盛原

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哥德堡變奏曲

Goldberg Variations, BWV988: Aria

Goldberg Variations, BWV988: Variation 1

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Goldberg Variations, BWV988: Variation 3

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Goldberg Variations, BWV988: Variation 8

Goldberg Variations, BWV988: Variation 9

Goldberg Variations, BWV988: Variation 10

Goldberg Variations, BWV988: Variation 11

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Goldberg Variations, BWV988: Variation 19

Goldberg Variations, BWV988: Variation 20

Goldberg Variations, BWV988: Variation 21

Goldberg Variations, BWV988: Variation 22

Goldberg Variations, BWV988: Variation 23

Goldberg Variations BWV988, BWV988: Variation 24

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Goldberg Variations, BWV988: Variation 29

Goldberg Variations, BWV988: Variation 30

Goldberg Variations, BWV988: Aria—

黃濱

享譽國際的小提琴大師黃濱與享有“中國巴赫詮釋典範”美譽的鋼琴家盛原聯袂登場，兩者以各自獨到的藝術視角，跨越時空界限，重新詮釋“音樂巨匠”貝多芬的經典之作，引領聽眾攀越音樂的高峰，沉醉於古典音樂那無垠而深邃的美妙世界。
貝多芬的十首小提琴奏鳴曲，作為他留給後世小提琴文獻中的瑰寶，長久以來被尊為不可多得的經典。
這些作品不僅深深植根於古典主義的土壤，更藴含着貝多芬對音樂創新的不懈追求，它們如同一座座橋樑，引領聽眾從古典主義跨越到浪漫主義，感受音樂潮流的波瀾壯闊與細膩變遷。

小提琴文獻中的“新約”——貝多芬十首小提琴奏鳴曲
“The New Testament” in Violin Literature: Beethoven’s Ten Violin Sonatas

温德漢
Dehan Wen

在小提琴的文獻中，貝多芬的十首小提琴奏鳴曲佔有最重要的地位，常説巴赫的六首《小提琴無伴奏奏鳴曲與組曲》是小提琴文獻中的“舊約”，那“新約”就是貝多芬的這十首小提琴奏鳴曲了。和他的交響曲、鋼琴奏鳴曲、絃樂四重奏等作品一樣，小提琴奏鳴曲數量充沛，不但繼承了古典樂派的精髓，而且帶着聽者感受貝多芬的創新與發展是如何引領着音樂潮流的變化，領略音樂從古典主義到浪漫主義的發展。幾乎每一位的職業小提琴演奏家，都會接觸和演奏“樂聖”貝多芬的這十首作品或其中的幾首，就像鋼琴演奏家幾乎沒有不彈肖邦作品的情況一樣。

In the realm of violin literature, Beethoven’s ten violin sonatas hold an esteemed and paramount position. They are often regarded as the “New Testament” in violin literature, following Bach’s six violin unaccompanied sonatas and suites, which are considered the “Old Testament”. Just like Beethoven’s symphonies, piano sonatas, and string quartets, his violin sonatas showcase a remarkable abundance in quantity. Not only do they inherit the essence of classical music, but they also provide listeners with an opportunity to witness Beethoven’s innovative spirit and how it shaped the course of musical evolution. Exploring these sonatas allows one to appreciate the transformation of music from the era of classicism to romanticism. Almost every professional violinist will come into contact with and perform these ten works, or at least a few of them, by Beethoven, much like pianists rarely exclude Chopin’s compositions from their repertoire.

貝多芬的十首小提琴奏鳴曲大致分為四個部分。第一至第三號（作品12號的三首）是第一部分，多少受着古典主義尤其是莫扎特的影響。在第二階段的第四、第五號（作品23和24號），貝多芬個人的獨特風格明顯呈現。第三階段的第六至八號（作品30號）貝多芬開始走向他個人的巔峰，在第四階段開始的第九號到達了頂峰，而第十號則是這十首小提琴奏鳴曲中唯一一首完成於貝多芬後期的作品。

Beethoven’s ten violin sonatas can be roughly divided into four parts. The first part consists of No. 1 to No. 3 of Op. 12, which bear traces of classicism, particularly influenced by Mozart. In No. 4 and No. 5 (Op. 23 and 24), Beethoven’s distinctive personal style is clearly presented. As we move on to No. 6 to No. 8 of Op. 30, Beethoven begins to ascend to his personal peak, culminating in the brilliance of No. 9 of Op. 30. The tenth piece stands out as the sole violin sonata completed during Beethoven’s later period.

