Frederic Francisque Chopin Friedrich Francis Zeke Chopin (18 10- 1849). This great Polish musician likes Polish folk music since he was a child. He wrote Polish Dance at the age of seven and performed at the age of eight. Less than twenty years old, he has become a recognized pianist and composer in Warsaw. The rest of his life coincided with the fall of Poland. He spent time abroad and created many piano works with patriotic thoughts to express his homesickness and national subjugation. Among them are The First Narration, Polish Dance in A-flat Major and other heroic works related to Poland's national liberation struggle. There are fighting works full of patriotic enthusiasm, such as revolutionary etudes and scherzo in b minor; There are sad works mourning the fate of the motherland, such as sonata in B flat minor; There are also fantasy works that miss the motherland and relatives, such as many nocturnes and fantasies. Chopin lived on the piano all his life, and almost all his creations were piano music, so he was called a "piano poet". He often raises money to perform for his compatriots abroad, but he is unwilling to perform for the nobles. 1837 sternly refused the position of "Chief Pianist of His Majesty the Russian Emperor" awarded by Russia. Life in his later years was very lonely, and he painfully claimed to be "a Polish orphan far from his mother". Before he died, he asked his relatives to transport his heart back to the motherland.
Among musicians and composers of all ages, Chopin is the only master who concentrated his creation on piano music. He devoted all his talents and energy to the keyboard, and by the age of twenty he had completely formed his own style. He endowed the keyboard with imagination and created a whole new world in this narrow range. Therefore, when his piano works are rewritten for the orchestra, they sound just as good or even better. But Chopin did not try to imitate the orchestra on the piano. He can express music better on the piano than any other instrument. In playing, he also created a more expressive playing method. One limitation of the piano is that you can't play a continuous tone for any length of time, but Chopin skillfully used homophones to overcome this limitation repeatedly. He used the pedal to keep the chords far apart in the bass continuous, forming notes with charming melody. In his music, exquisite decorations-vibrato, decorative notes, transitional sentences-magically extend those tones. All this is always arranged naturally, and the music seems to be sung by itself.
Chopin's creation can be divided into four periods, namely Warsaw period, Warsaw uprising period, Paris heyday and later period.
Except for a few works, the creation of Warsaw period did not occupy a very important position in Chopin's whole creation. But it is the starting point of Chopin's life creation, and it has already shone with the brilliance of national feelings and national style. Life in Warsaw is pleasant for Chopin, so the tone of his works in this period is optimistic and cheerful. However, due to the relationship between age and experience, the ideological depth of his works in this period is limited. During his study in the Conservatory of Music, he not only participated in the music life in Warsaw, but also made extensive contact with some progressive writers and poets. It was during this period that Chopin was deeply influenced by national liberation and literary romanticism. This laid the foundation for him to become a nationalist musician. The most important works in this period are two piano concertos by 1830. The theme of the last movement of the second piano concerto is simple and beautiful Mazzuca dance style, while the theme of the last movement of the first piano concerto is strong and rough melody with strong Krakowiak dance style.
During the Warsaw Uprising, Chopin's creation made a leap. Scherzo in B minor was composed during my stay in Vienna. The patriotic enthusiasm aroused by the uprising is intertwined with the yearning for relatives in the motherland, which constitutes a poem that is both severe and gentle. Etudes in C minor (also known as Revolutionary Etudes) and Preludes in D minor were created after learning of the fall of Warsaw, which achieved a highly perfect unity of anger, grief and strict training art forms and became the representative works of Chopin's early music creation. At the same time, the prelude in A minor is full of confusion, and the musical conception is strange and novel.
In the heyday of Paris' creation, his profound national connotation, original artistic form and skillful musical style made his art perfect. His creation involves various genres of piano music, from etudes, preludes, Mazzuca dances, Polonaise dances, nocturnes, waltzes and impromptu, to more complicated ballads, scherzos and sonatas, and he has achieved fruitful artistic results. Polonaise dance is the most intense genre in Chopin's creation during this period. In his early years, the tendency of paying attention to the external gorgeous effect in Polonaise's dance music was replaced by profound and strong national spirit and unpretentious, resolute and bold artistic style. Polonaise in A flat major is the most resolute, heroic, magnificent and solemn piece of this kind of music. Its theme rhythm is decisive and powerful, the melody is warm and heroic, the big mode and the harmony are distinct, which embodies an indomitable national hero image.
