Chapter 23 Appendix: Beethoven's Works and Its Spirit - III

To complete my sketchy research, I will select Beethoven's most famous works and add some superficial notes.Of course, with the author's layman and superficial knowledge, neither precise technical analysis nor subtle psychological anatomy can be discussed.I just collected the opinions of a few authoritative critics, plus my own views on Beethoven's works for more than ten years, and made a general description.My hope is: people who love music can have some enlightenment guides when appreciating them, and have some references when exploring Baoshan; young people who specialize in music can understand the content of a work from these simple introductions. Sophisticated and profound, in addition to the training of hands and eyes, it needs to be deeply understood in order to appreciate the lofty artistic conception of the creator. ——Music research in our country has not been out of kindergarten for more than ten years; now is the time to start on the road to success!

a piano sonata Work No. 13: "Sonate Pathe "tiquein" Cmin.) - this is the most important piece of Beethoven's early sonatas, including AllegroAdagioRondo - three chapters.Before the first chapter, there is a solemn and solemn introduction, and this subsection appears twice later: one is after the problem is solved, and the other is before the development; the other is at the end of the re-problem, but before the conclusion.What's more special is that the sub-sentence and the main sentence are also based on the minor key. After Adagio in the minor key, Rondo still performs in the minor key. ——The first chapter shows the flames of youth, the passionate impulse; in the second chapter, the emotional tide seems to settle down, bathed in a peaceful atmosphere, but in the third chapter, the violent Rondo, the passion rises again.The contrast between light and darkness seems to symbolize the alternation of sorrow and joy.

Work No. 27-2: "Moonlight Sonata" (Sonatequasiuna "fantasia" ["MoonlightinC"] Cmin.) - The sonata system does not apply here.Adagio, which should have been in the second chapter, occupies the most important first chapter.The beginning is a monotonous, lengthy, lingering monologue, which reveals a naked sense of desolation and resentment.Allegretto followed, squeezing the painful moans of the previous chapter into tense enthusiasm.Then there is the impassioned Presto, with the typical genre of the sonata, making a powerful conclusion like an ancient tragedy: the power of the soul finally subdues the pain.Sentiment controls the overall situation, full of poetic and dramatic waves, one step at a time.A shallow legend was popular in China more than ten years ago, saying that this sonata was improvised and composed in a novel-like story.This is utter nonsense.Beethoven did not compose this piece out of improvisation, but through painstaking efforts.This is evidenced by the manuscripts he left behind.

Work No. 31 No. 2: ""The Tempest" Sonata" (SonateTem "BpestinD" min.) - 1802-03 years, Beethoven said in a letter to his friends: "From now on I will embark on A new way." This piece of music can be said to be proof.The syllables, forms, and styles all have new faces, all in a language with more direct expressions.The dramatic recitatif at the end of the first chapter is like a solemn and impassioned singing. Adagio is especially beautiful, Lanz said: "It reminds of a myth in rhyming style; a rose enchanted, no, not a rose, but a princess hypnotized by the charm of a witch..." It was a piece of heavenly peace, soft and dark. dark light.The last Allegretto is a hot and unrestrained scene, a "Midsummer Night's Dream", as Romain Rolland said.

Work No. 53: "Dawn Sonata" (Sonate 1 Aurore'in C) - the common name of dawn, like the moonlight song, has no definite basis.Maybe the crescendo in the first chapter, maybe the short Adagio before Rondo—the atmosphere of the first dawn, the singing of boatmen on the Rhine, can roughly evoke the realm of "dawn".What is certain, however, is that there is no Beethoven's tragic temperament here. He seems to be strolling in the fields, admiring the cloud shadows, birdsong, and water colors leisurely, lost in ecstasy.Arriving at Rondo, the lazy fantasy turned into a clear and lofty realm.Romain Rolland said that this sonata is the forerunner of the "Sixth Symphony", and it is also a pastoral piece.The Sonata, commonly known as the Pastoral, is Opus No. 14; but apart from a dance of a country woman, there is really no pastoral atmosphere.

Work No. 57: "Sonate Appassiona "-tain Fmin" (Sonate Appassionna "-tain Fmin")—a heroic inner tragedy, a shattering volcanic eruption, the breath of Shakespeare's "The Tempest", a great conquest... Here we see To Beethoven's most glorious war. ——Two themes evolved from one theme: the wild and powerful "I", commanding and commanding; the trembling and timid "I", wailing and begging.But it did not dare to fight, followed the former, and seemed to accept a major melody of fate stoically.However, the energy didn't last, and it fell down again, and suddenly stopped on the painful ditty...restarted...repeated...a long period of majestic "development", the theme of strength reappeared, rolling and sweeping the weak,—— It also doesn't drop halfway.Then came the heroic end (coda).In the end, the theme disappears like a thunderstorm in the distant sky, the mysterious pianissimo.In the second chapter, pure Andante, the soul gets a moment's rest, two huge shadows reveal a beautiful light between the first and third chapters.However, the truce was short, and at the end of the Variations, everything was in turmoil again, blowing the finale (Finale Rondo-) whirlwind... Here, although the cowardly "I" still made mournful appeals from time to time, it was finally overwhelmed by the storm. Wild I was overwhelmed.The final conclusion is nothing but a boiling ocean... Man has become an atom, indistinguishable from the nature that devours everything.Because the wild and powerful "I" represents the original nature.In the first chapter, the weak "I" who tried to struggle was handed over to the original "power" by Beethoven at this moment.