事實上，在貝多芬的十首小提琴奏鳴曲之外，還有一首名為Hess 46的A大調未完成的奏鳴曲，是貝多芬於1790年至1792年間為鋼琴和小提琴創作的一部片段式作品，也可能是一部未完成的作品。該作品由音樂學家威利·赫斯（Willy Hess）發現，可能是貝多芬首次嘗試為這種小提琴和鋼琴組合創作的作品之一。這部作品目前不大被認可為貝多芬的“正式”作品，所以公開演出的機會並不多。

In addition to Beethoven’s renowned ten violin sonatas, there is also an unfinished sonata in A major called Hess 46. This fragmented work was created by Beethoven for piano and violin between 1790 and 1792 and may remain incomplete. Musicologist Willy Hess discovered this piece, which could potentially be one of Beethoven’s early endeavors in composing for the violin and piano combination. However, it is worth mentioning that this composition is not widely acknowledged as Beethoven’s “official” work, resulting in limited opportunities for public performances.

貝多芬的前三首小提琴奏鳴曲創作於1797-1798年，1799年在維也納一起出版，題獻給他的前老師安東尼奧·薩列埃裏。這些作品遵循了海頓和莫扎特所開創的三樂章奏鳴曲的形式，是典型的十八世紀的奏鳴曲風格。這三首小提琴奏鳴曲繼承了莫扎特的特色，強調了小提琴和鋼琴兩種樂器的合作，而不是鋼琴為小提琴伴奏，這就同時給兩位演奏者提出了更高的要求。

Beethoven’s initial three violin sonatas were composed between 1797 and 1798 and published together in Vienna in 1799, dedicated to his former teacher Antonio Salieri. These works follow the form of the three movement sonata created by Haydn and Mozart, and are typical of the sonata style of the 18th century. These three violin sonatas inherit Mozart’s characteristics, emphasizing the cooperation between the violin and piano instruments, rather than the piano as a violin accompaniment, which puts higher demands on both performers.

這標誌着貝多芬早期的小提琴和鋼琴作品在風格上有了很大的進步，D大調第一小提琴奏鳴曲顯示出高超的技巧，儘管它沒有達到後期作品的偉大和深度。第一樂章和第三樂章在音樂上並不複雜，但第二樂章表現出對變奏形式的深刻理解，在結構上與“克萊採”奏鳴曲（作品47）中的同一樂章相似。A大調第二小提琴奏鳴曲與第一和第三奏鳴曲在性格上有所不同，因為它是加蘭特風格，而其他兩首奏鳴曲則更具戲劇性和活力，尤其是降E大調第三小提琴奏鳴曲。後者的第一樂章和第三樂章與第一小提琴奏鳴曲相似，年輕俏皮，而第二樂章則風格更加成熟。

This marks a significant improvement in the style of Beethoven’s early violin and piano works, with the First Violin Sonata in D major demonstrating superb technique, although it did not reach the greatness and depth of later works. The first and third movements are not musically complex, but the second movement demonstrates a profound understanding of the form of variation, structurally similar to the same movement in the “Kreutzer” sonata (Op. 47). The second violin sonata in A major is different in personality from the first and third sonatas because it is in the Galant style, while the other two sonatas are more dramatic and energetic, especially the third violin sonata in E-flat major. The first and third movements of the latter are similar to the first violin sonata, young and playful, while the second movement has a more mature style.


第四小提琴奏鳴曲（作品23）完成於1800年和第五小提琴奏鳴曲（作品24）完成於1800-01年間，並在1801年10月一起出版，題獻給莫里茨·馮·弗里斯伯爵（Count Moritz von Fries）。a小調第四小提琴奏鳴曲標誌着戲劇風格比前三部略有進步，但F大調第五小提琴奏鳴曲標誌着小提琴創作的最大發展，因為引入主旋律的是小提琴，而不是像前四首奏鳴曲那樣由鋼琴引入。第四奏鳴曲的外樂章代表了兩種樂器之間的關係，以及在“克萊採”奏鳴曲中達到最高點的音樂風格在這裏小試牛刀。

The Fourth Violin Sonata (Op. 23) was completed in 1800, and the Fifth Violin Sonata (Op. 24) was completed between 1800 and 1801 and published together in October 1801, dedicated to Count Moritz von Fries. The fourth violin sonata in a minor marks a slight improvement in theatrical style compared to the first three parts, but the fifth violin sonata in F major marks the greatest development in violin composition, as the introduction of the main melody is by the violin, rather than by the piano, as in the first four sonatas. The outer movement of the fourth sonata represents the relationship between the two instruments, as well as the musical style that reached its peak in the “Kreutzer” sonata, which is a small test here.

