门德尔松：第三卷 - 无词歌原始版本乐谱

Name: 门德尔松：第三卷 - 无词歌 原始版本乐谱
Brand: Encore Music
SKU: HN327
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费利克斯·门德尔松：第三卷——无词歌原典版 📚

当门德尔松从出版商尼库劳斯·西姆罗克（Nikolaus Simrock）那里得知他将为部分《无词歌》获得额外酬金时，他热烈地感谢了对方的这份赠礼。然而，门德尔松转而以这些《无词歌》馈赠给后世的这份礼物，即使是他本人当时也可能无法预见。

这些“原创旋律”、“浪漫曲”或“钢琴小品”（后来才统称为“无词歌”）在作曲家生前便大获成功，应被列为19世纪钢琴文献中最有价值的作品之列。我们的这一卷包含了他在生前及身后出版的所有《无词歌》。 195页。

这些音画作品为钢琴家提供了丰富多样的意境与情感，同时也提供了培养演奏表现力的手段。由鲁道夫·埃尔弗斯（Rudolf Elvers）和恩斯特·赫特里希（Ernst Herttrich）编辑，指法由汉斯-马丁·特奥波德（Hans-Martin Theopold）标注。包含作品：Op. 19, 30, 38, 53, 62, 67, 85, 102。

为何选择原典版（Urtext）？

原典版乐谱基于详尽的音乐学研究，提供无误且可靠的音乐文本。它们包含由著名艺术家和教育家标注的指法与弓法。这些版本提供三种语言的前言，揭示了作品的创作缘起与历史背景。

此外，它们还包含一种至三种语言的评论文章，对原始资料进行了描述与评估，并解释了资料中的任何出入以及编辑所做的决定。原典版以极其精美的乐谱排版而闻名，并提供方便的翻页、折页以及必要的演奏提示。

此外，原典版以其卓越的印刷质量和耐用的装订而著称。凭借全球最大的原典版曲库以及始于1948年的悠久历史，它们在制作高质量“原典版”乐谱方面拥有无与伦比的专业水准。

曲目包括：

无词歌 E大调 Op. 19,1
无词歌 a小调 Op. 19,2
无词歌 A大调 Op. 19,3
无词歌 A大调 Op. 19,4
无词歌升f小调 Op. 19,5
无词歌（威尼斯船歌） g小调 Op. 19,6
无词歌降E大调 Op. 30,1
无词歌降b小调 Op. 30,2
无词歌 E大调 Op. 30,3
无词歌 b小调 Op. 30,4
无词歌 D大调 Op. 30,5
无词歌（威尼斯船歌）升f小调 Op. 30,6
无词歌降E大调 Op. 38,1
无词歌 c小调 Op. 38,2
无词歌 E大调 Op. 38,3
无词歌 A大调 Op. 38,4
无词歌 a小调 Op. 38,5
无词歌（二重奏）降A大调 Op. 38,6
无词歌降A大调 Op. 53,1
无词歌降E大调 Op. 53,2
无词歌 g小调 Op. 53,3
无词歌 F大调 Op. 53,4
无词歌 a小调 Op. 53,5
无词歌 A大调 Op. 53,6
无词歌 G大调 Op. 62,1
无词歌降B大调 Op. 62,2
无词歌 e小调 Op. 62,3
无词歌 G大调 Op. 62,4
无词歌（威尼斯船歌） a小调 Op. 62,5
无词歌（春之歌） A大调 Op. 62,6
无词歌降E大调 Op. 67,1
无词歌升f小调 Op. 67,2
无词歌降B大调 Op. 67,3
无词歌 C大调 Op. 67,4
无词歌 b小调 Op. 67,5
无词歌 E大调 Op. 67,6
无词歌 F大调 Op. 85,1
无词歌 a小调 Op. 85,2
无词歌降E大调 Op. 85,3
无词歌 D大调 Op. 85,4
无词歌 A大调 Op. 85,5
无词歌降B大调 Op. 85,6
无词歌 e小调 Op. 102,1
无词歌 D大调 Op. 102,2
无词歌 C大调 Op. 102,3
无词歌 g小调 Op. 102,4
无词歌 A大调 Op. 102,5
无词歌 C大调 Op. 102,6
无词歌（骑士之歌） d小调

澳大利亚音乐考级（AMEB）：

钢琴 / 五级 / C表

威尼斯船歌，第6首，g小调，选自《无词歌》Op. 19b

钢琴 / 七级 / C表

无词歌，C大调，第3首，选自《无词歌》Op. 102
无词歌，降E大调，第2首，选自《无词歌》Op. 53
无词歌，g小调，第4首，选自《无词歌》Op. 102

休闲钢琴 / 演奏证书 / 开放曲目表

行板（Andante con moto），第1首，选自《无词歌》Op. 53

休闲钢琴 / 八级 / 开放曲目表

二重奏，降A大调，第6首，选自《无词歌》Op. 38
无词歌，C大调，第4首，选自《无词歌》Op. 67

费利克斯·门德尔松-巴托尔迪

德国作曲家、指挥家、钢琴家和管风琴家，在世时即被公认为欧洲最重要的作曲家之一。他年纪轻轻便开创了一种独特的调性语言。他那跨越所有流派的作品反映了那个时代相互矛盾的思潮——古典主义与浪漫主义。他毕生致力于演奏约翰·塞巴斯蒂安·巴赫的作品，引领了至今不衰的“巴赫复兴”。他对巴赫及其对位法的深入研究，深刻影响了他自己的作曲技法。

1809	2月3日出生于汉堡一个富裕的银行家家庭。1811年随父母逃往柏林。最初由母亲传授音乐知识。
1819	成为卡尔·弗里德里希·策尔特（Carl Friedrich Zelter）的学生。
1820	加入柏林歌唱学院（Sing-Akademie）。
1821–23	创作十二首弦乐交响曲。
1825	创作弦乐八重奏，降E大调，Op. 20。
1826	创作《仲夏夜之梦》序曲，Op. 21。
1827	开始在柏林大学学习。
1829	3月11日及21日在柏林复排巴赫的《马太受难曲》。前往英国和苏格兰旅行。
1829–30	创作“宗教改革”交响曲，d小调，[Op. 107]，包含众赞歌“上帝是我坚固堡垒”（Ein feste Burg）。
1830–32	广泛旅行，包括意大利和法国。创作g小调钢琴协奏曲，Op. 25；b小调序曲《赫布里底群岛》（又名“芬格尔山洞”），Op. 26（1829–30）。
1833	担任杜塞尔多夫音乐总监。创作“意大利”交响曲，A大调，Op. 90（1830–33）。
1835	担任莱比锡布商大厦管弦乐团音乐总监。
1836	在杜塞尔多夫首演神剧《圣保罗：根据圣经经文改编的神剧》，Op. 36。
1838-44	创作e小调小提琴协奏曲，Op. 64。

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