本帖最后由 齐少凡 于 2013-9-16 14:45 编辑
门德尔松无编号 a小调钢琴弦乐协奏 13岁作品(期末作业)
[size=1.2]Felix Mendelssohn-Barthody's Piano Concerto in A minor, the product of a fertile 13-year-old mind, is so generally unknown that most references -- especially older ones -- refer to the man as having composed only two concertos for the instrument, the Concerto No. 1 in G minor of 1831 and the Concerto No. 2 in D minor of 1837 (as you can see, the A minor Concerto has never even earned its own number, as it was absent from the scene when numbers were allotted). It was composed during the spring of 1822, in between the first and second batches of string symphonies, and can be reckoned a musical melting-pot of eighteenth-century and early nineteenth-century methods and means: Haydn meets Hummel, with a just a hint of Beethoven thrown in for good measure, though it seems that the teenage Mendelssohn wasn't yet quite sure what to do with the assertive Bonn-born composer's music. [size=1.2]The A minor Piano Concerto is in the usual three movements, all cut-and-dried and independent of one another in the traditional way (though there is an attacca from the second movement to the third). It is thus quite unlike the Piano Concerto No. 1 of nine years later, in which the movements are, famously, all connected. The first movement is marked, simply, Allegro and begins with a full orchestral exposition; it has a mildly urgent main theme made from three consecutive pick-up gestures and a second subject set in the expected key of C major. When the soloist enters it does so in dramatic fashion, with a pair of sweeping arpeggios in octaves -- a taste of the ivory-tickling, sixteenth-note-filled virtuoso manner that Mendelssohn affects throughout the movement. [size=1.2]The slow movement is an Adagio in E major with a lovely tune that rises and then descends without much ambition beyond that, but with great innocent grace. The pianist enters with a quasi-recitative passage, a throwback, perhaps, to Mendelssohn's Recitativo in D minor of 1820. The finale (Allegro ma non troppo) is in some ways a markedly greater achievement than the first movement; its flexible yet strong rhythmic framework and the little chromatic touches Mendelssohnthrows in from measure to measure both reveal a more confident composer. Again, the solo writing is quite demanding -- not too much of a problem for young Felix, though, as he could always ask his older sister Fanny, then a better pianist than he, to play it for him!
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