A小調奏鳴曲從未像F大調奏鳴曲那樣受歡迎，儘管它有一段俏皮的行諧謔曲行板，它結合了慢樂章和諧謔曲的功能。貝多芬在這部作品中仍然堅持三樂章寫法，但在被稱為“春天”的F大調奏鳴曲中，增加了一個簡短的諧謔曲和三聲中部，將其擴大到四個樂章。“春天”這個別名不是貝多芬起的。在德語國家，他的一些小提琴奏鳴曲也被冠以別名：c小調第七小提琴奏鳴曲（作品30之2）有時被稱為“公雞”，而G大調第八小提琴奏鳴曲（作品30之3）通常被稱為“香檳”奏鳴曲。

The Sonata in a minor has never been as popular as the Sonata in F major, although it has a playful scherzo andante that combines the functions of a slow movement and a harmonious scherzo. Beethoven still adhered to the three movement writing style in this work, but in the F major sonata known as “Spring”, a brief scherzo and trio. were added, expanding it to four movements. The nickname “Spring” was not coined by Beethoven. In German speaking countries, some of his violin sonatas are also given nicknames: Violin Sonata No. 7 in c minor (Op. 30-2), sometimes referred to as “Rooster”, while Violin Sonata No. 8 in G major (Op. 30-3) is commonly referred to as “Champagne” sonata.

貝多芬的作品30是三首小提琴奏鳴曲，創作於1802年，並於1803年在維也納出版，題獻給俄羅斯沙皇亞歷山大一世。A大調、c小調和G大調奏鳴曲在音樂風格和小提琴創作方面比他早期的作品有了很大的進步，最終標誌着他與前輩們分道揚鑣。然而，小提琴的音域與以前的奏鳴曲（g-a'''）沒有甚麼不同，大概反映了它們所面對非專業演奏者的平均能力。兩首大調奏鳴曲有三個樂章，而c小調奏鳴曲則有四個樂章。在這三部作品中，小提琴和鋼琴在每個樂章中都需要表現主題。

Beethoven’s Op. 30 consists of three violin sonatas, created in 1802 and published in Vienna in 1803, dedicated to Tsar Alexander I of Russia. The sonatas in A major, c minor, and G major have made significant progress in music style and violin composition compared to his early works, ultimately marking his departure from his predecessors. However, the range of violins is not much different from previous sonatas (g-a'''), roughly reflecting their average ability to face nonprofessional performers. Two sonatas in major have three movements, while the sonata in c minor has four movements. In these three pieces, the violin and piano need to express themes in each movement.


輕鬆優雅的G大調第八小提琴奏鳴曲在風格上可能不如c小調第七奏鳴曲那麼火熱的奏鳴曲顯現，儘管在第八奏鳴曲中，“我們處於一種和諧的完美境界，第一樂章陽光明媚的歡樂，第二樂章小步舞曲的莊嚴之美， 結尾的第三樂章回旋曲的幽默跳躍結合在一起，非常平衡，為我們提供了十首奏鳴曲中最和諧的作品之一。”
The relaxed and elegant Violin Sonata No. 8 in G major may not be as hot as the Sonata No. 7 in c minor in style, although in the No. 8 Sonata, “We are in a harmonious and perfect state, with the sunny joy of the first movement, the solemn beauty of the minuet in the second movement, and the humorous jumping of the rondo in the third movement at the end combined, very balanced, providing us with one of the most harmonious works of the ten sonatas.”

極具戲劇性的c小調第七小提琴奏鳴曲在調性上貝多芬的“悲愴”鋼琴奏鳴曲和第五交響曲同一調性，是貝多芬最受歡迎的小提琴奏鳴曲之一，最受歡迎的小提琴還有第五和第九首。它展示了貝多芬在音樂風格上的最大進步，因為四個樂章遵循一個近乎交響樂的架構，整首奏鳴曲是一部渾然天成的傑作。外樂章的張力和節奏的一致性，如“克萊採”奏鳴曲般，使這首奏鳴曲成為一首充滿激情的迷人作品，也是貝多芬最令人印象深刻的小提琴和鋼琴奏鳴曲之一。

The highly dramatic Violin Sonata No. 7 in c minor shares the same tonality as Beethoven’s Piano Sonata No. 5, making it one of Beethoven’s most popular violin sonatas. His most popular violin sonatas include No. 5 and No. 9. It showcases Beethoven’s greatest progress in musical style, as the four movements follow a nearly symphonic structure, and the entire sonata is a natural masterpiece. The tension of the outer movement and the consistency of rhythm, like the “Kreutzer” sonata, make this sonata a passionate and charming work, and also one of Beethoven’s most impressive violin and piano sonatas.