Work No. 81 A: "Farewell Sonata" (Sonate "Les Adieuxin E)" b When this song was published, it was published with three titles: Farewell, Staying, and Retelling.The so-called farewell refers to Prince Rudolph's long journey in May 1809. ——The first movement is all built on the solfami—three notes, and all the melodies start from this simple musical purpose; this strengthens the emotional unity of the whole song.In the conclusion at the end of the re-question, the farewell, that is, the aforementioned three notes, appears repeatedly in its original form. ——The evolution of the same theme, representing the various differences of the same sentiment: in the introduction, "Farewell" is bleak, but calm, not without sweetness; at the beginning of Allegro, the first chapter begins with a slow , followed by Allegro.It returns with clashing rhythms and dissonant chords: it's a hasty breakup.In the end, the repeated "farewell" in the form of dialogue almost ends in diminuento.The two friends raised their scarves at the end to indicate that they were getting farther and farther away, and disappeared. ——"Stay Behind" is a short chapter of Adagio, hesitating, inquiring, anxious, and waiting for friends.Then there is vivacissimamente, a warm and breezy chapter in which two friends throw themselves into each other's arms. ——From the beginning to the end, the poetic and picturesque atmosphere enveloped the music.

Opus No. 90: Sonata in E Minor (Sonate in Emin.)—this is dedicated to Count Lichnovsky, who, against the objections of his family, married an actress.Beethoven himself told the story in this piece of music. The first chapter is titled "The Battle of the Mind and the Heart", and the second chapter is titled "A Conversation with a Lover".The story ends here, and so does the music.And because the story ends with auspiciousness, the music also starts in a minor key and ends in a major key.In terms of musical purpose, the dramatic mood in the first chapter and the quiet confession in the second chapter also coincide with the title.Poetry controls the composition of the music, which is stronger than that of "Farewell Sonata".

Work No. 106: "Sonate in B flat major" (Sonatein B) - Beethoven was forced to write this piece of music for life; so at the beginning b used three rough chords to unfold this tragic and desperate song. poetry. The "development" part is a complex polyphonic coordination, which symbolizes the difficulties of circumstances and emotions.The year of composition was 1818, and Beethoven was in a state of distress about his nephew. In the middle of "Development", the style of fugue (Fugato) was used twice, as if to find a powerful solution to solve this mess.Sometimes it's light, sometimes it's shadow. —and then the eccentric and rugged Scherzo, the ghost of nightmares. —A superhuman effort of the will, arousing painful reflection: this is the Adagio Applicationna Bto, a generous speech, a mournful lament.The three themes are presented in the form of great variations.When the victims were devastated, a piece of Largo introduced a fugue to unfold a grand scene with intricate "development", using all the ingenuity of counterpoint and canon to report the distress of the soul.Then there was a quieter interlude, in which the song of thanksgiving from the "Mass in D" was sung in advance. ——The final conclusion, declaring that the adversity has been overcome, and fate has been conquered once again.In all Beethoven's sonatas, the lyrical composition of mourning, the roar of painful rebellion, has never been as thrilling as it is in this work.

Sonata for Violin and Piano In the "two sonatas", that is the Violin and Piano Sonata, or the Cello and Piano Sonata.Beethoven obviously didn't have as much success as the piano sonatas.It is difficult for him to find a perfect way to control the soft and hard instruments.Moreover, among the ten violin and piano sonatas, nine pieces were composed before the "Third Symphony"; five of the nine pieces are works before the "Moonlight Sonata".After 1812, he no longer engaged in this kind of music.Here I will only introduce the two most outstanding ones. Work No. 30-2: "Sonate in C Minor" (Sonate in Cmin.) was inscribed to Russian Emperor Alexander II. ——In this song, Beethoven's face is more obvious.Violent and sombre themes, performed on the violin, the piano roaring below.The auxiliary sentence adopts a mighty and exciting posture, and has both a feminine and a strong spirit.The impassioned and unrestrained ending especially shows the characteristics of Beethoven.Helios, a modern French statesman and music critic, said: "If it is persuasive to look for the victor in this work, which refers to the majestic posture of the Russian emperor and the wailing of the defeated, we can at least consider it to be heroic." The music is full of strength and joy, which can be compared with the "Fifth Symphony."

