Freakish Variations on a “Grand Cadence” Prototype in Haydn's String Quartets


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Notwithstanding the virtues of ensemble balance, decorum, and registral restraint with which the eighteenth-century string quartet is associated, Haydn's works in this medium sometimes call on the first violin to ascend to a musical stratosphere (above a2, an otherwise normal ceiling), often in connection with whimsical variants of a standard formula that has been identified by Robert O. Gjerdingen as a galant-style “grand cadence.” In Haydn's apparent adaptations of the schema, its elements are sometimes subjected to comical exaggerations that have the effect of undermining rather than reinforcing the points of rhetorical climax and structural closure to which they are connected. The overdrawn climaxes and register-crossing leaps typically involved may be heard as object lessons in the dangers of hyperbole—of trying so hard as to become inappropriately absorbed in the exertion itself—and perhaps as part of the composer's effort to define boundaries of taste and propriety by the very act of overreaching at prominent junctures in a musical design. As they cast a withering light on performative extravagance, Haydn's cadence-formula excesses also serve to puncture any illusion of an unmediated aesthetic experience. Ironically, it is just as the first violin takes off into the highest regions that we find ourselves drawn down to earth. And here, through the music's ruptured faade, we may become freshly aware of the composer himself standing before us—not to prohibit us from enjoying the charm of an all-enveloping artistic illusion, but to promote an enlightened awareness of the artifice in which the illusion is grounded.
机译:尽管18世纪弦乐四重奏具有整体平衡,礼节和注册约束的优点,但海顿在这种媒介中的作品有时还是要求第一把小提琴升至音乐的平流层( 2 ,否则就是正常的上限),通常与罗伯特·O·杰丁根(Robert O. Gjerdingen)所定义的标准公式的异想天开的变体有关,是一种勇敢的“大节奏”。在海顿对图式的明显改编中,其元素有时受到可笑的夸大,其作用是破坏而不是加强与其相连的修辞高潮和结构封闭的点。通常会涉及透支的高潮和跨跃点,这是夸张的危险中的客观课程—努力尝试以至于不恰当地吸收到演奏本身中,或者可能是作曲家定义口味和界限的努力的一部分通过在音乐设计中突出交界处的行为来实现适当性。当他们对表演性的奢侈挥之不去时,海顿的节奏节奏公式也可以刺破任何对无中介美学体验的幻想。具有讽刺意味的是,就像第一把小提琴飞到最高的区域一样,我们发现自己被脚踏实地地吸引了。在这里,通过音乐破裂的淡入淡出,我们可能会重新意识到作曲家本人的身影,这不仅是在阻止我们享受包罗万象的艺术幻觉的魅力,而且还可以激发人们对音乐创作的开明认识。幻觉是扎根的。


  • 来源
    《Journal of Musicological Research》 |2009年第2期|119-145|共27页
  • 作者

    Floyd Grave;

  • 作者单位

    Rutgers University, New Brunswick;

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  • 入库时间 2022-08-18 00:53:10


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