本文发表在 rolia.net 枫下论坛上周曾谈到关与萨拉萨蒂是否是《吉普赛之歌》（Zigeunerweisen）的原创者。 现给出相关网址以供参考 （ http://en.wikipedia.org/wiki/List_of_violinists）。 我之所以不把萨拉萨蒂作为《吉普赛之歌》 的原创者， 是基于以下几点：
1。 如同该网站与史料所记， 《吉普赛之歌》（Zigeunerweisen）的主体旋lui （或大部分）是建立在吉普赛人已有的民间音乐曲调之上 （ Zigeunerweisen is based on themes of the Roma people, specifically the rhythms of the csárdás.）。 而他的另一作品， 《卡门幻想曲》（Carmen Fantasy ）则主要建立在比才的舞剧《卡门》的主旋lui上（the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's opera Carmen.）。
2。 我个人以为， 所谓原创， 乃是指如下情形： 如贝多芬第五交响曲， 从最简单的四个音符， 演绎出一首恢宏的大作， 或如舒伯特（如果所传属实）在小酒馆里灵感突至， 在菜单的背面一挥而就， 从而有了不朽的《小夜曲》。 在这两例里，都不存在从别人的或已有的曲调里采摘的作法， 而纯粹是灵感与思维的火花。
3。 从更广义的角度来讲， 所谓原创， 是指人大脑所产生的前所未有的产物。如欧几里德几何， 从几个简单公理出发， 演绎出一套严密的逻缉体系。 或如爱因斯坦的相对论，给出前所未有的宇宙观， 不一而足。
以上几点，既是为什么我不把萨拉萨蒂做为《吉普赛之歌》的原创者的理由， 尽管他是作曲者。 我个人以为， 作曲者并不完全等同于原创者。 如同柴可夫斯基， 尽管他是一个伟大的作曲家， 但由于他的作品中大量采用了俄罗斯民间音乐，以至于我很难把他和巴赫， 莫扎特， 贝多芬， 舒伯特等等量齐观。
(以下是该网站介绍萨拉萨蒂的原文)
Pablo Martín Melitón de Sarasate y Navascués (March 10, 1844 - September 28, 1908, pronounced Sah-ra-SAH-teh), was a Spanish violin virtuoso and composer of the Romantic period.
Pablo Sarasate was born in Pamplona, Spain, the son of an artillery bandmaster. He began studying the violin with his father at the age of five and later took lessons from a local teacher but his musical talent became evident early on and he appeared in his first public concert in La Coru?a at the age of eight. His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid where he gained the favor of Queen Isabel II. Later, as his abilities developed, he was sent to study under Delfín Alard at the Paris Conservatoire at the age of twelve. There, at seventeen, Sarasate entered a competition for the coveted Premier Prix and won his first prize, the Conservatoire's highest honor.
Sarasate made his debut as a concert violinist in 1860, and played in London the following year. Over the course of his career, he toured many parts of the world, performing in Europe, North America, and South America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainly opera fantasies (most notably the Carmen Fantasy) and various other pieces that he had composed. The popularity of Sarasate's Spanish flavor in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works as Lalo's Symphonie Espagnole (dedicated to Sarasate), Bizet's Carmen, and Saint-Sa?ns' Introduction and Rondo Capriccioso (also dedicated).
The playwright Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate's talents as performer and composer, Shaw said that he "left criticism gasping miles behind him." Sarasate's own compositions are mainly flashy show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's opera Carmen. Probably his most performed encores are his two books of Spanish dances, brief pieces designed to please the listener's ear and show off the performer's talent. He also made arrangements of a number of other composers' work for violin, and composed sets of variations on "potpourris" drawn from operas familiar to his audiences, such as his Fantasia on La Forza del Destino (his Opus 1), his "Souvenirs of Faust", or his variations on themes from Die Zauberfl?te. In 1904 he made a small number of recordings.
Sarasate died in Biarritz, France on September 20, 1908 from chronic bronchitis. He bequeathed his 1724 Stradivarius, dubbed "The Sarasate" in his memory, to the Real Conservatorio Superior de Música of Madrid. The Pablo Sarasate International Violin Competition is held in Madrid.
A number of works for violin were dedicated to Sarasate, including Henryk Wieniawski's Violin Concerto No. 2, ?douard Lalo's Symphonie Espagnole, Camille Saint-Sa?ns' Violin Concerto No. 3 and his Introduction and Rondo capriccioso " Spanish Dances ", and Max Bruch's Scottish Fantasy.
Zigeunerweisen (Gypsy Airs) (Op. 20) is a piece for violin and orchestra (or violin and piano) by the Spanish composer and virtuoso Pablo de Sarasate. Sarasate himself is quoted to have said "Zigeunerweisen was composed by the World's greatest composer; Pablo de Sarasate for the World's greatest violinist; Pablo de Sarasate".[citation needed] It is Sarasate's most popular composition and is a favorite among violin virtuosos. It has been recorded many times by such notable violinists as Zino Francescatti, Jascha Heifetz, Itzhak Perlman, Kyung-Wha Chung, Gil Shaham, Midori Goto and Anne-Sophie Mutter. It has also been played in the 2003 film, Together.