Work No. 47: "Kreutzer Sonata" (Sonatea KreutzerinAmin.) Kreutzer is a Frenchman and a violinist in the Royal Church.He went to Vienna with the army and met Beethoven.Beethoven met him very kindly, so he presented this song as a gift.But Kremlin was still reluctant to play, because his music concept was pedantic and old-fashioned, and he didn't understand Beethoven at all—the two instruments that Beethoven had never been able to arrange, and here he found a solution: they can't be reconciled, Let them clash; if they cannot join hands, let them fight.The first and third movements of the whole piece are like a hand-to-hand battle between piano and violin.In the "Two Sonatas" next to it, the answers are often easy and elegant; the dialogue here is as close as one step, like two enemies fighting each other.After Andante's quiet variation, the fight resumed, more tense, and a long rushing counterpoint between piano and violin ended with the loud voice of the piano. "Development" gallops forward, suddenly holds its breath for a while, passes through a few sections of Adagio, and then disappears in the middle of the dazzling conclusion. —This is a duel, a duel of two instruments, a duel of two minds. Trio and Quartet The quartet is a style based on the typical sonata, so in Beethoven's quartets, you can see the same evolution as in his sonatas and symphonies.His tendency is the strengthening of the melody, the development and freedom of form; and the polyphony that can be expressed on stringed instruments is more rich and independent.He made a total of sixteen quartets, but between the eleventh and the twelfth, there was a fourteen-year interval, 1810-1824.Therefore, the last five lines form a special feature in Beethoven's works, showing his final artistic achievement.When the Twelfth Quartet came out, both the Mass in D and the Ninth Symphony had already been born.In the last few years of his life, he was lonely, especially in art, and even his close friends didn't understand him...Illness and poverty, troubled by his nephew's lack of progress, tormented him at his worst.He slowly endured it, and all the sorrows sank deeply into the depths of his heart.What he shows in music is a more positive personality.He is more in-depth, loves analysis, tries his best to absorb the spiritual spring of joy and sorrow, and breaks the shackles of form.The music has almost become lyrics and language, transparently conveying the author's inner emotions and subtle mental state.Ordinary people often only know how to appreciate Beethoven's symphonies and sonatas; the value of quartets has only been appreciated in recent decades.Because this kind of music that purely expresses the heart can only be experienced by people with a rich and deep inner life; and the general musical accomplishment must be to a certain degree so as not to get lost in the forest. Work No. 127: "QuatuorinEb" (QuatuorinEb) No. 12. - "Development" in the first chapter focuses on two principles: one is purely rhythmic, a strong rhythm contrasted with another soft rhythm.One is pure scale.The double rhythm goes from Eb to crisp G to even crisper C.Adagio, which appears in quiet and slow tones, includes six consecutive variations, but even in the complex rhythmic parts, it still maintains the breath of meditation.The "Endgame" after the strange Scherzo contains a number of bold harmonies and abbreviated modulations. —The most beautiful are those Adagio, including AdagiomanontroppoAndantecon; moltoAdagiomoltoespressivo;.It seems that a tree is full of different flowers, each with its own posture.In those chanting bodies, there are times of lucidity, and sometimes despair—the passion is not lost when the clarity is clear, and there is no tired look when it is painful.The author's expression here is more free than on the piano; on the one hand, the traditional form seems to still exist, and on the