Advent Calendar 12.3
- Sophia Yao
- Dec 13, 2020
- 8 min read
Image: ©Yi
An Advent calendar is a special calendar used to count the days of Advent in anticipation of Christmas.
Let's count down to Christmas!
一起倒数圣诞吧！在西方很多国家会从今天开始使用圣诞倒计时日历。从12月1日起，每天打开一份惊喜直到圣诞节。
我给大家准备了一份音乐圣诞倒计时日历，每天点卡最上方的链接会有惊喜，直到圣诞节。
祝大家在2020年的最后一个月，快乐，安康！
Rhapsody on a Theme of Paganini, Op. 43,
Variation 3: L'istesso tempo
Great! We all know the composer of "the Rhapsody on a Theme of Paganini, Op. 43,“ is Sergei Rachmaninoff.
Wait a minute. Who is Paganini? Why he is in the name?
Today let's read the story of Paganini.
Niccolò (or Nicolò) Paganini (Italian: [ni(k)koˈlɔ ppaɡaˈniːni](listen); 27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was the most celebrated violin virtuoso of his time, and left his mark as one of the pillars of modern violin technique. His 24 Caprices for Solo Violin Op. 1 are among the best known of his compositions, and have served as an inspiration for many prominent composers.
A violinist began with mandolin and loves guitar all his life
At the age of five, Paganini started learning the mandolin from his father and moved to the violin by the age of seven. The young Paganini studied under various local violinists, including Giovanni Servetto and Giacomo Costa, but his progress quickly outpaced their abilities. Paganini and his father then traveled to Parma to seek further guidance from Alessandro Rolla. But upon listening to Paganini's playing, Rolla immediately referred him to his own teacher, Ferdinando Paer and, later, Paer's own teacher, Gasparo Ghiretti. Though Paganini did not stay long with Paer or Ghiretti, the two had considerable influence on his composition style.
In 1801, the 18-year-old Paganini was appointed first violin of the Republic of Lucca. Paganini had been a violinist for the Baciocchi court and moved to Florence, but, towards the end of 1809, he left the court to resume his freelance career.
He mastered the guitar, but preferred to play it in exclusively intimate, rather than public concerts.[2] He later described the guitar as his "constant companion" on his concert tours.
Friendship
Throughout his career, Paganini also became close friends with composers Gioachino Rossini and Hector Berlioz. Rossini and Paganini met in Bologna in the summer of 1818. In January 1821, on his return from Naples, Paganini met Rossini again in Rome, just in time to become the substitute conductor for Rossini's opera Matilde di Shabran, upon the sudden death of the original conductor. Paganini's efforts earned gratitude from Rossini.
Paganini met Berlioz in Paris, and was a frequent correspondent as a penfriend. He commissioned a piece from the composer, but was not satisfied with the resultant four-movement piece for orchestra and viola obbligato, Harold en Italie. He never performed it, and instead it was premiered a year later by violist Christian Urhan. He did however write his own Sonata per Gran Viola Op. 35 (with orchestra or guitar accompaniment). Despite his alleged lack of interest in Harold, Paganini often referred to Berlioz as the resurrection of Beethoven and, towards the end of his life, he gave large sums to the composer. They shared an active interest in the guitar, which they both played and used in compositions. Paganini gave Berlioz a guitar, which they both signed on its sound box.
Fine stringed instruments
Paganini was in possession of a number of fine stringed instruments. More legendary than these were the circumstances under which he obtained (and lost) some of them. While Paganini was still a teenager in Livorno, a wealthy businessman named Livron lent him a violin, made by the master luthier Giuseppe Guarneri, for a concert. Livron was so impressed with Paganini's playing that he refused to take it back. This particular violin came to be known as Il Cannone Guarnerius.[9] On a later occasion in Parma, he won another valuable violin (also by Guarneri) after a difficult sight-reading challenge from a man named Pasini.
