李斯特超级练习曲（中外文对照）

 

【基本信息】：

作者：[匈] 弗朗茨·李斯特　著，李曦微　译

出版社：上海教育出版社

ISBN：9787544459310

出版时间：2014-12-1

版次：1

页数：162

开本：8开

用纸：胶版纸

包装：平装

【推荐】：

　　 《李斯特超级练习曲(中外文对照)》译者为著名的音乐学者，通晓多种外语，包括英语、法语、德语等，是翻译该版本的合适人选。

【内容简介】：

　　该书为海顿创作的著名钢琴乐谱，中外文对照版本，为专业学习钢琴演奏的常选乐谱之一。此次翻译引进的是维也纳原始出版社出版的净版本乐谱。译者李曦微为著名的音乐学者，通晓多种外语，包括英语、法语、德语等，是翻译该版本的合适人选。

【目录】：

前言 

演奏评注 

Vorwort 

Hinweise zur Interpretation 

Preface 

Notes on interpretation 

Preface 

Notes sur l'interpr&ation 

原始资料版本缩写／Quellenkiirzel／ 

Sigla of sources／Sigles des sources 

影印页1／Facsimile 1

【书摘】：

'With its seven octaves, it [the piano] includes the entire range of an orchestra, and ten human fingers are sufficient to recreate the harmonies played by the joint effort of more than a hundred performers.... Because of the progress already made, and increased daily through the persistent work of the pianists, the piano extends its acquisitional ability every day. We create arpeggios like the harp, hold notes like the wind instruments, staccato and a thousand other passages heretofore though to be the speciality of this or that instrument. Further progress in piano manufacture which we can already foresee will indubitably allow us to make those differentiations in sound that are yet lacking.' 

The transfer of symphonic fullness and colours of sound onto the piano was accompanied by a range of expression similar to orchestra music. For Liszt, it was a logical consequence from the piano transcriptions of the Symphonie fantastique by Berlioz and the symphonies nos. 5 to 7 by Beethoven that the tonal possi bilities of the instruments should also be explored in autonomous piano music, not guided by a distinct orchestral model. The genre of the etude served as a preparation to "orchestral piano playing", as it were.Furthermore, the impression that Paganini's violin play had had on Liszt like on most of his contemporaries is present in the extreme demands on playing technique made by the Grandes Etudes. Paganini had shown all of them to what extent a musical instrument could be mastered in terms of technique, and which musical range of expression was thus made possible.Robert Schumann realized this circumstance in his review of the Grandes Etudes in the Neue ZeitschriftfrMusik: 

'These are true storm and horror etudes, etudes for ten or twelve in this world at the most, weaker pianists would only cause laughter playing them.They are most related to some of those for the violin written by Paganini, some of which Liszt has recently announced his intention of transferring for the pianoforte.

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