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Tzigane (Ravel)

Tzigane is a rhapsody type of composition by the French composer Maurice Ravel. It was originally written for violin with Luthéal accompaniment in 1924, and dedicated to the Hungarian violinist Jelly d'Aranyi.

Later versions replaced the original accompanying instrument by piano, or orchestra.

The name of the piece was derived from the generic European term for gypsy (in French: gitan, tsigane or tzigane), reflecting the powerful gypsy tunes which are found in this lively work. Note that in Ravel's days in Paris gypsy/gitan/tsigane/tzigane did not so much refer to Roma people in strict sense: the "gypsy-esque" features of the work were rather a kind of musical exoticism, comparable to the Spanish exoticism in Ravel's day (compare Chabrier's España), or the Janissary exotism in Mozart's day (Alla Turca).

The Luthéal was, in Ravel's day, a comparatively new piano-like instrument that had several tone-colour (not exclusively "pitch") registers that could be engaged by pulling stops above the keyboard. One of these registers had a cimbalon-like sound, which fitted well with the gypsyesk idea of the composition. The printed version of the original score of the Tzigane piece contained instructions for these register-changes during execution. The Luthéal, however, never really made it as a fashionable music instrument: by the end of the 20th century the first print of the "Luthéal" version of the accompaniment was still available at the publishers... by that time the chamber music version of the piece relied on the piano as accompanying instrument. In this sense Tzigane is comparable to Schubert's "arpeggione" sonata: that piece was also written in order to promote a new uncommon instrument, and when the composition proved more popular than the instrument a few years later, execution shifted to a more common instrument (cello in Schubert's case).

Tzigane is often performed as an arrangement (by Ravel himself) for solo violin and orchestra. Though the composer is almost universally regarded as following a mainly Impressionist idiom, 'Tzigane' clearly demonstrates Ravel's ability to imitate the (late) Romantic style of violin showmanship promoted by such composer-virtuosi as Paganini and Sarasate. In fact, the musical format and structure of 'Tzigane' bears a striking similarity to Sarasate's 'Zigeunerweisen'.更多精彩文章及讨论，请光临枫下论坛 rolia.net

本文发表在 rolia.net 枫下论坛犹如一场极其遥远的流动着的梦，原诗作者认为此曲是在召唤一个已经失去的天真烂漫的传奇世界。流动着的梦，原诗作者认为此曲是在召唤一个已经失去的天真烂漫的传奇世界。


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拉威尔两首钢琴协奏曲

拉威尔与德彪西之间的区别，可以形象地用马奈的《吹短笛的男孩》与莫奈的《日出•印象》给人的直观感受来做比对，简而言之，二者一个清晰，一个朦胧。下面通过对拉威尔《G大调钢琴协奏曲》与德彪西《牧神的午后》的简单比较，可使其不同点变得显而易见。

　 拉威尔称《G大调钢琴协奏曲》“是一首按莫扎特或圣-桑斯的精神写成的协奏曲”。并说：“我认为一首协奏曲可以是明快辉煌的，没有必要以表现深刻内容或戏剧性效果为目的。……”而德彪西根据马拉美诗篇谱写的《牧神的午后》，犹如一场极其遥远的流动着的梦，原诗作者认为此曲是在召唤一个已经失去的天真烂漫的传奇世界。

　　尽管拉威尔的《G大调钢琴协奏曲》首乐章在虚无缥缈的气氛中开始，但独奏短笛于钢琴营造的闪烁透明背景上吹响的生机勃勃的主题，以及独奏小号接过这一主题后散发出的金光灿烂的色彩，宣告了自己与德彪西多么不同。中间乐章据说以莫扎特的杰作《单簧管五重奏》为楷模，宛如一首流畅的夜曲；末乐章为轻巧而妙趣横生的回旋曲，包含了爵士乐素材，全曲在此达到光彩夺目的高潮。

　　拉威尔总共作有两首钢琴协奏曲，另一首即《左手钢琴协奏曲》，为在战争中失去右臂的奥地利钢琴家鲍尔•维特根什坦创作。作品为单乐章，却长达近二十分钟。引子以乐队对黑暗的描绘而著称，钢琴独奏的华彩乐段如雷鸣般响亮，还有独奏钢琴那透明的织体与悲凉的抒情性之间的鲜明对比，以及爵士乐因素的引入，都成为作品最突出的特色。 （文/李峥）更多精彩文章及讨论，请光临枫下论坛 rolia.net