such as Qian Zhongshu and Jin Kemu can read through ten thousand volumes and get great enjoyment of seeking knowledge from them, but may they browse music like a flip book? Even if many conductors have the ability to speed up the orchestra's total score, when they study the meaning of those scores and interpret them into actual sounds, they can't just compress and abridge the abridgements and turn the feast into fast food!

The music has a length, and it does not take the investment of time to play, to listen to it repeatedly in order to understand it, and to find out the minimum musical terms and background of the music!

The range of my guidebook is Baroque to Debussy. The new music since Debussy has no effort to listen to and has no appetite. Of course, this is to blame my own shallow vision.

Ironically, after I became obsessed with music, I imagined that there must be a new Beethoven in the 20th century, not only one, but like the gods of the Renaissance. According to evolution, of course, metabolism.

The evaluation of all works of art is subject to the most ruthless judgment in the court of time.

Subjectivity, preference, partiality, of course, there are elements of half-understanding and even ignorance, but it also contains a subtle and unspeakable "fate" problem. This "condition" is not the same thing as the so-called condition in religious theology. It refers to some fortuitous opportunity.

Zhang Ailing's short story "Blockade", almost to the end of the end there is a wonderful picturesque passage, such as the text of the Impressionist painting, writing that the heroine CuiYuan is lost, and what she sees when she skims on the tram that drives full horsepower, "Cuiyuan's eyes see them, they live, only live for a moment." The car ran forward, and one by one they died." When you listen to it, you are moved, you can taste it, the music is alive, and the listener feels that he is alive. If you listen but don't hear, if you smell and don't feel it, if you eat without knowing it, then the music is dead. I think this warning is also quite revealing to reading music. The more you listen to and listen to the songs that interest you, the more three-dimensional the music becomes.

It is often more beneficial than relying on records to listen. Although the music is watered down, obscured, and ethereal in your mind, it helps you to grasp its flowing whole, and it is unique. Lovers who are interested in honing their "listening skills" may wish to try.

The roots and lines are growing, the lines form words in rapid motion, the words grow into lines, and the lines flow forward. Starting from "Heaven and Earth Xuan huang", to the finale of "Zhi Hu Ye", "waving the paper like a cloud of smoke", it became a long scroll with a total length of 1172 points and one centimeter. Reading this volume, you can't stop, you can't stop, as soon as you stop breathing, you destroy the sense of flow, the sense of speed, isn't it ruining it and your own sense of music!

So the so-called "Moonlight Song" became the first serious musical work I listened to in my career as a music fan. Such a difficult and inexplicable work is actually regarded as an enlightening lesson for music appreciation, of course, it is the wrong teaching material, and the world is very funny. Listening to it over and over again, there was a great deal of strength from ancient theorists to know about the bamboo lattice. It has always been said that writing a piece is a one-time creation, and the performer is a second-degree creation.

There are thousands of piano children; private piano teaching is in short supply; a variety of examinations; the top people go to the international competition stage to win the grand prize; Fu Cong thinks that he is inferior to today's post-birth boy in skill, and so on. It's like China's piano boom has arrived! I only saw the piano children and their parents running hard around the piano, and I couldn't see how many young people who really loved the piano played the piano.

The channel through which music flows into the heart is not only hearing. Make music by yourself, in order to mobilize all the senses of the whole body, "multi-channel" full and holographic acceptance of music. My method is simple: play less monotonous etudes and more of your favorite songs. The insider certainly couldn't stand it, but my goal of self-congratulation and self-enjoyment was fully achieved. Not only that, but it also helps to read music and taste a lot of sweetness. When the ripples of the three notes in the slow movement flowed from under my fingers, although so soft, I felt an indescribable tremor in my spirit, like a dizziness, and a bliss. Now it's like reading the translation and finally reading the original book, like I'm talking face to face with the Lesheng I worship! This kind of "electrocution" type of resonance acceleration may occur from time to time just by listening to records with both ears, but there is such a rich and subtle. In the slow movement of the Moonlight Sonata, from the twenty-eighth bar, there is a question and answer in the high and low tones, which is meaningful. When you make it on the keyboard yourself, you will be surprised to eavesdrop on the author's voice. Playing your beloved orchestral adaptation on the piano, I am afraid that the greater enjoyment is that you can live the addiction of being a "conductor". It's more obedient than a real band, and you can play to the fullest, "rehearse" repeatedly, and experiment with your independently thinking personal interpretation of the immortal masterpiece. In fact, I was also inspired by the great literary hero George Bernard Shaw, and his precedent strengthened my courage, "My way is not alone"! Today's music lovers may not know that he is also a world-class music critic. He commented on live performances in concerts, not records, not to mention editions, and three thick books of music reviews, each with nearly a thousand pages! George Bernard Shaw learned from no teacher, practiced music theory through "playing the piano" and read famous songs on the keyboard, so that he had the ability to comment on music. Every time I think of this sage, I also "play" with a clear conscience.

Witnessing the ruthless judgment of the Time Judge, many of the famous new works disappeared from the program list in the blink of an eye. Its popularity, and especially its repeatable performance, actually shortens the process that would have taken a long time to see, and it seems to shorten the time. It is conceivable that due to the rapid development of recording and broadcasting means, the rapid growth of the number of listeners, the repetition of listening and appreciation at will, and the severity of the washing and testing of musical works are unprecedented!

I was an old music fan, in fact, I spent half my life, neither able to possess the recording of Hongfu's masterpieces, nor did I make full use of my time to read intensively, my knowledge was limited, and I was ashamed. However, even in those works that I have the opportunity to contact, I often feel sorry for whether the trade-off between the old man of time and the public is fair or not.

Endless over-repetition finally destroyed its youthful freshness! It is impossible for old music fans to regain the inexplicable surprise they felt when they first met, unless there is any way to wash away the memories.

"The Ninth" is like Mount Everest towering into the clouds, and "The First" has a childish atmosphere. The remaining seven songs are like the peaks on the outskirts of Mount Everest, each with its own beauty. The vigor of "The Second", the lingering pity of "The Fourth", the innocence of "The Eighth", the craftsmanship and style are very different from those of other songs.