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24
24
24
2006 9 21 2006 11 29
674
importance if compared to Chopins other works. Thus, the purpose of this study is to
offer a better understanding of 24 Preludes through detail discussing of style
characteristics and musical interpretation from the standpoint of performer and
pedagogue.
675
24
(Randel, 1986)
10 20 (passage)
1448 (Adam Ileborgh)
(tablature)
1789 1803
(Dale, 1972)
(character piece)
24
24
676
1836
1831
(Hanson, 1973) 1838 (Majorca)
(Camille Pleyel)
24
24
(Cortot, 1930)
1838 11
(Julian
Fontana)
(Cortot, 1930)
1839 24
(Joseph C. Kessler)
(Cortot, 1930)
(Ignaz Moscheles)
(Hunker, 1966)
(Hunker)
677
(Hunker)
24
(brilliant
style) (Carl Maria Von Weber)
(Frederic Kalkbrenner)
24 F D
A B
(1)
(line within a line)
678
(
1) C D F
G E
E
1 1-8
(2)
(cantilena
style)
B A
F D
A C
(3)
(Paderewski, 1979)
c (appoggiatura)
D ( 2) D
( 3)
679
2 39
3 4
e
D ( 5)
5 12
680
f
B
( 6)
6 9-13
5 F
(roll chord)
( 7)
7 33-36
(Gillespie, 1972)
(1)
D
A A D B
C G( 8)
681
8 27-28
(2)
(3)
E A
12
( 9)
9 1-12
(4)
B 22
A( 10) F 21 E( 11)
10 22-23
682
11 21-22
(5)
C
D F G
E E
F
D A
A
A
(Ogdon, 1972)
(C G D A )
( )
( F E )
( E B F
)
(Chomiski, 1978)
( F A )
683
F D
( ) E D
( C
G )
( F
D )
: C
9 ff pp
(Wolff, 1990)
(Charles Rosen)
(Weeks, 1995)
(1)5-6
5-6
5-6
C
A ( 12 13) 5-6
F
E C G
F C B
684
12 1
13 1
(2)
B A F E
C D B( 14
17)
14 1-2
15 1-2
685
16 1
17 1-2
A G
( 18 19)
18 3-4
19 3-4
686
(3)
B D
687
(15)(Raindrops)
(16)(Hades)
(17)(A Scene On the Place de Ntre-Dame de Paris)
(18)(Suicide)
(19)(Heartfelt Happiness)
(20)(Funeral March)
(21)(Sunday)
(22)(Impatience)
(23)(A Pleasure Boat)
(24)(The Storm)
(Cortot, 1930)
688
(1)
c
C G D
C E F
G F
d
F G B
E D
(2)
F D A
B
(3)
A C
(4)
D E B
689
(5)
A E B C
1830
(Wolff, 1990)
24
(1)
1
E 5 7 C B
B (Hinson, 1992)
(2)
( 20)
20 1-2
690
(3) F
2 4 ( 21)
21 1-4
(4) D 8 (
22)
22 5-9
(5) D
14 ( 23)
23 14
(6) B
12 13 ( 6)
691
(7)
C B A
E B F
B D
(8)
B 19 24 ( 24)
24 17-24
(9)
A G C (Hinson,
1992)
D
(10)
24
Wiener
Urtext Paderewski Salabert
692
C
(Agitato) 2/8
16
21 25
(rotation)
A
(Largo) 2/2 ( 1 )
E G ( 5 ) B
( 8 ) D ( 10 ) A ( 13
) 15 E A
2 3 4
(1)
693
G
(Vivace) 2/2 ( 2 )
(
12-27 ) ( 28 )
(upbeat)
(downbeat) A
E
(Largo)4/4 ( 3 ) (Karasowski)
(Hunker, 1966)
B
(2)
(3)
694
D
(Allegro molto) 3/8
(Arabesque) C
4+8+4
( 33 )
(line within a line)
1-4 B-A B-A
B B
13-16 F G- A
B
(Lento assai) 3/4
12 C
( 15-22 )
( 23 ) B
pp
( 4)
(sotto voce)
(4)
PaderewskiWiener UrtextppSalabertppp
695
A
(Andantino)3/4
12
C A
F
(Molto agitato) 4/4
C
( 9 )
( 19 )
ff ( 23 ) ( 27 ) F
( 29-31 ) pp
E
(Largo)4/4
( 5)
5 I-V
A ( 8 ) G
E
(5)
Salabert 8 GGG
696
( 6)
C
(Allegro molto) 3/4
( 13-18 )
B
(Vivace) 6/8
11 G B
( 15 ) ( 23 )
hemiola( 59-1017 ) ( 7 )
(6)
(7)
6/8 3/4
697
G
(Presto) 3/4
( 21-40 ) B
( 21 ) A ( 24 ) G ( 28 ) C (
29 ) E ( 31 ) D ( 37 )
( 41 )
( 65 ) ff
3 4 5
ff (Cortot, 1930)
pianissimo pizzicato
F
(Lento) 6/4
( 21 )
( 29 )
698
33-36
Salabert