other hand, the impression is very enlightening. Work No. 130: "QuatuorinBb" (QuatuorinBb) No. 13. - At the beginning of the first movement, two themes are repeated four times, - two themes that are opposite in musical purpose and rhythm: the main clause expresses sadness, and the secondary clause expresses determination performed by the second violin.The dialogue between the two introduces the typical structure of the sonata.After the witty Presto, there was an episodic Andante: the desolate dream and the gentle melancholy controlled the situation in turn.After that is an ancient menuet, giving people the charm of ancient style and modern style.Then there is the famous Cavatinte Adagiomoltoespressivo—written for Beethoven with tears: the second violin seems to imitate a heaving breast, because it is full of sighs; The heart that has been seriously injured still wants to struggle and fly to the light. ——If this paragraph is compared with the ending, it will be even more tragic. —Taken as a whole, this quartet contains as many scenes as the previous ones, some sentences in Allegro are full of joy and life, Presto is comical, Andante is shrouded in a soft twilight, Menuet borrows from Old German. The tune of the folk song ends with the unbridled joy of the Bohemians.But the contrast is stronger, more abrupt, and the overall light is more mysterious. Work No. 131: "Quatuorin C Cmin." (Quatuorin C Cmin.) No. 14. ——At the beginning is the desolate Adagio, written in fugue, with a strong mournful atmosphere, which seems to herald a painful poem.Wagner considered this Adagio the most melancholy chapter ever written in music.However, Allegromoltovivace since then is both elegant and unrestrained, full of unexpected joy. Andante and Variations are particularly lyrical passages, with moving and slightly uneasy emotions in the center.After that, there are PrestoAda, BgioAllegro, the ending with many chapters and twists and turns. ——This is a big song with many threads, and there are as many as 13 or 14 interludes with clear outlines, as if the author has gathered all the materials at hand here. Work No. 132: "A Minor Quartet" (QuatuorinAmin.) No. 15. ——This is the famous "Song of Thanks for the Recovered".In the Allegro, Beethoven first expresses pain and turmoil, the excitement of the first violin, and the seriousness of the counterpoint.Then the gloomy sky gradually revealed light, a piece of country dance music replaced the dull meditation, and a shepherd boy sent a soft flute.Then came the Allegro-, a chorus of four instruments singing thanksgiving carols.Beethoven thought he was cured.He appeared to be on his knees, clasping his hands.On top of the naked melody (Andante-), we hear speech from slow to hasty, like a person recovering from a serious illness trying to walk weakly, gradually recovering his energy.How excited!What a relief!The chorus sings again, every time enthusiastically.Pious sentiments foreshadow Wagner's Parsifal.Then there is Allegroallamarcia, which inspires youthful impulses.Then comes the end game.The action is lively, the rhythm is clear and balanced, but the melody in the minor key is still very bleak.The disease is cured, and the scars are never forgotten.It was not until the melody shifted into a major key and the complicated rhythm of the bass instruments slowly died away that Beethoven's energy regained its victory. Work No. 135: No. 16 of "Quartet in Major Key" F (QuatuorinF). ——This is the last work of Beethoven's life.Unfinished manuscripts will not be counted. In the first chapter, Allegretto is naive, ingenious, full of fantasy and love, and the old Haydn seems to be revived for a moment: the last rose bloomed again before withering. Vivace is a game of sound, a sketch without hindrance.Then came the famous Lento, marked in the manuscript as "Sweet Song of Rest, or Song of Peace," which was Beethoven's last