首页
登录
职称英语
In the early twentieth century, the idea that pianists should be musician-schola
In the early twentieth century, the idea that pianists should be musician-schola
游客
2024-01-11
11
管理
问题
In the early twentieth century, the idea that pianists should be musician-scholars whose playing reflected the way composers wanted their music to sound replaced the notion that pianists should be virtuosos whose performances thrilled audiences with emotional daring and showy displays of technique. One important figure to emerge in the period, though a harpsichordist rather than a pianist, was Wanda Landowska(1879-1959). She demonstrated how the keyboard works of Baroque composers such as Bach, Handel, Scarlatti, and Couperin probably sounded in their own times. It would be a mistake to consider Landowska a classicist, however. She had been born in an age of Romantic playing dominated by Liszt, Leschetizky, and their pupils. Thus she grew up with and was influenced by certain Romantic traditions of performance, whatever the stringency of her musical scholarship; Landowska knew how to hold audiences breathless, and when she gave recitals, they responded with deathlike silence and rapt attention.
Her playing was Romantic, but it was at least as close in spirit to the style of playing intended by composers of the Baroque(1600-1750)and Classical(1750-1830)eras, as have been the more exacting but less emotionally resonant interpretations of most harpsichordists since Landowska. She had a miraculous quality of touch, a seemingly autonomous left hand; no artist in her generation could clarify with such deftness the polyphonic writing of the Baroque masters. And none could make their music so spring to life.
Her achievements were the result of a lifetime of scholarship, truly remarkable physical gifts, and resilient rhythm, all combined with excellent judgment about when not to hold the printed note sacrosanct. Of course, developing such judgment demanded considerable experience and imagination. She was a genius at underlining the dramatic and emotional content of a piece, and to do so, she took liberties, all kinds of liberties, while nevertheless preserving the integrity of a composers score. In short, her entire musical approach was Romantic: intensely personal, full of light and shade, never pedantic.
Thanks to Landowska, Bach’s music(originally composed for the harpsichord)now sounded inappropriately thick when played on the piano. One by one, pianists stopped playing Bach’s music as adapted for the piano by Liszt or by Tausig. Then they gradually stopped performing any kind of Baroque music on the piano, even Scarlatti’s. The piano repertoire, it began to be felt, was extensive enough without reverting to transcriptions of Baroque music originally written for the harpsichord—and piano performances of Bach and Scarlatti were, despite the obvious similarities between the harpsichord and the piano, transcriptions, no matter how faithfully the original notes were played. In accordance with this kind of purism came an emphasis on studying composers’ manuscript notations, a relatively new field of musicology that is flourishing even today. [br] The passage suggests that Landowskas playing embodied a rejection of which of the following?
选项
A、Emotionally resonant interpretations of musical works
B、An audiences complete silence during a performance
C、Performances of previously obscure Baroque works
D、The idea that a performer can correctly judge when not to hold the printed note sacrosanct
E、Performances emphasizing showy displays of technique that compromise the integrity of a composers original score
答案
E
解析
Choice E is correct because throughout the passage Wanda Landowskas playing serves as the embodiment of the historical change described in the passages first sentence: the replacement of "showy displays of technique" in favor of playing that "reflected the way composers wanted their music to sound." The passage later describes Landowskas playing as "preserving the integrity of the composers original score."
转载请注明原文地址:https://www.tihaiku.com/zcyy/3351740.html
相关试题推荐
Hispenchantforlearninghistoryshouldprovetobe______duringhisstudiesto
Duringthemid-twentiethcenturytheUnitedStatesbeganapolicytowardNative
Sendingarobotintospacetogatherinformationisaviableoption,butshould
Sendingarobotintospacetogatherinformationisaviableoption,butshould
Theattributionofearly-nineteenth-centuryEnglishfictionisnotoriouslyprobl
Nineteenth-centuryarchitectEugene-EmmanuelViollet-le-DuccontendedthatParis
Nineteenth-centuryarchitectEugene-EmmanuelViollet-le-DuccontendedthatParis
Historianscreditrepeatedlocustinvasionsinthenineteenthcenturywithresha
Whilethebestsixteenth-centuryRenaissancescholarsmasteredtheclassicsofa
Femalelaborwasessentialtothegrowthofeighteenth-centuryEuropeantextile
随机试题
Theconceptofpersonalchoiceinrelationtohealthbehaviorsisanimporta
[originaltext]W:DoIlookgood?Imean,willtheinterviewerslikemyclothes?
当电流的频率越高,感抗(),其对电流的阻碍作用也()。A.越大越大 B.越
一般情况下,在剧场内进行的组台演出装台时间为()。A.1-2天 B.2-3天
肝内胆道引起的上消化道大出血,可致胆囊A.穿孔 B.胆囊壁充血水肿 C.无变
项目法人的法定代表人对竣工财务决算的()负责。A.有效性 B.真实性
下列哪种与白细胞病理改变有关A.卡波环B.杜勒小体C.豪周小体D.染色质小体E.
工程质量统计分析方法中,因果分析图的主要作用是()。 A、对每一个质量特性
男性,60岁,有慢性咳喘史35年,多次血气检查PaCO2在55~60mmHg。近
回归系数检验指的是()。A.F检验 B.单位根检验 C.t检验 D
最新回复
(
0
)