今天心血來潮，想把歷年泰半經由加入BMG古典音樂俱樂部成為會員，而蒐集到手的CD， 陸續整理內附導[聽]的英文簡介，順便略抒感想。
“Art,
music and literature are, to some degree, bound to intermingle. Marcel Proust’s writings refer to the late
string quartets of Beethoven; and Beethoven’s “Kreutzer” Sonata – a passionate
and, indeed, incendiary emotional outpouring – inspired a novel by Tolstoy,
which in turn was translated back into music in Janacek’s First String
Quartet. For the connection of art to
music, one can point to Respighi’s Trittico
botticelliano, Debussy’s L’isle joyeuse inspired by Watteau, or Hindemith’s
opera Mathis der Maler, based on the
life and art of the legendary Matthias Grunewald.” 音樂與文學互為繆思，有名的例子諸如Beethoven晚期弦樂四重奏與熱情爆發的“Kreutzer”奏鳴曲分別啟發了猶太法裔作家Marcel Proust的作品和俄國文豪Tolstoy的小說； 托氏小說繼而轉換回Janacek的第一號弦樂四重奏。繪畫藝術也賦予一些作曲家名曲的靈感，比如Watteau與Matthias Grunewald畫家的傳奇和畫作分別啟蒙Debussy’s L’isle joyeuse ＆ Hindemith’s opera歌劇 Mathis der Maler。
西班牙畫家Francisco Goya於十九世紀末葉魅惑年方雙十餘的作曲家Enrique Granados， 其畫裡的愛恨情仇、甜言蜜語、粉頰衣香、柳腰女模，在在令青年作曲家眩目著迷。Granados作滔滔不絕的六章鋼琴組曲Goyescas ，向此西班牙一代宗師致敬。此傑作受英國樂評家Ernest Newman盛讚：〔儘管音樂熱情如火，仍然泰然自若….和聲繁複，主題充滿獨特的詩意，乃十指的饗宴，猶如五彩繽紛的大珠小珠落玉盤….〕
“Francisco Goya
(1746-1828) – the artist after whom historians have named a whole era in
Spanish culture – cast his spell on Enrique Granados while the composer was
still in his twenties. Years later
Granados recounted how he
Fell in love with Goya’s psychology; with
his palette; with him…with his quarrels, his models, his loves and flatteries;
with the pink and white cheeks against lace and black velvet, those
tight-waisted bodies, hands of jasmine and mother-of-pearl resting on jet
trinkets. All of these things dazzled
and possessed me.
Granados’s formal homage
to the great painter took the shape of six eloquent piano pieces collectively
titled Goyescas, a suite that
premiered by the composer at a recital at the Palace de la Musique Catalane in 1911. It stands as his masterpiece and, indeed, as
one of the pinnacles of Spanish keyboard music. The English critic Ernest Newman writes glowingly of Goyescas: The music, for all the fervor
of its passion, is of classical beauty and composure. The harmony is rich but never
experimental. The melodies have new
curves, the rhythms new articulations. Informing it all is a new grace, a new pathos, a new melancholy. Not only the separate pieces themselves but
the themes from them have a curious poetic individuality, so that to meet in a
later piece with a theme from an earlier one is like seeing a definite
personality step across the scene; but above all, the music is a gorgeous treat
for fingers. It is difficult, but so
beautifully laid out that it is always playable: one has the voluptuous sense
of passing the fingers through masses of richly colored jewels…it is piano
music of the purest kind.
Granados 的入室弟子Frank Marshall也強調其在西班牙民族音樂史上的大師地位，如同Chopin之於其祖國波蘭，Liszt之於匈牙利，並宣稱其樂曲裡所表現的西班牙特色，已經濾淨粗俗、狂暴、煽情的雜質，而能捕捉十八世紀西班牙貴族高雅含蓄的氣質。
Frank Marshall,
who was Granados’s disciple notes that Granados’s Spanishness…is devoid of
coarseness, of violent expressions, of exultation and drama. Instead, Granados manages to capture all the
elegance, subtlety, and aristocracy of eighteenth-century Spain
(Source: review written by Harris
Goldsmith, BMG Classics)
Painting by Francisco José de Goya y Lucientes
Maja Naked Oil on Canvas Completed in 1797
Original dimensions: 190.0cm x 97.0cm (74.8in x 38.2in)
Original Painting held in Museo del Prado, Madrid Spain
http://www.classicartrepro.com/artistsc.iml?painting=4038
作家
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