貝多芬第九小提琴奏鳴曲（作品47）創作於1802-03 年，1805 年在波恩出版，這是他十首奏鳴曲中作曲最成熟的一首，儘管那是在作品30的三首奏鳴曲完成後不久寫的。它最初是題獻給小提琴家喬治·波爾格林·布里奇塔（George Polgreen Bridgetower），他在1803年首次與貝多芬一起演奏這首小提琴奏鳴曲，但貝多芬隨後將獻詞改為小提琴家克萊採，克萊採從未承認過被題獻，甚至從未在公開場合演奏過這部作品。當這部作品首次出版時，它的標題是“鋼琴和小提琴奏鳴曲，以非常接近協奏曲的風格寫成，規模也類似協奏曲”。這首沒有管絃樂伴奏的兩種樂器的“協奏曲”在小提琴和鋼琴的二重奏曲目中是獨一無二的。這是貝多芬要求最高、最著名的小提琴和鋼琴奏鳴曲，它將小提琴的技術潛力擴展到更專業的水平。

Beethoven’s Ninth Violin Sonata (Op. 47) was created in 1802 and 1803 and published in Bonn in 1805. It is the most mature sonata he has composed among his ten, although it was written shortly after the completion of the three sonatas in Op. 30. It was originally dedicated to the violinist George Polgreen Bridgetower, who performed this violin sonata for the first time with Beethoven in 1803. However, Beethoven later changed the dedication to the violinist Kreutzer, who never admitted to being dedicated or even performed the work in public. When this work was first published, its title was “Piano and Violin Sonata, written in a style very close to that of a concerto, with a scale similar to that of a concerto”. This concerto for two instruments without orchestral accompaniment is unique in the duet for violin and piano. This is Beethoven’s most demanding and famous violin and piano sonata, which extends the technical potential of the violin to a more professional level.

貝多芬十首小提琴和鋼琴奏鳴曲中的最後一首作品是作品96，創作於1812年，並於1816年在維也納出版。它是題獻給魯道夫大公（Archduke Rudolph Johannes Joseph Rainier of Austria）的，1812年由法國小提琴家皮埃爾·羅德（Pierre Rode）與彈鋼琴的大公進行了首演。貝多芬當時已經創作了這首奏鳴曲的一部分，在1812年的一次音樂會巡迴演出羅德來到了維也納，這給了貝多芬完成這部奏鳴曲的動力，他在時隔十年後終於回到了小提琴奏鳴曲領域。這次貝多芬並未沿着第九奏鳴曲的方向前進，而是有點回到前八部奏鳴曲的那種狀態，因為他在寫作時，心中想象演奏者並不是像第九奏鳴曲那樣的具備優秀演奏能力的專業小提琴演奏家，而是如前八首那樣，演奏者可以是業餘水平的人士。

The final piece of Beethoven’s ten violin and piano sonatas is Op. 96, composed in 1812 and published in Vienna in 1816. This particular sonata bears the dedication to Archduke Rudolph Johannes Joseph Rainier of Austria. Its premiere took place in 1812 with French violinist Pierre Rode alongside the piano accompaniment of Grand Duke. Beethoven had already created a part of this sonata at that time. In 1812, during a concert tour, Rhodes came to Vienna, which gave Beethoven the motivation to complete this sonata. After a decade, he finally returned to the field of violin sonatas. This time Beethoven did not move forward in the direction of the Ninth Sonata, but rather returned to the state of the first eight sonatas, because when he was writing, he imagined that the performer was not a professional violinist with excellent performance ability like the Ninth Sonata, but, as in the first eight sonatas, the performer could be an amateur.

演奏者：黃濱（小提琴）、盛原（鋼琴）
統籌：温德漢
監製：黃濱、盛原
錄音師：馮漢英
後期製作：馮漢英
錄音時間：2021年2和8月
錄音地點：中國音樂學院國音堂

跨越高峰——黃濱、盛原之貝多芬小提琴與鋼琴奏鳴曲集（Transcending Peaks——Beethoven: Complete Sonatas for Violin and Piano）

Belle Époque

巴赫鍵盤音樂選

範磊

北京環球音像

著名單簧管演奏家、中央音樂學院教授范磊先生，攜手鋼琴演奏家、中央音樂學院教授盛原先生共同打造的《單簧管經典作品專輯》，由中央音樂學院北京環球音像出版有限公司正式出版發行。該專輯收錄了浪漫主義時期作曲家舒曼的《幻想曲》、勃拉姆斯的《f小調第一單簧管奏鳴曲》和《降E大調第二單簧管奏鳴曲》。
    
在這張《單簧管經典作品專輯》中，范磊與盛原兩位演奏家為我們呈現了浪漫主義時期具有代表性的兩位作曲家——舒曼與勃拉姆斯的單簧管與鋼琴作品，為聽眾帶來了一場高品質的聽覺盛宴。

舒曼與勃拉姆斯單簧管經典作品專輯

舒曼鋼琴曲集

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哥德堡變奏曲

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哥德堡變奏曲

歌曲列表

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