prayer, his last ode, and, according to Helios, his spiritual testament.His characteristic sobriety was really nothing but calmed grief.Simple and solemn, pious and peaceful song, but there is still some hasty lamentation in it, and finally the higher and loftier song of peace soothes it - and this quiet voice soon faded into a dream.The finale is a unilateral conclusion after the fierce dispute between the two phrases. The unrestrained musical thought and bold harmony are the characteristics of this part. Four Concerto Beethoven's piano and orchestra ensembles total five pieces, the most important being the fourth and fifth.There is only one piece for violin and orchestra ensemble, which does not occupy much place in the whole work. It is also selected because it is well known by Chinese people. Work No. 58: "G Major Piano Concerto" (ConcertopourPianoetOrchestreinG) Fourth Concerto, made in 1806. --The simple theme is first proposed by the piano, and then followed by the ensemble of the orchestra. It is not only full of poetry, but also majestic, with the pattern of a symphony. The "Development" section consists of the piano showing a set of light and bold faces, and then ending with flying lines (arabesque). ——But the most exciting part of the whole song is the short Andante conmolto, which has no technology to show off, only the scene of fierce confrontation between the piano and the band.The majestic theme played by the orchestra must be a violent will; the timid piano sound, weakly and alone, answered in a pleading tone.The dialogue continued for a long time, and the appeal of the piano became more and more urgent, and finally won.It was the only sound in the audience, and the band, like a defeated enemy, only gave out a faint roaring echo in the distance.Soon the sound of the piano was also silent in the chords of leisurely fascination. —then comes the finale, with bold arpeggios among the boisterous sounds. Work No. 73: ""Emperor" Piano Concerto" (ConcertoEm "BpereurinE)"b Concerto No. 5, made in 1809. The word "emperor" is a common name added by later generations. ——The rolling phrase, like a waterfall, reveals this majestic masterpiece almost simultaneously with the chords of the whole band.A series of broken chords galloped down, stopping at the modulation of A.The majestic momentum, thunderous power, rich lyrical composition, and brilliant glory combined the author's bravery, broad-mindedness, embrace, and turmoil at that time. 1809 was the year when Napoleon invaded Vienna.All vented out.Who doesn't think of the crescen Bdo in the "Third Symphony" after listening to this majestic and magnificent first chapter? ——Adagio, which is sung low by the strings, is solemn and quiet, and it is a religious mood.The transition between Adagio and Finale is especially amazing.In the finale of Rondo, luxury and warmth, heroism and coquettishness are wonderfully blended together to complete this big song. Work No. 61: "Concertopour Violonet Orchestra in D" (Concertopour Violonet Orchestrein D), the first chapter Adagio, begins with a soft ensemble, reminiscent of the beginning of the "Fourth Piano Concerto".In the contrast between the two themes, the appearance of a C sound caused criticism at the time. A simple theme in the middle of CLarghetto sang an innocent song, but unrestrained enthusiasm soon opened up for it large scenes and added fullness of expression.The last chapter of Rondo is a gallop of joy, mixed with tenderness from time to time. five symphonies Work No. 21: "First Symphony" (inC) made in 1800.First performance on April 2, 1800. ——The young Beethoven used the dissonant chord of F in the introduction, which deviates from the established method.As usual, this introduction should affirm the tone of this song.Although in today's view, the whole piece is very simple, only the Menuet and its trio part in the third chapter is more