Other instruments associated with Paganini include the Antonio Amati 1600, the Nicolò Amati 1657, the Paganini-Desaint 1680 Stradivari, the Guarneri-filius Andrea 1706, the Le Brun 1712 Stradivari, the Vuillaume c. 1720 Bergonzi, the Hubay 1726 Stradivari, and the Comte Cozio di Salabue 1727 violins; the Countess of Flanders 1582 da Salò-di Bertolotti, and the Mendelssohn 1731 Stradivari violas; the Piatti 1700 Goffriller, the Stanlein 1707 Stradivari, and the Ladenburg 1736 Stradivari cellos; and the Grobert of Mirecourt 1820 (guitar).[10][11] Four of these instruments were played by the Tokyo String Quartet.
Of his guitars, there is little evidence remaining of his various choices of instrument. The aforementioned guitar that he gave to Berlioz is a French instrument made by one Grobert of Mirecourt. The luthier made his instrument in the style of René Lacôte, a more well-known Paris-based guitar-maker. It is preserved and on display in the Musée de la Musique in Paris.
Of the guitars he owned through his life, there was an instrument by Gennaro Fabricatore that he had refused to sell even in his periods of financial stress, and was among the instruments in his possession at the time of his death. There is an unsubstantiated rumour that he also played Stauffer guitars; he may certainly have come across these in his meetings with Giuliani in Vienna.
Common points with Sergei Rachmaninoff
They are all masters of composing. Furthermore, Paganini had exceptionally long fingers and was capable of playing three octaves across four strings in a hand span, an extraordinary feat even by today's standards. His seemingly unnatural ability may have been a result of Marfan syndrome.instruments, just like Sergei Rachmaninoff.
那么帕格尼尼又是谁呢？
今天我们就来看看老帕的故事。
尼科罗·帕格尼尼（意大利语：Niccolò Paganini，1782年10月27日－1840年5月27日），小提琴家、作曲家，属于欧洲晚期古典乐派，早期浪漫乐派音乐家。他是历史上著名的小提琴大师之一，对小提琴演奏技术进行了很多创新。
和苦逼练琴的小拉不同，老帕是年少成名。可惜他没有能够好好管理自己的天赋，差点这个天才就淹没在赌场里了。好在后来幡然醒悟（让我想起了龟兔赛跑里的兔子）名扬天下。
根据Peter Lichtenthal为他写的传记，帕格尼尼在五岁的时候，他父亲开始敎他曼陀铃，七岁时便开始学习小提琴，更在十岁时就开始作曲了，十三岁时，完成了他的第一次公开演出。从十余岁起，帕格尼尼跟着许多不同的老师学习，包括了Giovanni Servetto和Alessandro Rolla，但是对于这早来的成功，他没有办法妥善的处理；在他十六岁时，他就开始赌博和酗酒，就在这个时候，一位不知名的女性救了他，把他带到她的家去，在那里他又开始学习小提琴，共学了三年；在这三年之中，他也弹奏吉他。