The later creation shows an obvious downward trend. Fantasy Polonaise is an important work in this period. Mazzuca in G minor and Mazzuca in F minor are Chopin's last two works. The former is a kind and warm song, expressing the last bit of attachment to life; The latter poured out his last thoughts on his loved ones in the faint sadness.
Chopin is one of the greatest melody composers in music culture. When it comes to melody creation, we have to think of Chopin. He is a national musician, and his patriotic enthusiasm is reflected in many of his works. For example, his first ballad and his "revolutionary" etudes are very representative. There is a sentence in Schumann's article: "... Chopin's works are cannons hidden in flowers." In his flower-like music with strong national and democratic colors, there are enough ingredients to arouse the patriotic enthusiasm of the Polish people. In his works, there are both patriotic enthusiasm and national music factors. This is not only reflected in his patriotism, but also in his creation, which is full of the uniqueness of Polish national music. The general characteristics of Chopin's music are sincere, warm, soft and broad as a song, which accords with and conforms to the characteristics of Slavic national music. In addition, it is not difficult to find that Chopin often uses various melody variations in his music works. It is more developed by variations, which is also a major feature of Polish folk music (such as variations).
The above characteristics only reflect the nationality of Chopin's music, but his most important melody creation feature is the perfect combination of vocal music and instrumental music. (This can well prove the originality of Chopin's music) In Polish folk music, vocal music and instrumental music are very popular. His folk songs are monosyllabic, often accompanied by uncomplicated accompaniment, and the tone of instrumental music often penetrates into folk songs. Chopin took advantage of this feature. In his music, many melodies are freely converted from the mode of songs to the mode of instrumental music, or the mode of instrumental music is replaced by vocal music. The most powerful evidence of the combination of singing and instrumental music is Chopin's ballad.
The ideological value of Chopin's music lies in that it reflects one aspect of the general trend of European bourgeois national movements in the 1930s and 1940s, and shouts out the angry and rebellious voice of the oppressed and enslaved Polish nation. Chopin's music has a strong Polish national style. His attitude towards folk music is very serious. He opposes curiosity and is not bound by it at the same time. He always tries to understand the characteristics of folk music and recreate it. He had a profound understanding and mastery of the experience and achievements in western Europe's music creation means at that time, and took this as the starting point of his own creation, thus making his music have a rigorous and complete artistic form with deep connection with classical traditions. Dare to break through the tradition and innovate. This is especially manifested in his deep excavation and enrichment of the potential artistic expression forms of a series of music genres, such as prelude, etude, narrative, nocturne, impromptu and scherzo, giving them new social content. His melody is highly expressive and full of personality; His harmony language is novel and bold, and the piano texture is delicate and colorful. All these factors combined to form a novel and unique Chopin style, which contributed to the historical development of European music.
On the artistic expression and appeal of erhu performance
With the development of national music, erhu, a traditional musical instrument, is increasingly loved by people. It has the characteristics of beautiful timbre, strong lyricism and rich expressive force. It is one of the main stringed instruments in China and plays an important role in solo, ensemble and accompaniment.
Every erhu player wants to play a beautiful voice with exquisite skills and show a profound and touching perfect art, so how can we work hard to achieve the ideal effect? This paper tries to talk about the artistic expression and appeal of erhu performance from the perspective of erhu performance experience.
Sound feeling of action
Action is the key to mastering skills, the basis of comprehensive technical training, and the basic means of music expression in performance. Therefore, whether the action is standardized or not directly affects the performance. The feeling of action is the psychological induction of two-handed action: first, the feeling of left hand shape, that is, natural relaxation, palm down. The four fingers of the sound should be bent downward, the fingers should be independent and the finger force should be flexible; The second is the feeling of the right hand exerting force, that is, the direction of exerting force and the length of the bow. The force point formed by holding the bow with four fingers is from shoulder to shoulder, forming a kind of pressure and counter-pressure. When playing the inner and outer strings, you should feel the inner palm protruding outside.