special; the Menuet played by Allegromoltovivace is actually equal to Scherzo.But critics at that time felt harsh, especially the use of wind instruments was greatly promoted. In Mozart and Haydn, timber was only used to generate rhythm, but Beethoven used it to enhance the dramatic mood.Using the different timbres of instruments to emphasize their contrast can be said to be the foundation laid since then. Work No. 36: "Second Symphony" () in D 1801--1802.Played on April 5, 1803. ——When this piece was made, it was the time when Beethoven's first love failure and the pain of deafness began to hit him severely.However, the energy of the work is full and full, and there is no decadence at all. ——The introduction is more bold than the "First Symphony": the theme performed by the bass instruments first, gradually rises, transitions to the treble instruments, and finally the whole band plays together.This step-by-step approach almost reached superhuman greatness in the beginning of the "Ninth Symphony". ——Larghetto shows the artistic conception of clearness, tranquility and broad-mindedness. Scherzo writes of excited dialogue with stringed instruments on the one hand and wind and percussion on the other.The ending is similar to Rondo, but the turmoil of the theme and the passion of the emotion are quite different from the usually smooth Rondo. Work No. 55: "Third Symphony" ("Eroica Symphony" inEb) made in 1803.First performed on April 7, 1805. ——The huge labyrinth, the deep jungle, and the sharp contrast are not only epoch-making buildings in the history of music, think back to Haydn and Mozart.It is also an unprecedented epic.But be careful, initial listeners can easily get lost in the boundless wilderness! ? Chi  Starling  Huan flutters flails. 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Embarrassed and embarrassed! Stand up and be willing to wave your shape. Flood flounder warehouse evil to ship Huai dangerous howling sheath だ Ȧ Zhongxun aJO busy wielding bad slang Mu 崾 pardon? Work No. 60: "Fourth Symphony" (inB) b made in 1806.Played for the first time in March 1807. — was the year Beethoven and Therese Brunswick got engaged, and this lovely, laugh-filled composition was born.The introduction changes from B minor to major, and the distant sadness fades away.The lively and jumping main clause, the sub-sentence composed of the elegant dialogues of bassoon, hautbois and flute, and the fluent and comfortable "development" all convey the joy of happiness. Affection.An indistinct drumbeat stirred the cheerful mood a little, but it soon returned to the theme and ended with intense joy. ——As for Adagio's melody, it is slow and pleasant, like a boat gliding on calm water.Then came the Menuet, keeping the old name and speeding up the tempo.Horns and oboes convey ethereal poetry.The last one is AllegromanontropBpo, the happy mood repeats to control the overall situation, like the sunshine suddenly showing its face; the strong vitality and will make a final explosion in the middle of the band. —In this passionate song, Beethoven betrays the joy of his love. Work No. 67: "Fifth Symphony" (inCmin.), commonly known as "Symphony of Destiny", was composed between 1807 and 2008.First performed on December 22, 1808. ——The solsolsolmi at the beginning——b is Beethoven's favorite music theme, in the "Fifth Sonata" No. ", we have all seen its outline.He once said to Schindler: "This is how fate knocks at the door." The common name of the word fate originated from this.It governs all music.Small people have to rely on the power of will to fight against it——under the continuous call of fate, the answer will always be a sombre question mark.People are struggling, holding a cavity of hope and perseverance.But the tone of fate is getting more and more majestic, and the poor creature seems to be defeated, only the sound of lamentation. ——After that, the cruel