在他23岁的时候，他又重新出现在乐坛，当他不再旅游时，他成为了PRINCESS LUCCA的宫廷乐队总监，他在米兰（1813年）、维也纳（1828年）、伦敦和巴黎（1831年）首演以后，他高超的小提琴技巧在人们之间广为流传，帕格尼尼是世界上第一个不须别人资助而可以到世界各地巡回表演的音乐家，而且他还非常聪明。他成为一个超级巨星，并用他那魔鬼般的技巧演奏。
有一个传说：帕格尼尼将他的灵魂出卖给了魔鬼，换来他那高超的技巧，对于这个传说帕格尼尼很满意，甚至有人说这是他自己说的，在他演奏时，他会翻白眼，他摇晃的站姿、长而零乱的头发、苍白的脸庞、憔悴的身躯都让这个传说显得更加真实，他充满热情激烈的演出让观众流泪，有的人甚至还晕倒。
帕格尼尼给那他唯一曾经拥有过的小提琴取名叫大炮（见插图），主要是反映这琴本身所发出来的声音有如大炮一般，这把小提琴的弦几乎都在同一个平面上，这和其它为了避免演奏到其它弦而有个曲度的提琴是完全相反的，而这把特别的提琴确也让帕格尼尼能够一次拉出两条或许是三条弦的乐音。
他的好友中有著名的作曲家罗西尼和柏辽兹。他为罗西尼救过场，而常年笔友柏柏同学则是因为共同的爱好——吉他。柏同学收藏的有他和老帕共同签名的吉他在巴黎音乐博物馆收藏（Musée de la Musique in Paris）。
他给后人留下的作品有奏鸣曲、狂想曲系列，六首小提琴协奏曲、弦乐四重奏、以及数个吉他作品等。很多作曲家都对帕格尼尼的a小调第24随想曲很感兴趣。李斯特、勃拉姆斯、拉赫马尼诺夫、卢托斯瓦夫斯基、洛伊韦伯和很多其它作曲家都为这个作品的旋律创作了变奏曲。
所以改编的道路上，小拉并不孤独。
老帕是个”相当有版权意识“的音乐家。在他的生涯中，所有协奏曲中，演奏小提琴的部分都是保密的，他也从不在与交响乐团的排练中演奏小提琴独奏，一直到他死时也不过只有两首曲被出版，然而，帕格尼尼的弟子却也机伶地在他死后每年出版一首曲，每一次在舞台上的成功，都是为了下一次的再成功而铺路，现今已知的协奏曲虽然只有六首（其中最后两首的交响乐部分已失传），但他的吉他、弦乐器、尤其是小提琴的作品，都已使他那独特的技巧成为后世标准的准则。
为什么提起小提琴，老帕是王中之王？
法国小提琴家吉特利斯曾说：“帕格尼尼不只是一个发展……先是有了前面的这些（小提琴家），然后帕格尼尼横空出世了。”尽管帕格尼尼所采用的一些小提琴技巧在当时已经出现，技巧发展却已经停滞不前。科莱里（1653年-1713年）被认为是小提琴技巧之父，他将小提琴的地位从伴奏乐器提升到了独奏乐器。巴赫（1685年-1750年）的无伴奏小提琴奏鸣曲与组曲（BWV 1001-1006）奠定了小提琴的复调演奏能力。第一部对小提琴技巧进行系统研究的作品是卢卡特里（1693-1764）的24首随想曲，在当时因难度过高而无法演奏。当时的杰出小提琴家们更为关注的是音调和弓法（弦乐演奏家们称为“右手技巧”）这两个最基本但是很关键的问题。
帕格尼尼则为演奏家和作曲家们引入了更先进的技巧。通过他的贡献，小提琴作品的创作极大地丰富了。他的音乐具有非常丰富和高难度的指法和弓法以取悦听众，并对他当时的同行们构成挑战。他的音乐会作品中有连顿弓、和声、拨弦（双手），和丰富的音程（最多达到大十度）。帕格尼尼的作品不被认为是完美的对位法创作：（伊萨伊曾抱怨说在帕格尼尼的音乐中钢琴和管弦乐伴奏太像吉他了，缺乏个性和对位）。但是，他将小提琴的音色和色彩扩展到了前所未有的程度。帕格尼尼同时也是一位杰出的吉他演奏家，并为这件乐器创作了超过200部作品。几乎半个世纪后才由约阿希姆和伊萨伊带来了可以和帕格尼尼相提并论的小提琴技巧跳跃式发展。
帕格尼尼可以在一个把位上用四根弦演奏出三个八度，这在今天看来简直是难以想象的。他的灵活性也许是由于马凡氏综合症或Ehlers-Danlos综合征。原来老帕和小拉还有这么一个共同点。
”难怪他们有天才般的演奏！“也许你正感慨自己没有抽中这一支生命之签。不要气馁，勤能补拙。老帕的指法，比如双音技巧，换指八度（和十度）和左手拨弦在当时都被认为是几乎不可能的事情，但却是现在的年轻小提琴家们的常规训练科目。钢琴界也是一样。
如果你能坚持到最后，一定会迎来生命的华彩。
resource/资料来源：
youtube-Sergey Rachmaninov (1873-1943) Rhapsody on a Theme of Paganini in A minor, Op. 43 (1934) Nikolai Lugansky, soloist Alexander Vedernikov conducting Russian National Orchestra December 26, 2017 https://www.youtube.com/watch?v=zbGajVU7CGk&list=PLnxQxoUa9GJGBKgEbYrr6SPfQZ0K4hXG2&index=1&ab_channel=EnchantedWanderer
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