Written in 1878 and premiered in Leipzig that year, Zigeunerweisen is based on themes of the Roma people, specifically the rhythms of the csárdás. Zigeunerweisen is in C minor. A performance will usually take about eight minutes.更多精彩文章及讨论，请光临枫下论坛 rolia.net
1。 如同该网站与史料所记， 《吉普赛之歌》（Zigeunerweisen）的主体旋lui （或大部分）是建立在吉普赛人已有的民间音乐曲调之上 （ Zigeunerweisen is based on themes of the Roma people, specifically the rhythms of the csárdás.）。 而他的另一作品， 《卡门幻想曲》（Carmen Fantasy ）则主要建立在比才的舞剧《卡门》的主旋lui上（the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's opera Carmen.）。
2。 我个人以为， 所谓原创， 乃是指如下情形： 如贝多芬第五交响曲， 从最简单的四个音符， 演绎出一首恢宏的大作， 或如舒伯特（如果所传属实）在小酒馆里灵感突至， 在菜单的背面一挥而就， 从而有了不朽的《小夜曲》。 在这两例里，都不存在从别人的或已有的曲调里采摘的作法， 而纯粹是灵感与思维的火花。
3。 从更广义的角度来讲， 所谓原创， 是指人大脑所产生的前所未有的产物。如欧几里德几何， 从几个简单公理出发， 演绎出一套严密的逻缉体系。 或如爱因斯坦的相对论，给出前所未有的宇宙观， 不一而足。
以上几点，既是为什么我不把萨拉萨蒂做为《吉普赛之歌》的原创者的理由， 尽管他是作曲者。 我个人以为， 作曲者并不完全等同于原创者。 如同柴可夫斯基， 尽管他是一个伟大的作曲家， 但由于他的作品中大量采用了俄罗斯民间音乐，以至于我很难把他和巴赫， 莫扎特， 贝多芬， 舒伯特等等量齐观。
(以下是该网站介绍萨拉萨蒂的原文)
Pablo Martín Melitón de Sarasate y Navascués (March 10, 1844 - September 28, 1908, pronounced Sah-ra-SAH-teh), was a Spanish violin virtuoso and composer of the Romantic period.
Pablo Sarasate was born in Pamplona, Spain, the son of an artillery bandmaster. He began studying the violin with his father at the age of five and later took lessons from a local teacher but his musical talent became evident early on and he appeared in his first public concert in La Coru?a at the age of eight. His performance was well-received, and caught the attention of a wealthy patron who provided the funding for Sarasate to study under Manuel Rodríguez Saez in Madrid where he gained the favor of Queen Isabel II. Later, as his abilities developed, he was sent to study under Delfín Alard at the Paris Conservatoire at the age of twelve. There, at seventeen, Sarasate entered a competition for the coveted Premier Prix and won his first prize, the Conservatoire's highest honor.
Sarasate made his debut as a concert violinist in 1860, and played in London the following year. Over the course of his career, he toured many parts of the world, performing in Europe, North America, and South America. His artistic pre-eminence was due principally to the purity of his tone, which was free from any tendency towards the sentimental or rhapsodic, and to that impressive facility of execution that made him a virtuoso. In his early career, Sarasate performed mainly opera fantasies (most notably the Carmen Fantasy) and various other pieces that he had composed. The popularity of Sarasate's Spanish flavor in his compositions is reflected in the work of his contemporaries. For example, the influences of Spanish music can be heard in such notable works as Lalo's Symphonie Espagnole (dedicated to Sarasate), Bizet's Carmen, and Saint-Sa?ns' Introduction and Rondo Capriccioso (also dedicated).
The playwright Bernard Shaw once declared that though there were many composers of music for the violin, there were but few composers of violin music. Of Sarasate's talents as performer and composer, Shaw said that he "left criticism gasping miles behind him." Sarasate's own compositions are mainly flashy show-pieces designed to demonstrate his exemplary technique. Perhaps the best known of his works is Zigeunerweisen (1878), a work for violin and orchestra. Another piece, the Carmen Fantasy (1883), also for violin and orchestra, makes use of themes from Georges Bizet's opera Carmen. Probably his most performed encores are his two books of Spanish dances, brief pieces designed to please the listener's ear and show off the performer's talent. He also made arrangements of a number of other composers' work for violin, and composed sets of variations on "potpourris" drawn from operas familiar to his audiences, such as his Fantasia on La Forza del Destino (his Opus 1), his "Souvenirs of Faust", or his variations on themes from Die Zauberfl?te. In 1904 he made a small number of recordings.
Sarasate died in Biarritz, France on September 20, 1908 from chronic bronchitis. He bequeathed his 1724 Stradivarius, dubbed "The Sarasate" in his memory, to the Real Conservatorio Superior de Música of Madrid. The Pablo Sarasate International Violin Competition is held in Madrid.
A number of works for violin were dedicated to Sarasate, including Henryk Wieniawski's Violin Concerto No. 2, ?douard Lalo's Symphonie Espagnole, Camille Saint-Sa?ns' Violin Concerto No. 3 and his Introduction and Rondo capriccioso " Spanish Dances ", and Max Bruch's Scottish Fantasy.
Zigeunerweisen (Gypsy Airs) (Op. 20) is a piece for violin and orchestra (or violin and piano) by the Spanish composer and virtuoso Pablo de Sarasate. Sarasate himself is quoted to have said "Zigeunerweisen was composed by the World's greatest composer; Pablo de Sarasate for the World's greatest violinist; Pablo de Sarasate".[citation needed] It is Sarasate's most popular composition and is a favorite among violin virtuosos. It has been recorded many times by such notable violinists as Zino Francescatti, Jascha Heifetz, Itzhak Perlman, Kyung-Wha Chung, Gil Shaham, Midori Goto and Anne-Sophie Mutter. It has also been played in the 2003 film, Together.
Written in 1878 and premiered in Leipzig that year, Zigeunerweisen is based on themes of the Roma people, specifically the rhythms of the csárdás. Zigeunerweisen is in C minor. A performance will usually take about eight minutes.更多精彩文章及讨论，请光临枫下论坛 rolia.net