reality temporarily disappeared, and Andante heard a peaceful melody from the far-reaching dream realm.The theme of victory comes up three times.Then came the marching rhythm, clear and firm, sweeping away all contradictions.Hope is raised, and self-confidence is restored to the surrendered.Scherzo, however, brings us back down to face the shadows.Destiny reappeared, but was blocked by wild dance music and humorous staccati and pizziccati. Suddenly, it was dark, with only the faint sound of drums.At this point the end has come.Although fate shouted again, Scherzo's theme appeared again.But like the memory of a nightmare, it is fleeting in a moment.The song of victory resounded loudly.The Song of Will literally announces the finale. ——Among all symphonies, this is the one with the most rigorous structure, the most balanced parts, and the most condensed content."Never has anyone said so much with so little material," said the critic. Work No. 68: "Sixth Symphony" ("Pastoral Symphony" in F) from 1807 to 2008.First performed on December 22, 1808. ——This symphony is dedicated to nature.The original manuscript reads: "A pastoral symphony commemorating rural life, focusing on the expression of sentiment rather than painting-like description." It can be seen that the author does not want to imitate the outside world in this song, but expresses a set of impressions. —The first chapter, Allegro, entitled "Happy impressions when going to the countryside."The main sentence played on the violin is light and innocent, as if it was taken from a Slavic folk song.The lengthy "development" of this theme has always maintained a deep peace, a quiet rhythm, and a balanced modulation; there is no entry of secondary music.The same musical purpose and face keep going back and forth.This is the impression of a person fascinated by a fixed picture. ——Chapter 2 Andante, "Small View by the Stream", alto strings, second violin, alto violin, two cellos.The flowing water, which symbolizes the gurgling, is the artistic conception of "the dead are like this, the past is like that, and the full and empty have never gone".The nightingale's flute performance, the quail's oboe performance, and the cuckoo's clarinet performance came from the forest, forming a trio. —Chapter III Scher Bzo, "The Countryman's Happy Banquet."First a waltz in triple time,--a country dance, followed by a wild pulay in two.A French regional dance.Suddenly there is a hidden thunder in the distance, bass string music.A moment of silence... a few bolts of lightning.Short broken chords on the violin.Instead, heavy rain and thunderbolt broke out together.Then the rain cleared and the clouds closed, and the blue sky reappeared with the ascending scale of C major and the embellishment of flute sounds. —Then comes the fourth chapter, Alle Bgretto, "Idyll, Consolation and Gratitude after the Thunderstorm." ——Everything returns to tranquility: the moist grassland emits a fragrance, the shepherds sing and answer each other, and the whole music ends in an air of peace and joy. ——Beethoven forgets the sorrows here, reflects the sweetness and leisure of nature in his heart, holds the concept of pantheism, and praises the fields and farmers and shepherds. Work No. 92: "Seventh Symphony" () in A 1812 year.First performed on December 8, 1813. ——The first long introduction is calm, solemn, and the momentum is upward, but with restraint.How many chords seem to drive the piece forward.The theme played by the flute unfolds the center of the first movement: ViBvace.活跃的节奏控制着全曲，所有的音域，所有的乐器，都由它来支配。这儿分不出主句或副句；参加着奔腾飞舞的运动的，可说有上百的乐旨，也可说只有一个。 ——Ａｌｌｅｇｒｅｔｔｏ却把我们突然带到另一个世界。基本主题和另一个忧郁的主题轮流出现，传出苦痛和失望之情。 ——然后是第三章，在戏剧化的Ｓｃｈｅｒｚｏ以后，紧接着美妙的三重奏，似乎均衡又恢复了一刹那。终局则是快乐的醉意，急促的节奏，再加一个粗犷的旋律，最后达于ｃｒｅｓｃｅｎｄｏ这紧张狂乱的高潮。 ——这支乐曲的特点是：一些单纯而显著的节奏产生出无数的乐旨；而其兴奋动乱的气氛，恰如瓦格纳所说的，有如“祭献舞神”的乐曲。 作品第九十三号：《第八交响曲》（）ｉｎＦ一八一二年作。一八一四年二月二十七日初次演奏。——在贝多芬的交响曲内，这是一支小型的作品，宣泄着兴高采烈的心情。