In the performance of music, the brain dominates the whole process from musical feeling to action. At this time, you need to feel the sound with your heart, avoid nervous or unnecessary movements, and find the feeling of mastering the pressure of the bow and the coordinated movements of your left and right hands. For example, when doing quick bow lifting and string changing, bow lifting can be roughly divided into "finger initiative", "forearm initiative" and "finger-wrist combination", which can make people feel comfortable and relaxed while ensuring sound quality.
The timbre feeling of skill
Skill is the coordination and application of playing movements. The so-called timbre feeling of skill refers to the player's ability to cope with music works. The timbre played by different techniques is different, and whether the rich timbre changes can be played depends on the technical mastery under the control of the player's thinking. The timbre of erhu is rich and varied, involving all kinds of sliding sound, decorative sound, soft string, bow change and so on. These techniques often appear in many musical styles in different combinations, making the performance more expressive.
Hegel famously said, "Only when the spiritual connotation is expressed in the form of organized voice in an appropriate way can music become a real art". This sentence shows that art lies in vividness, technology lies in cleverness, and the application of technology is mainly based on the feeling of playing. Only according to the requirements of music works, the performer skillfully combines techniques to express the connotation of music and reveals people's inner emotional world with changeable timbre, can the perfect form of music art be embodied. The timbre characteristics of erhu are thick and thick, thin and light, round and moist, dark and bright. From the point of view of performance technology, the use of different timbres is not single, but rigid, light, thin, deep, dry, full and sharp, which can be combined and converted according to the needs of artistic expression. Therefore, players should grasp the following points when dealing with the timbre changes of music: First, they should master the auditory concepts and corresponding skills of different timbres, which requires players to continuously improve their ability to distinguish different timbres. Secondly, when playing, we should first make clear the background, theme, melody and characteristics of the music, and then consider how to use the corresponding techniques to express it. Players need to concentrate on understanding, according to the different styles, artistic conception and tones of music, and use appropriate techniques in dealing with tonality and melody, so as to create a vivid musical image. Different music changes come from the corresponding playing methods. Some players do not consider the style and artistic conception of music when playing, and do not understand and appreciate the acoustic effect of playing skills well. How can such a mechanical reaction show the artistic expression and appeal of music? As an excellent erhu player, we should not only pay attention to technical training, but also strengthen the in-depth study of erhu timbre and deep understanding of music, so as to accurately find the performance feeling and make the performance more powerful.
Psychological feeling of breathing
Insiders often say: "If you adjust your interest properly, you will know that it is interesting." Indeed, the emotional expression during performance, the internal rhythm in music and the mastery of sound are all directly related to the use of breath. Whether you are learning vocal music or musical instruments, whether you enter the state when singing or playing depends on how you use your breath. The so-called breath is charm. Only by mastering the key of music melody can we reflect its unique connotation. Every performer has carefully designed and handled the sense of breathing in the process of music, and music with different styles and connotations presents different mental outlook. It can be seen that in the process of playing music, the use of breath is extremely important to the performer and is a necessary condition to improve the expressive force of music. It involves the control of strength, the tone of phrases, the flow of melody and the internal expression of will.
The feeling of breath (breathing) depends on the understanding and feeling of music. The use of breath in performance is restricted by many factors, such as music content, rhythm, strength, speed and performance techniques, to meet the needs of performance. If the breath is used properly, it can give people a vivid, accurate and smooth feeling. According to the mood of different music, the feeling of breath can dominate the position of hands. In other words, the use of breath is closely related to morphological movements. In the form of performance, such as the opening and closing of hands, the opening and closing of arms, and the tightness of upper body are all in harmony with breathing, opening and inhaling, expanding and absorbing, starting and inhaling. The performance of breath in music is mainly reflected in the cohesion of sentence beginning, sentence ending and clauses, as well as the changes of light and heavy syllables.
Only constant practice and experience can help to stimulate the enthusiasm of the players. Some people have good basic skills and skills, but there are often interruptions when playing music, so they can't express music completely. The main problem is the lack of lasting musical thinking ability and breathing psychological feelings to express musical emotions.
The performance of erhu has its unique artistic expression and appeal. As a performer, one should not only have a solid basic skill and theoretical foundation, but also have a strong ability of music innovation. The expression of music comes from the feeling of sound. Only by cultivating and perfecting all kinds of feelings when playing erhu in the process of study and practice can the player's ability to control the work be continuously improved, so as to achieve the ideal performance effect.