E
(Allegro) 2/2 ( 8 )
B
11
Salabert (Cortot, 1930)
1-10
11-14 15-16
17
D
(Sostenuto) 4/4
B (
1-27 ) ( 9-19 )
( 28-75 )
( 44-75 ) C D
ff ( 40-43
56-59 )
( 76 ) D
(8)
699
B
(Presto con fuoco) 2/2
18
stretto ( 30 ) 34
( 42 )
A
(Allegretto)6/8
(ABA 1 CA 2 )
A ( 3 ) B ( 19 ) A
G E A 1 ( 35 ) A
ff C ( 43 ) E
V-I ( 51-53 ) A (
65 ) pp
A ( 84 )
( 20 22 44 48 50 )
700
F
(Allegro molto) 2/2 ( 9 )
(recitative) ( 17
)
E
(Vivace) 3/4
( 49
) ( 57-71 )
( 4 )
C
(Largo) 4/4
C ( 1 0 )
(9)
(10)
PaderewskiWiener Urtext)E
701
1-4 ff
5-8 p
9-12 pp
B
(Cantabile)3/4 (
1-16 )
( 17 ) G
( 1 1 ) ( 33 )
B ( 39 ) ( 1 2 ) (
45 )
3 4 4 5
f pp
G
(Molto agitato) 6/8
( 1-16
)
(11)
23 PaderewskiWiener UrtextCSalabertD
(12)
Salabert 41 44 GG
702
( 17-34 ) A
D
34 ff
f ff
F
(Moderato) 4/4 C
( 5 ) C
( 9 ) F
B ( 13 ) F ( 17 )
21 E
p
D
(Allegro appassionato) 6/8
( 3-19 ) D
A ( 19-37 ) 39
C ( 39 ) D ( 43
) D C( 48-50 ) D
( 51 ) 55
703
fff
stretto( 61 ) ( 1 3 ) ( 66-69 )
fff ( 73 ) D
(Cortot, 1930) 1 2 3
2 3
(1)
c : E B A
E C
(2)
c / : A F
D A B
d : G C F
F
e : B
f : G
(13)
61 Wiener UrtextPadereweskifffSalabertff
704
(3)
c : C
d : D
e : E
(4)
c / : F E
d : G
e : B
f :
D
:
(1) C C :
(4) E B
:
(5) D :
(6) B
B :
(7) G G :
705
(8) F F :
(Eigeldinger, 2005)
(Kallberg, 2004)
(Hunker, 1966)
706
Dale, K. (1972). Nineteenth century piano music. New York: Da Capo Press.
Eigeldinger, J. J. (2005). Chopin: Pianist and teacher as seen by his pupils. Ed. by R.
Howat. Cambridge: Cambridge University Press.
Gillespie, J. (1972). Five centuries of keyboard music. New York: Dover
Publications.
Hinson, M. (1992). Pedaling the piano works of Chopin. In J. Banowetz (Ed.), The
pianists guide to pedaling (pp. 179-198). Bloomington: Indiana University Press.
Hunker, J. (1966). Chopin: The man and his music. New York: Dover Publication.
Jones, J. B. (1998). Piano music for concert hall and salon c. 1830-1990. In D.
Rowland (Ed.), The Cambridge companion to the piano (pp. 151-175). Cambridge:
Cambridge University Press.
Kallberg, J. (2004). Small forms: In defense of the prelude. In J. Samson (Ed.), The
Cambridge companion to Chopin (pp. 124-144). Cambridge: Cambridge
University Press.
Michalowski, K., & Samson, J. (2006). Fryderyk Franciszek Chopin. In The new
Grove dictionary of music and musicians online (S. Sadie & J. Tyrell, Eds.).
Retrieved May 15, 2006, from http// www.grovemusic.com
Ogdon, J. (1972). The romantic tradition. In D. Matthews (Ed.), Keyboard music (pp.
209-258). New York: Praeger Publishers.
Pogorelich, I. (1990). On Frederic Chopin: Preludes Op. 28. (Compact disc Deutsch
Grammophon 125266). New York: PolyGram.
Randel, D. M. (1986). The new Harvard dictionary of music. Cambridge: Harvard
University Press.
Schonberg, H. C. (1987). The great pianist. New York: Simon & Schuster.
Weeks, D. (1995). The unity within Chopins prelude. Clavier. 34(7), 23-29.
Wolff, K. (1990). Masters of the keyboard. Bloomington: Indiana University Press.