短短的Ａｌｌｅｇｒｏ－，纯是明快的喜悦、和谐而自在的游戏。——在Ｓｃｈｅｒｚｏ部分，第三章内。作者故意采用过时的Ｍｅｎｕｅｔ，来表现端庄娴雅的古典美。——到了终局的Ａｌｌｅｇｒｏｖｉｖａｃｅ则通篇充满着笑声与平民的幽默。有人说，是“笑”产生这部作品的。我们在此可发现贝多芬的另一副面目，像儿童一般，他作着音响的游戏。 作品第一二五号：《第九交响曲》（《合唱交响曲》，ＣｈｏｒａｌＳｙｍｐｈｏｎｙｉｎＤｍｉｎ．）一八二二——一八二四年间作。一八二四年五月七日初次演奏。——《第八》之后十一年的作品，贝多芬把他过去在音乐方面的成就作了一个综合，同时走上了一条新路。——乐曲开始时，Ａｌｌｅｇｒｏｍａｎｏｎｔｒｏｐｐｏ。ｌａｍｉ－的和音，好似从远方传来的呻吟，也好似从深渊中浮起来的神秘的形象，直到第十七节，才响亮地停留在Ｄ小调的基调上。而后是许多次要的乐旨，而后是本章的副句Ｂ大调ｂ……《第二》、《第五》、《第六》、《第七》、《第八》各交响曲里的原子，迅速地露了一下脸，回溯着他一生的经历，把贝多芬完全笼盖住的阴影，在作品中间移过。现实的命运重新出现在他脑海里。巨大而阴郁的画面上，只有若干简短的插曲映入些微光明。——第二章Ｍｏｌｔｏｖｉｖａｃｅ，实在便是Ｓｃｈｅｒｚｏ。句读分明的节奏，在《弥撒曲》和《菲岱里奥序曲》内都曾应用过，表示欢畅的喜悦。在中段，单簧管与双簧管引进一支细腻的牧歌，慢慢地传递给整个的乐队，使全章都蒙上明亮的色彩。——第三章Ａｄａｇｉｏ似乎使心灵远离了一下现实。短短的引子只是一个梦。接着便是庄严的旋律，虔诚的祷告逐渐感染了热诚与平和的情调。另一旋律又出现了，凄凉的，惆怅的。然后远处吹起号角，令你想起人生的战斗。可是热诚与平和未曾消灭，最后几节的ｐｉａｎｉｓｓｉｍｏ把我们留在甘美的凝想中。——但幻梦终于像水泡似的隐灭了，终局最初七节的Ｐｒｅｓｔｏ又卷起激情与冲突的漩涡。全曲的原素一个一个再现，全溶解在此最后一章内。先是第一章的神秘的影子，继而是Ｓｃｈｅｒｚｏ的主题，Ａｄａｇｉｏ的乐旨，但都被ｄｏｕｂｌｅｂａｓｓｅ上吟诵体的问句阻住去路。从此起，贝多芬在调整你的情绪，准备接受随后的合唱了。大提琴为首，渐渐领着全乐队唱起美妙的精纯的乐句，铺陈了很久；于是犷野的引子又领出那句吟诵体，但如今非复最低音提琴，而是男中音的歌唱了：“噢，朋友，毋须这些声音，且来听更美更愉快的歌声。”这是贝多芬自作的歌词，不在席勒原作之内。——接着，乐队与合唱同时唱起《欢乐颂》的“欢乐，神明的美丽的火花，天国的女儿……”——每节诗在合唱之前，先由乐队传出诗的意境。合唱是由四个独唱员和四部男女合唱组成的。欢乐的节会由远而近，然后大众唱着；“拥抱啊，千千万万的生灵……”当乐曲终了之时，乐器的演奏者和歌唱员赛似两条巨大的河流，汇合成一片音响的海。——在贝多芬的意念中，欢乐是神明在人间的化身，它的使命是把习俗和刀剑分隔的人群重行结合。它的口号是友谊与博爱。它的象征是酒，是予人精力的旨酒。由于欢乐，我们方始成为不朽。所以要对天上的神明致敬，对使我们入于更苦之域的痛苦致敬。在分裂的世界之上，——一个以爱为本的神。在分裂的人群之中，欢乐是惟一的现实。爱与欢乐合为一体。这是柏拉图式的又是基督教式的爱。——除此以外，席勒的《欢乐颂》，在十九世纪初期对青年界有着特殊的影响。贝多芬属意于此诗篇，前后共有二十年之久。第一是诗中的民主与共和色彩在德国自由思想者的心目中，无殊《马赛曲》之于法国人。无疑的，这也是贝多芬的感应之一。其次，席勒诗中颂扬着欢乐，友爱，夫妇之爱，都是贝多芬一生渴望而未能实现的，所以尤有共鸣作用。——最后，我们更当注意，贝多芬在此把字句放在次要地位；他的用意是要使器乐和人声打成一片，——而这人声既是他的，又是我们大众的，——使音乐从此和我们的心融和为一，好似血肉一般不可分离。 六宗教音乐 作品第一二三号：《Ｄ调弥撒曲》（ＭｉｓｓａＳｏｌｅｍｎｉｓｉｎ）——这件作品始于一八一七，成于一八二三。当初是为Ｄ奥皇太子鲁道夫兼任大主教的典礼写的，结果非但失去了时效，作品的重要也远远地超过了酬应的性质。贝多芬自己说这是他一生最完满的作品。——以他的宗教观而论，虽然生长在基督旧教的家庭里，他的信念可不完全合于基督教义。他心目之中的上帝是富有人间气息的。他相信精神不死须要凭着战斗、受苦与创造，和纯以皈依、服从、忏悔为主的基督教哲学相去甚远。在这一点上他与米开朗琪罗有些相似。他把人间与教会的篱垣撤去了，他要证明“音乐是比一切智慧与哲学更高的启示”。在写作这件作品时，他又说：“从我的心里流出来，流到大众的心里。” 全曲依照弥撒祭曲礼的程序，按弥撒祭歌唱的词句，皆有经文——拉丁文的——规定，任何人不能更易一字，各段文字大同小异，而节目繁多，谱为音乐时部门尤为庞杂。凡不解经典及不知典礼的人较难领会。分成五大颂曲：（一）吾主怜我（Ｋｙｒｉｅ）；（二）荣耀归主（Ｇｌｏｒｉａ－）；（三）我信我主（Ｃｒｅｄｏ）；（四）圣哉圣哉（Ｓａｎｃｔｕｓ）；（五）神之羔羊（ＡｇｎｕｓＤｅｉ）。全曲以四部独唱与管弦乐队及大风琴演出乐队的构成如下：２ｆｌｕｔｅｓD；２ｈａｕｔｂｏｉｓ；２ｃｌａｒｉｎｅｔｔｅｓ；２ｂａｓｓｏｎｓ；１ｃｏｎｔｒｅｂａｓｓｅ；４ｃｏｒｓｈｏｒｎｓ（）；２ｔｒｏｍｐｅｔｔｅｓ；２ｔｒｏｍｂｏｎｅｓｔｉｍｂａｌｅ；外加弦乐五重奏，人数之少非今人想像所及。——第一部以热诚的祈祷开始，继以Ａｎ Bｄａｎｔｅ奏出“怜我怜我”的悲叹之声，对基督的呼吁，在各部合唱上轮流唱出。五大部每部皆如奏鸣曲式分成数章，兹不详解。——第二部表示人类俯伏卑恭，颂赞上帝，歌颂主荣，感谢恩赐。——第三部，贝多芬流露出独有的口吻了。开始时的庄严巨大的主题，表现他坚决的信心。结实的节奏，特殊的色彩，ｔｒｏｍｐｅｔｔｅ的运用，作者把全部乐器的机能用来证实他的意念。他的神是胜利的英雄，是半世纪后尼采所宣扬的“力”的神。贝多芬在耶稣的苦难上发现了他自身的苦难。在受难、下葬等壮烈悲哀的曲调以后，接着是复活的呼声，英雄的神明胜利了！谒牟浚炊喾也渭松衩鳎犹旃氐饺思洌⒉家黄氯岬那樾鳌Ｈ缓笕纭兜诰沤幌烨芬话悖腔独钟肭峥斓谋ⅰ＝艚幼牌淼唬悦５模衩氐摹ｒ系男磐劫橘胱牛丫傻街鞯木旃恕！谖宀浚执碜旁饨俚娜死嗥砬笞拧吧裰嵫颉保砬蟆澳诘暮推接胪獾暮推健保袼约核怠? Seven other 作品第一三八号之三：《雷奥诺序曲第三》（ＯｕｖｅｒｔｕｒｅｄｅＬｅｏｎｏｒｅＮｏ．３）贝多芬完全的歌剧只此一出。但从一八○三起到他死为止，二十四年间他一直断断续续地为这件作品花费着心血。一八○五年十一月初次在维也纳上演时，剧名叫做《菲岱里奥》，演出的结果很坏。一八○六年三月，经过修改后，换了《雷奥诺》的名字再度出演，仍未获得成功。一八一四年五月，又经一次大修改，仍用《菲岱里奥》之名上演。从此，本剧才算正式被列入剧院的戏目里。但一八二七年，贝多芬去世前数星期，还对朋友说他有一部《菲岱里奥》的手稿压在纸堆下。可知他在一八一四以后仍在修改。现存的《菲岱里奥》，共只二幕，为一八一四年稿本，目前戏院已不常贴演。在音乐会中不时可以听到的，只是片段的歌唱。至今仍为世人熟知的，乃是它的序曲。——因为名字屡次更易，故序曲与歌剧之名今日已不统一。普通于序曲多称《雷奥诺》，于歌剧多称《菲岱里奥》；但亦不一定如此。再本剧序曲共有四支，以后贝多芬每改一次，即另作一次序曲。至今最著名的为第三序曲。脚本出于一极平庸的作家，贝多芬所根据的乃是原作的德译本。事述西班牙人弗洛雷斯当向法官唐·法尔南控告毕萨尔之罪，而反被诬陷，蒙冤下狱。弗妻雷奥诺化名菲岱里奥西班牙文，意为忠贞入狱救援，终获释放。故此剧初演时，戏名下另加小标题：“一名夫妇之爱”。——序曲开始时（Ａｄａｇｉｏ），为弗洛雷斯当忧伤的怨叹。继而引入Ａｌｌｅｇｒｏ。在ｔｒｏｍｐｅｔｔｅ宣告释放的信号法官登场一场之后，雷奥诺与弗洛雷斯当先后表示希望、感激、快慰等各阶段的情绪。结束一节，尤暗示全剧明快的空气。 在贝多芬之前，格鲁克与莫扎特，固已在序曲与歌剧之间建立密切的关系；但把戏剧的性格，发展的路线归纳起来，而把序曲构成交响曲式的作品，确从《雷奥诺》开始。以后韦伯、舒曼、瓦格纳等在歌剧方面，李斯特在交响诗方面，皆受到极大的影响，称《雷奥诺》为“近世抒情剧之父”。它在乐剧史上的重要，正不下于《第五交响曲》之于交响乐史。 附录： （一）贝多芬另有两支迄今知名的序曲：一是《科里奥兰序曲》（ＯｕｖｅｒｔｕｒｅｄｅＣｏｒｉｏｌａｎ），作品第六十二号。根据莎士比亚的本事，述一罗马英雄名科里奥兰者，因不得民众欢心，愤而率领异族攻略罗马，及抵城下，母妻遮道泣谏，卒以罢兵。把两个主题作成强有力的对比：一方面是母亲的哀求，一方面是儿子的固执。同时描写这顽强的英雄在内心里的争斗。——另一支是《哀格蒙特序曲》（ＯｕｖｅｒｔｕｒｅｄＥｇｍｏｎｔ'），作品第八十五号。根据歌德的悲剧，述十六世纪荷兰贵族哀格蒙特伯爵，领导民众反抗西班牙统治之史实。描写一个英雄与一个民族为自由而争战，而高歌胜利。 （二）在贝多芬所作的声乐内，当以歌（Ｌｉｅｄ）为最著名。如《悲哀的快感》，传达亲切深刻的诗意；如充满着幽默；如《鹌鹑之歌》，纯是写景之作。 至于《弥侬》歌德原作的热烈的情调，尤与诗人原作吻合。此外尚有《致久别的爱人》，作品第九十八号。四部合唱的《挽歌》，作品第一一八号。与以歌德的诗谱成的《平静的海》与《快乐的旅行》等，均为知名之作。 一九四三年作